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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
4-1-1928 Volume 46, Number 04 (April 1928) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 46, Number 04 (April 1928)." , (1928). https://digitalcommons.gardner-webb.edu/etude/755
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PRICE 25 CENTS $2.00 A YEAR April, 1928 Three Far-Famed American Song Composers
A Wide Variety of Song Material for Concert, Home and Studio Use - NEIDLINGER ^ O’HARA The range of each song is indicated with small and capital letters. The first letter is the lowest note in \\ WILLIAM HAROLD NEIDLING- 1 A LTHOUGH Geoffrey O’Hara the song and the second letter is the highest note. A W ER, vocalist and composer, was ** ?" was bom in Chatham, Ontario, small letter tells that the note is helow or above the bom in Brooklyn in the year 1863. He >4 j Canada (in 1882), nevertheless he is ac- staff and the CAPITAL letter tells that it is on a took up the study of music in a serious if cepted as an American, his works having line or in a space within the staff. way at an early age first with Dudley •mrc been produced, and most of his life spent, Buck and C. C. Muller in New York, \ in this country. His early musical edu- later going to London to study with E. ^ ^ cation—vocal and composition—was the Dannreuther. During this early period
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1712-1714 CHESTNUT STRE THEODORE PRESSER CO. PHILADELPHIA, PA.
DAY; APRIL 1928 Page 255 the etude THE ETUDE
Huge Professional We Delight Directory Qan Tou T5ell? » POPULAR MUSIC In .Aiding SYNCOPATION RAPID PIANO 1. What two great vocal forms came into existence in 1600? You to Find 2. Who were John Bull and Ole Bull ? 3. In what two operas is a celebrated “Mad Scene” to be COURSE Suitable found; and who were their composers? POPULAR MUSIC and- 4. Who has been mentioned as “The greatest American com¬ Music poser ever born in Ireland and educated in Germany? SYNCOPATION 5. (a) In what Italian opera is the famous song, La Donna e Shefte Rapid Course-Vol. 1—Price $1.00 in U. S. A. Mobile? (b) What do these words mean? For beginners with no knowledge of music or who have had little teaching. 6. Who wrote the “Nutcracker Suite?” Shefte Rapid Course—Vol. 2—Price $1.00 in U. S. A. For those with fair knowledge of music. 7. What American singer was the first internationally Shefte Rapid Course—Vol. 3—Price $1.00 in U. S. A. known Carmen? For the advanced student and professional fianist. 8. How can one-twelfth of a beat, in four-four (common) A legitimate—fundamentally correct Piano Method endorsed by lead¬ time, be represented? ing American Authorities, a few of which endorsements appear below. 9. What is an overture ? 10. Who was t)ie greatest of American women violinists?
TURN TO PAGE 326 AND CHECK UP YOUR ANSWERS. lave these questions and answers as ley appear in each^issue of The Etude Music Mao if ter month, and you will have fine e r-' riends. Teachers can make a scrap Dk of them for the benefit of early pupils or others wl f ?°/ffUe/hf rNewe,York :eception room reading table.
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What is a Symphony Concert ?
By Dr. Orlando A. Mansfield
The classical symphonies and, to a term symphony' concerts came to be ap¬ certain extent, modern symphonies also, plied, although somewhat inaccurately, to are, in substance, sonatas for full or¬ any series of concerts at each of which chestra ; that is, they ' are compositions a symphony was performed, or even to each of which consists of three or four choral or miscellaneous concerts at which movements, contrasted in form and style the performance of a symphony was and scored for the instruments found in merely occasional. This use of the term the best orchestras existing at the time of was scarcely justifiable, and the expression their production. And, of course, as com¬ has now become more properly and per¬ pared with the movements of the ordinary sistently applied to concerts given by pianoforte sonata, those of the symphony celebrated and more or less permanent are considerably longer and much more musical institutions or societies, in Europe fully developed. and America, at which “the performance Gradually, as the performances of of symphonic works is the main object in symphonies increased in importance and view.” No musical movement has grown frequency, during the last century, the more rapidly in the last twenty-five years.
Jytusical Appreciation and ^Musical Form .
By Eutoka Heller Nickelsen ^ v
Every child should know: formed. It is named “Melodic,'’ because it 1. That each major scale has a relative avoids the harsh augmented second. minor scale. 6. That by a combination of the Melodic 2. That number six (the sub-mediant) Minor ascending and the Harmonic de¬ of a major scale becomes the tonic for its scending, the mixed Minor scale is formed. relative minor. 7. That the “raised seventh” occurs very 3. That the Natural Minor scale has no frequently throughout any composition altered tones. written in the minor mode. 4. That by raising the seventh tone one- 8. By a glance when the tonic close of a half step both ascending and descending, composition is in a major or minor key. the Harmonic Minor scale is formed. 9. That any key signature represents two 5. That by raising the sixth and seventh keys, either that of a major key or its rela- tones one-half step in the ascending scale and by canceling the altered tones in the 10. That the Minor mode is used to ex¬ descending scale, the Melodic Minor scale is press mystery, distress and sorrow.
Knowledge acquired by students through the study of this course an Inventory ' makes an excellent foundation for more serious study. By Sarah A. Hanson Sent on approval to Piano Teachers EUROPEAN MUSIC TOUR The first of the year is a good time in what respects he can be further im- mentioning “THE ETUDE” with DR. EDGAR STILLMAN KELLEY to take an inventory of your musical pro- proved during the remainder of the school and DR. LeROY B. CAMPBELL gress during the past year and to make year. Such a review with an eye to com- HEAR TO0h^MSh>“'EtauSS»• f®reu,!Nteer. your plans for the future. Come to some mg events not only summarizes effectively FORSTER MUSIC PUBLISHER, Inc. SEE f„”d“n
iMothers and JYCusic Wee\
THE MAIN purpose of this depart¬ intendents and the principals. Under the ment is to assist the mother in guid¬ impetus of National Music Week such a ing and making pleasant the path of campaign ought to be successful. In pur¬ her children along the musical highway. suance of this movement she should write ^Mien the Band played We believe that she has a distinct re¬ the National Bureau for the Advancement sponsibility in this direction and that it of Music, 45 West 45th Street, New York is possible for her, even without actual City, and ask for copy of pamphlet en¬ his OWfl March... training in' the subject, to develop, control titled, “The Value of Musical Training To and keep alive a musical atmosphere in Children in the Schools of America,” and “A band in the street — a band — Our beautifully illustrated brochure tire home and, to a certain extent, in the "A Speech That Raised $2,000 for the a band!” Youngsters running, beckon- “Childhood and Music” will give you community. Band.” ing, shouting. Among them was a an intimate insight into child growth With this in view we want to emphasize Further: She can start a movement for boy of eleven whose voice was heard through music. i the mothers’ part in National" Music Week, the purchase of reproducing instruments above their clamor. It was his music You Are the Judge! which is from May the sixth to the and an adequate supply of rolls and records V/URLlIzER twelfth. It is not too early now to begin that the band was playing—the mili¬ for the public schools in order that the STUDIO UPRIGHT thinking about and planning for it, because, older children of the community, who have tary march he had composed for the Professional musicians for many years have taken our Extension Courses and pro- if it is a success, the mother will need missed out on music training in the early great Constantin, Grand Duke of all “The perfect instrument for small the cooperation of the children, their music fited by them. THEY praise the lessons and tell of the financial gain as - result of grades and are now too busy for actual the Russias. homes” — this is what accomplished teachers, extra practice time and, most study, may have the advantage of training musicians say of this beautiful little the instruction. certainly, some special preparation and Frederick Chopin was the boy’s name in music appreciation. It is possible to get piano. exertion on her own part. the leading business men and all philan¬ —- soon to become a genius among When you come to think of it, it is a thropic citizens behind this project and composers — a master at the piano. Thc Wurlitzer Studio Upright is but WE WANT YOUR OPINION great tribute to the art that a special week sell it with the enthusiasm of Music Week. 3 feet 8 inches high, yet contains with¬ should be set aside for its propagation and Chopin received early musical train¬ in its case a musical instrument which If you have faith in yourself and the same faith in us, send for sample lessons. An examina- demonstration and that such extensive, ing upon the piano, tfic basic instru¬ Community Programs is unapproached in limpid quality of tton °] them may be the means of starting you upon a career that will pay dividends in in¬ nation-wide plans for its celebration should ment of all musical progress. HE National Bureau for the Advance¬ tone and deep, rich resonance even by creased cash earnings—dividends that couldn’t possibly come to you under your present condition. be perfected. None of the other arts re¬ ceive such recognition and distinction. ment of Music can give you interest¬ pianos selling at far higher prices. ing data for an elaborate community cele¬ Music and childhood are closely asso¬ bration, on the progressive idea, entitled, ciated. A child without musical ten¬ It is not an assembled piano. Designed A Mother’s Problems “Home Night in National Music Week,” dencies is indeed a rarity. Yet in but in our ateliers, and with every essen¬ Courses of the Highest Authority ND NOW what can the mother do? A as originated and successfully carried out few instances does true musical ability tial part built by Wurlitzer craftsmen, First: she should begin at home. It in Kent. Washington. Get this pamphlet, All University Extension Conservatory Courses are the work of America’s greatest Authori¬ make itself known unassisted. it is replete with innovations which would be a good move to plan a recital for and, if it is too late to use it this year, file ties and Teachers. 1 he names ot Sherwood, Protheroe, Rosenbecker, Gunn Heft W eldon Clark have made the name Wurlitzer the some evening during the week under her it for Music Week in 1929. Only through early musical training Crampton, Siegel, Wrightson Stiven, etc., are known and honored throughout the’Musical ••World' own roof-tree. Let her children, and some leader in the musical field. Music Week is now a permanent institu¬ can the extent of your child’s ability The Extension Courses in Music they have prepared for you have received the endorsement of of the neighborhood children who perform, tion. It is with us to stay, and, as a be fully determined. Is there a mod¬ Wurlitzer prices within the reach of such great Masters as Paderewski, Damrosch, Sauer, Moszkowski, Sousa, and countless others. furnish the program. At these gatherings mother, you will be wise if you climb up ern piano in your home? all, $295 and up; convenient terms. father should be an honored and distin¬ on the Band Wagon and ride at the head guished guest, since it is he who usually How Do You Qualify! of the procession. It is possible' for the Send for a cop >y of our Free provides the means for the instruments mother to lead in this movement, as she and study of them and naturally would Booklet “Childhc rad and Music.” Your opportunity to make your own position Check and Mail the Coupon Now does in most of the worthwhile things in like an occasional display of the results a better paying one—may lie waiting for your life. _ Our advertisements have been appearing in The Etude for nearly 20 years Doubtless vou of his efforts. The mother’s own part decision. y^Music is your child's birthright... YOU°f Do SC? SCm and thou£ht °f investigating thc value that this greal school might off J t mqy he the refreshments, a bright, attrac¬ Mrs. S. Cottonwood, California. Small \OU. Do not delay any longer. Mail the coupon now. children can best he Started upon the musi¬ The busy music teacher, whose days are filled tive home setting, and a cheery, inspira¬ tional, welcoming personality. cal highway by a thorough training in with lesson hours, can keep “up-to-date” and con¬ Second : If music instruction is given in rhythmics—marching, gliding, waltzing tinue his own study at home at the same time he is teaching. The greatest the public schools of a town, there will to the different tempos. Finger tapping on teachers are those who never cease to he students, and the teacher who the top of the table, hand-clapping and toe¬ UNIVERSITY EXTENSION CONSERVATORY, Dept K probably be a special demonstration of it devotes all his time to teaching and none to his own advancement makes a Langley Avenue and 41st Street, Chicago, Illinois. Ifiven some time during Music Week. tapping may also be demonstrated to vari¬ great mistake. Then it is plainly the mother’s duty to go ous rhythms. All sorts of toy instruments Please send me catalog, sample lessons, and full information rem rd- ing course I have marked with an X below. and thus encourage the instructor by her may be used effectively in this rhythmic The development of the Extension Courses during the past 25 years is Piano, Normal presence, and incidentally find out what training. Hand position may be demon¬ □ □ Cornet, Amateur □ Violin ample evidence of the fact that it is possible for our teachers to establish Course for sort of music-teaching her children are' strated, and finger, wrist and arm move¬ contact with students all over the country and conduct courses by mail to the Teachers □ Cornet, Profes- □ Guitar receiving and the type of instructor ad¬ ments for early muscular development may satisfaction of the State Examining Board. Piano, Course for be done on the top of a table. Or a chart □ □ Ear Training and ministering them. If no demonstration is Students □ Organ (Reed) Sight Singing offered by the teacher, the mother should of the keyboard may be used. The mother □ Public School see' that such a program is provided, be¬ can avoid straining and stiffening delicate □ Voice Mandolin Only $295. plus transportation Music □ cause National Music Week is emphasizing muscles by this plan. Listening games □ Harmony □ History of Music □ Adv. Composition this particular feature, and no school may also be supervised by the mother. She Name. should he out of step in the big parade. may use toy whistles, bird calls, the tones • Age. If the public school in her town does of the home clocks. She can strike vari¬ Street No. . WuRuIZER not include music instruction, this is the ous metal and glass articles around the •o Factory Grand Piano Factory week for her to begin an active cam¬ house, listening attentively, and then find¬ ANDA.N.Y. DE KALB. ILLINOIS. City . State. paign to see that it is introduced. Let her ing these various sounds on the keyboard DEALERS AND BRANCHES EVERYWHERE University Extension Conservatory How long have you taught Piano?. How many pupils have go after her school authorities, get music of the piano. One who has had as much educational publicity from her local press, musical training as you seem to show LANGLEY AVENUE and 41st STREET y0U110W?.Do y°u ho,(I a Teacher’s Certificate?. Have organize the music teachers and profes¬ should be able to do these things with your sional musicians of the community and get children, making it all a jolly game. DEPT. K you studied Harmony? . Would you like to earn the Degree of CHICAGO, ILL. Bachelor of Music? . them to storm thc school boards, the super¬ (Continued on Page 3 IS) ntion THE ETUDE when a NTE1 that will have great interest for teachers, students and music-lovers in general..olumes^dedicated to the life-story and compositions of a different composer—when completed there will be t X :tten regarding the greatest classic, romantic and modern composers. There have been rtiany ^10Sr P . ;n this Series, famous musicians, as well as many collections of the works of eminent composers, but for the ’famous ;n the the life-story of the man himself has been combined with the actual music which has made his n history of the art. FRANZ SCHUBERT AT HOME will be the title of the first volume to be published in the “Master-Composer” Series, the selection being particularly appropriate in view of the fact that the year 1928 marks the observance the world over of the centenary of Schubert’s death. The volume begins with a colorful, accurate and concise sketch of Schubert’s career, followed by the actual music of more than thirty-five of his most popular compositions, selected not only from his piano works, but also from works operatic and symphonic in character. There are also a number of transcriptions of his best known songs, and, in addition, six four- hand arrangements of compositions that are especially popular. Each composition is linked to the following one by an interesting paragraph of biographical, anecdotal or critical information. To read the life-story and to play the compositions in this volume means that you become intimately acquainted with Schubert both as a composer and as a human being. All strictly piano compositions are presented in the original, and all arrangements are of medium difficulty, so that the average music lover can enjoy and appreciate the volume. In appearance, “Schubert at Home” is as attractive as its con¬ tents. It comprises 160 pages of music and text, printed on fine paper from engraved plates, the cover design being a bronze maroon with the composer’s name in green and a striking likeness in sepia brown. The size of the volume is eleven inches in height by about nine inches in width. A sample of the arrangement of text and music is given below, also the complete music index. All volumes in this Series will be priced at $1.50. The form of arrangement is shown, and the Complete Contents given herewith To the left, you will see a reproduction of part of a It is a melancholy fact that, while.Schubert was very fond of composing for the stage and wrote in all more than a dozen operas, no one of them had any degree of success,and many were page from “Schubert at Home,” illustrating the never performed. This was in no sense due to the lack of dramatic intensity or melodic inspi ¬ method of combining the biographical and critical ration on the composer’s part- it was chiefly due to the weak librettos which were supplied matter with the musical compositions. him. Some of the most beautiful music he ever conceived was incorporated in “Rosamunde, Princess of Cypress”, founded on a play by Madame von Chezy, who also wrote the libretto COMPLETE CONTENTS for Carl Maria von Weber’s opera “Euryanthe? When produced in Vienna on December 20th, Piano Works Song Transcriptions 1823, Schubert’s music was enthusiastically applauded, but the libretto was so weak that only two performances were given, the parts tied up and entirely neglected until1 Sir George Grove Allegretto (Posthumous) Ave Maria and Sir Arthur Sull'ivan rescued them from oblivion in 1867 when on a visit to Vienna. No Impromptu Op. 90, No. 3 Cradle Song entr’acte with greater musical charm has ever been written than the one from “Rosamunde” Impromptu Op. 142, No. 2 Erl-King, The which follows. Marche Militaire (Simple) Hark! Hark! the Lark Marche Militaire (Tausig) Serenade Entr’acte from “Rosamunde” Minuet No. 1 To be Sung on the Water Minuet No. 5 Trout, The Minuet (Sonata Op. 78) Wayside Rose, The Moment Musical Op. 94, Who is Sylvia? No. 3 Petite Scherzo Vaises Sentimentales Op. 50 Waltzes Waltzes Op. 9 German Dances Vaises Nobles Vaises Sentimentales Symphonic Works Waltzes Op. 9a Andante (C Major Sym¬ phony) Piano Duets Melody (Octet Op. 166) Ballet Music (Rosamunde) Unfinished Symphony, The Marche Militaire, Op. 51, No. 1 Moment Musical Op. 94 Operatic Works No. 3 Serenade Ballet Music (Rosamunde) Unfinished Symphony Entr’acte (Rosamunde) Waltzes Op, 9 -The Price of “Franz Schubert at Home” is $1.50_-___ It can be purchased at all modern music stores in the United States or Canada, or can be had direct from the publishers D. APPLETON AND COMPANY :: :: 35 West 32nd Street, New York City Copyright 1917 by A.Hammond & Co. #Prom here go back to 86 and play to Fine; then play Trio. Other Music Sections in this issue on pages 287, 295,327 APRIL 1928 THE ETUDE THE ETUDE APRIL SONG Pag°m APBILmg life in spring arnoldo sartorio THOS. J.HEWITT Splendid for finger-work. A seasonable number. Grade 3 £ A graceful Song Without Words. Grade 3. Copyright MCMXII, by Keith, Prowse A Co. Ltd. APRIL 1928 PW * THE ETUDE ter etude Page 262 APRIL 1928 the first nocturne International Copyright secured Copyright 1928 by Theodore Preeser Co. Page 264 APRIL 1928 THE ETVT) ASK YOUR DEALER TO SHOW YOU The Most Popular Piano Books THE MOST POPULAR ASK ^ MODERN PIANO PIECES F0R THEM I CONTENTS | BYNAME i I A lab 3roken Melody. ...Die, Flatt’rer, The . Granada . THE BRIDGE OF MUTUAL Jig V aSSS’riiii;"::::::::::::. »llSL a«: °‘her CS(New World Symphony) ^ UNDERSTANDING * - :hildren's Orientale.( esar C, a,nd ,Pupil; raa,V b-' crossed safely and easily Piano Pieces Passepied . Selected Pathetique Symphonic (Theme).../, ta*ins°an “unusual XrXt Piano Pieces Prelude. Sel? ^ EachwSI 5g& Transcribed Scotch Poem .\lai Piano Pieces Serenade . Operatic Serenade (Heller i “ K"”,:U" s“du- Th'>' «■>" -i'. y<,"SLstzzJ'Jsi:d Ptano Pieces . Song of India, A . . .nKtK" „hs.5"„" ‘y? -“j- AL_ Song of the Lark.Tsehnikcnvsk Canadt * " fr°m Music Teachers^hroughoutX UnLXisInd Piano Pieces Song Without Words. faur Concert Song Without Words .T.u haikowsk■ Piano Pieces Spanish Dance.»/<> ,kowsk Every number in VaIse Mignonne .Schut FOR PIANO every book a gem of Valse Triste.Sibeliu. musical literature. Volga Boatmen’s Song.Russian Polk Son, THE GREATEST 60c VALUE IN MUSIC ni™lNuDS’ HA^EN & ELDREDGE, Inc. New York Cltv sjmjvnrs^ corner .. certs. We list below I f C°n" numbers for this purple ? °f °Ur ”eW CHOPIN -HESSELBERG CZERNY - MOKREJS CHOPIN ETUDES 3 1 ISSsK J The selected Gems of tin CZERNY STUDIES srssS*5S55? 90 JOHN MOKREJS L. LESLIE LOTH associated iSSrSSSr.;:;:;;:,;- THEODORA TROENDLF MUSIC PUBLISHERS, INC. West 42nd Street FLORENCE L. GOODRICH New York EMMA DUTTON SMITH TEACHERS’ DEPARTMENT The Peace of N;„u. "l? P?Mpai?J «»« copies checked ^SKr&v.:^.,2*r % the Brookside . CLAYTON F. SUMMv ^ «»s°ulhw^™YCO. Publishers THE ETUDE APRIL 1928 Page 267. THE ETUDE je 2GG APRIL 1928 ft*—■ ---—--■--~ T5he Musical Home Reading 'Gable Himalayan Sketches Anything and Everything, as long as it is For the Pianoforte By Stricklan Pure toned . . . A Variety of Recent Price, $L25 Instructive and Interesting ^rtWr,RP is much to recommend these sketches 'T'HBKE is muon hi and piamstic recre- Conducted by 1 tor There a™ five numbers in all and they ‘Piano Compulsory The Curtis Institute of Music ONE of the most interesting signs of the times in music The advantage of the piano is that it opens the book to an JOSEF HOFMANN, Director is the cultivation of the ability to play other instru- instinctive knowledge of harmony and composition that can ments than the piano. Instruments such as the flute, be acquired by no other means except years of study. In trumpet, oboe, violin, viola, saxophone, clarinet, and French addition to this, the pianist who can play at one time four “The violin has its secrets: at one and the same time it possesses a s whose voice horn have expanded the musical horizon immensely and con' melodies or parts, as in contrapuntal playing, attains a per¬ poet whose enigmatic nature may only be divined by the elect. It is an 1 ^ tributed hugely to the potentialities of the orchestral situation sonal mastery over the complications of modern music, in a has stirred the heart strings of the human race, and the lofty raptures which it of America for the future. In fact, this marks a huge ad- far shorter time than it can be acquired in any other way. have done their part to raise the soul of man to the loftiest summits ol the ideal. vance in our musical educational culture. The piano also is, of course, of great value as an accom¬ This utterance of one who has himself surely divined the mysteries of which he speaks, is Yet, herein may lie a serious setback to musicianship, if we do panying instrument. For this reason, if for no other, the profoundly significant. Not only virtuosity, but high intelligence and inspiration are to be not take a page from the experience of Europe. In looking over performers upon other instruments should learn to play the demanded of those who would unveil to posterity the secrets of the violin. the catalogs of a score of European conservatories, we noted piano as well. It is not difficult, in listening to a violinist, to that in practically all courses, discover whether the artist is the piano was “compulsory.” a pianist also and can grasp, Prof. Leopold Auer, teacher of That is, no matter what other the musical composition as a Heifetz, Zimbalist, Elman and a instrument is studied it is whole instead of the thin line host of others whom the public necessary to study also the of notes that he is called upon has acclaimed, needs no further piano, to complete the course. to play. introduction as a “maker of The reason for this is ob' Fritz Kreisler is a remark¬ violinists." vious, even in the case of voice ably fine pianist, and we have students. Music is a fabric of often thought that this is one tones. When the student has of the reasons why he reaches such a very high degree of Efrem Zimbalist has won an emi¬ not the ability to grasp more artistry. For a similar reason nent position among concert than one thread or voice in the we have often -thought that the violinists of the day. Audiences fabric, his training is only frac- fact that Mr. Harold Bauer in every part of the civilized tional. It is the experience of world attest to his high personality most voice teachers that only was a concert violinist in his and accomplishment. a few of the pupils who come youth makes his playing of the to their studios have anything piano more beautiful and un¬ resembling a good musical derstandable. We have not the training. It was this fact that least doubt that the study of another instrument leads to a Mme. Lea Luboshutz, one of the prompted the famous voice better comprehension of one’s most brilliant pupils of Ysaye, has teacher, Franz Proschowski, to major instrument. repeatedly toured Europe and incorporate in his “Beginner’s America. Leading critics have Book” of his vocal method, a In the days of the great mas¬ termed her the greatest living means whereby the student can ters the composer was expected woman violinist. make up in a limited way for to play upon more than this great shortcoming. But one instrument. Bach, Mozart, even this will not give the Haydn, and Beethoven were student what he will acquire accomplished on at least tw-o Edwin Bachmann was formerly a with a good course of instruc¬ instruments. member of the Elman Quartet, tion in piano playing. concertmaster of the New York The piano, however, is a State Symphony, and for several It is inconceivable to the most distinctive instrument. A years has been a member of the writer how the performer upon any one of the orchestral home without a piano is like a house without a front door. Letz Quartet. He is equally gifted instruments can get a really good idea of the orchestral fabric No matter what other instrument you may possess—flute, as a solo and ensemble player. unless he has a knowledge such as that which can be easily ’cello, trombone, violin, or trumpet—if there is not a good Mme. Lea Luboshutz acquired only through the piano. True, Berlioz is said to have piano in the home, there is lacking the background for build¬ Edwin Bachmann been unable to play any instrument well (he did play the ing up a thorough, all-around musical culture. This fact is guitar). Wagner was no pianist. John Philip Sousa can so widely recognized that it “looks queer” to go into a These masters of the art of violin playing have been engaged for , scarcely play his own marches at the keyboard. Don’t make pianoless home. ,9zS-29 at The Curtis Institute Sf Music, wherelhey will teafh °°‘ year any mistake, however. All of these men, including the erudite If you are studying voice or any other instrument than the in person and give individual lessons. Mr. Sousa, have made exhaustive studies in musicianship. piano, make plans at once to take up piano study as an indis¬ They studied harmony and composition long and hard, pensable adjunct. This may be the best advice you have ever THE CURTIS INSTITUTE OF MUSir through years, with masters and by themselves. read in the editorial pages of The Etude Music Magazine. Rittenhouse Square 1 Philadelphia april, ms 'She ETUDE MUSIC MAGAZINE Vol. XLVI, No. 4 Pace 269 HABIT—THE STRUCTURAL STEEL OF A Probably ^tX^aa£rdWta“S MUSICAL TRAINING V/f ODERN architecture has been revolutionized by the in- 5sotk.se of the readers whose lives may be greatly influenced traduction of the steel skeleton by means of which the by these books which find their way to the waste paper basket tiny shop or the great cathedral can be brought into being in a a short time after they have left the printing press. fraction of the time formerly employed. The great spires of In music the same conditions exist. The pathetic thing is that Cologne did not reach up into the heavens until hundreds of thousands of young people turn their minds into waste paper those who laid the foundations were in their graves for cen' baskets in which they deliberately throw the musical trash of turics. Now a magnificent structure of thrilling beauty and the hour. A basket filled with trash leaves no space for treasures. great endurance is brought to completion .in two years. The The human mind is such a marvelous and precious thing that reason is structural steel. its owner should seek to make it a treasure chest filled only with In every musical education there is a structural background the best. We do not mean that the mind should be limited upon which the edifice must, be erected. This background is strictly to classics, ignoring much of the lovely salon music which a skeleton of habits—habits of correct thinking, habits of ac- has great educational value, but we do mean that it should be curacy, habits of carefulness, habits of aesthetic detail, habits— devoted largely to the works, simple or complex, of enduring habits—habits. ' ' value. All practice is the culmination of habits. 0 student—you who are willing and glad to sacrifice hours and hours at your RECOGNITION instrument—why do you not realize this more clearly? Why ONE does not have to roam very far in European cities be do you. not see that the hour-glass, itself, has very little to do fore finding oneself going along Beethoven Strasse, Via with your success, unless you everlastingly watch the develop¬ Verdi or the Rue Gounod. The only attempt wc have cvoi ment of your habits every second, every hour, every day every known in America to honor American composers with tin year? HABITS! HABITS! HABITS! municipal method of adopting their names for street® w.o A few notes played incorrectly with the wrong touch, the Flatbush, New York City, when a musical real estate man ran wrong rhythm, or other defects, for a few weeks, may create a the customary staked highways through a farm and called them habit which requires months to correct. after De Koven, Foster, Sousa, MacDowell, Nevin and other Habits demand will power. They must be established with We wonder whether they have survived or whether they h.u great determination and cultivated through innumerable repe¬ been absorbed and are now 78th Street, or perhaps J78th titions, always with the most exacting accuracy. Only in this Street. way can the steel structure of your musical career be so soundly Monuments, tablets, boulevards may be employed as posthu built that you may depend upon it at all times in the future. mous tributes to composers, but, after all is said and done, what they need most and what they deserve is liberal, generous reeog ON BEING PRACTICAL nition during their lifetime. A MERICANS have won the reputation of being practical. The composer presumably writes according to his inspiration. -»■ Just what does “being practical” mean? He is expected to put down those divine messages which cm,- We take it that it is most akin to the old problem of Euclid from the great unknown. But, and mind this, the mvxa.v ar. revealing that the shortest distance between two points is a fIf hls life has been "eh and full, and if his art straight line. °f communication) is finely developed. Ins nv „ • In music study we are constantly seeking to find that straight S SlftLT? the.?“* 11 i‘ * thy great . . line. We strive to put aside all unnecessary nonsense and shoot like an arrow, straight for results. Mr- Theodore Presser, the revered founder of THE ETUDE Music Magazine, was in this sense one of the most practical men we have ever known, and this accounts for the enormous popu- lanty of his very successful educational works. He had no use THE “GREAT AND GLORIOUS ADVENTURE" for fldmmy diddles, as he called fanciful and extraneous ideas which usually proved more obstructive than helpful. He saw his object clearly and went directly and unswervingly toward it. aSSSSmzs;*: At the same time he always realized that in musical education it was necessary to gain the student’s interest with pleasing ma¬ terial. He hated ugliness in music and his sensitive nervous to do next? asked the re,, nature was such that sounds that were discordant in harmony piano," she replied. “I have , goInR to study the or in tone-quality gave him actual physical pain. have never had a chance. Now ?v8tudy nuislc- but In advising young teachers, he used to say, “See clearly what mnVd6 Str/Vmg t0 d° “d„thcn g° toward that point by the r. rVT p0SSlble; k was for this reason that he adopted as the first motto for THE ETUDE: earnest? kt m hfSave found In Sen°Usly and the friz^° C°mbineS the usefuI wttb the beautiful carries off nchly repaid for their laborf ^ °f man>' wh" been MUSICAL WASTE BASKETS 0NlV/eW yTS ag0’ ? T3 the ambition of the writer of y books to produce works that would last through .the cen- mdividual. WehavewitneLdthis inm tC re"aisSa,KC °f thc cMdt0"’. Spencen Thackeray, Chaucer, Pope cS- study has seemingly brought new yomh to7h whcrc m"sic It must be encountered with seve ^ maturc hcg'nncr. for MI ft ’ TbtTk d‘d rke b°°ks f°r thc moment but for all time. That their works have survived is due to the spirit advantage of the mental drill, theSL^JT"6*- Thcn thc in which they were Written. Spmt 7 Inquest over onMs Sf* new experience, The graatcr part of the huge volume of fiction that is shot out of the Hoe Printing Presses today, as out of a machine gun ora™ 7“'youth “d Sh,hrin8 K"‘k is not written with any idea of doing more than catching popu¬ ™ *> hmTi™ThZ “ ber« * virtuoso a. fifty lar favor for a few months. s . F 'X / THE ETUDE Q ^ APRIL 1928 Page 273 Page 272 APRIL 1928 " ~ ~ THE ETUDE teaching the Fundamentals of Music ^Reinforce the Weak Spots though Improvisation Uses and Abuses of the Pedals By Caroline V. Wood By Helen Oliphant Bates The principal reason why it is usually follow an octave higher. This, of course, By the Distinguished Composer'Pianist'Teacher difficult for a piano student to read music does nothing toward making him a good If improvisation n written on leger lines is because such a rcader of nu,sic writtcn above the trebk2I’IC progressive assignments -- - , If necessary, hold a ruler small proportion of the music which he the the most valuable and effective means of : . ■ . , . left hand part so he will not be tempted Eugenio Pirani plays is written thereon. The remedy is to foIlow it Also give frequent drin impressing upon the student the fundamen¬ .. . . - ~-*- taJStals. 0Iof music cuuuuuu.education. Improvisation- In addition to rhythm and melody, har- obvious—give him. practice■ m- -read- ' * naming• notes above' and below the... clefs. i bfi started as early as the first lesson. mony should be studied from two view- i the leger lines. piano, in comparison with other instru- according to the different harmonies, makes Another thing—let the’ pupil play. the (jhildren begin to form original sentences points: namely, as exercises in broken or THE SUPERFICIAL pianist looks ments or with the human voice which can the rendition of this wonderful organ In the early duets, when the right and teacher’sarhpr a as wellwpII as thetto> pupil’s™m;i s nart in ^ SQQn as they can pronounce a few figurated chords, and as an accompaniment upon the pedal as a device for mak¬ sustain and swell a note, is only relatively point quite easy. Liszt who was not ac- left hands are often playing the same notes • duets, as soon as he is able. If he is words. Why should they not also begin t0 mel0dy. To understand pianistic ing noise and for producing a kind true For the human voice, and the wind quainted with the sostenuto pedal at tne of the scale an octave apart, have the pu- read>' for thc teacher’s part at the t i form original musical sentence's? idioms thoroughly the chords should be of cloud under which wrong notes and instruments also, are subordinate to the time he wrote these transcriptions offered pil first play the right hand alone several the duetjs first studied, go back to it later The first lessons should be devoted to studied in different figures merely as faulty passages can safely be concealed— length and endurance of the breath. They to the pianist a task which, without this times, for if he starts in by playing both H followed, will rhythmic improvisation upon a percu$- chords. Freedom gained in .using the as maneuvers of warships and airships cannot sustain the note beyond certain pedal, would have been impossible to per- hands together he will probably read only have a tendency to make the pupil equally instrument such as; the triangle, tarn- chords in this way will prepare for free- are masked by a smoke screen. The sus¬ limits. form. ^ ^ _ a bounne .or drum, because .on these instru- dom ;n using them as accompaniments, taining pedal is consequently assigned the the left hand, simply letting the right hand at ease in-any register of the piano. On the piano one way of increasing the The same is the case with Liszt s Gem- .nients the pupil is not hindered With technic ■phe three principle triads in fundamental ’humiliating role of hiding imperfections volume of tone after the key has been doliera (Venezia e Napoli) where, at the A • ■ r t i and can devote his entire attention to the and inverted positions offer abundant ma- and incompetency. struck is to strike a note or chord and al- end, the low F sharp suggests the tolling -Avming for It ! ‘ rhythmic patterns. terial for practice. It is much better for On the other hand, if used in a skillful low the string to vibrate for a short time, of the big bell of the Campanile of Ven- . ' Inasmuch as pupils should always be the pupil to know' the principle triads thor- manner, the pedal is a remarkable aid in -JL Jt-7—i- After this press the pedal. In that mo- ice. With the help of this pedal, the * By c. W. Berg - taught to think in complete ideas even 0Ughly in all keys, and be able to play them obtaining artistic effects. It should be con¬ all the sympathetic strings of the sharp can be developed into a wonderful ,, , . from the beginning, improvisation assign- qiljckly and easily than it is to have a sidered as a key and the foot the finger In melodic passages where the right . Have you e piano which were prevented from resound- organ point, being prolonged through the tween * person-walking over smdofh ° 1 e ® * torid °n high C and the fifth nrents should never consist of less than a hazy knowledge of a whole harmony book. which presses it. To avoid the noisy hand, , has to perform,- , . . in addition. .. to the jpgplan °by w the dampers will vibrate, and a whole last page, while the sustaining pedal T1,hrase’ The first lessons might be planned TJ foHowi„g motives are samples of tapping when suddenly needed, it should melody, notes .belonging to the ^accom- ^7 q{ the ^ or chprd win (right foot) changes w.ththe^ different a raitermg, uncertain manner and a skater As your success with this exercise apd as follows: what the teacher should give for develop- always be in contact with the sole of the paniment (as . . . result. TLiszt ncpHused to obtain marvelous ef- chords. The imitation of the bell becomes gliding over the same stretch with an easy the benefit yofi derive, from it depend on \ four-measure 'phrase i i 4/4, using ment both as. chords alone and a- accom¬ shoe. The foot should attain a high de¬ Words, by Mendelssohn), it fects of crescendo, striking first a chord quite striking. confidence m h,s ability to arrive at the your mental, attitude, it is of the utmost whole and half notes difficult to bind the different melody notes, paniments to melodies: gree erf agility in pressing and lifting when with the piano pedal (which allows the Here is an example of a passage which nrobablv se^n and hS/a?H imPortahcue.tbat form cental com Four-measure phrases in- 3/4, 4/4, 2/4, rapid changing is needed. even though the fingers are changed fre¬ hammers to strike only one of the three can be rendered only with the use of the probably seen and heard some students cept of the.first note-as. the starting place -using quarter notes Ex 2 A common mistake in using the pedal quently on the so Z ?be pedal between chords) and afterwards releasing it and third pedal. It is taken from c e of the p aying scales .in a hesitating fashion and from which you “hop off,’’ and the final SSeTsurfi phrases in 4/4 3/4 2/4 is pressing it simultaneously with the note But the skillfulskilltul use ot tne peaaiP .Deiween . nroccin* Inctparl tho ciistqiiitocr. . • nedal."i. writerwriter’s 5 ConeConcert Etudes, Op. 88: evenness^nd^regulSh^ sca es Wlth. perfect note as the-goal toward which’you are ' ’ ’ or the chord to be sustained. Instead it Ex. 5 should be lowered an instant after. binding comparatively easy and can be ef- sustaJ„g pedal offers unlimited faWhat is the pson? 'Largely this: the d^'vatoe o^e ^ ^ f*’ Pupils, should also be asked to find mo- Thus, in the following: study- 1 forced chords and steps or'noms, the ^raceTul'pe^fo™- fin^ds if prnvSSVmtfonS which IT '™ ‘hc picCW whiCh ' "To."'rsw.jsfour measure, of ihe Sfnng Song, for in- EZSZJZ< J 'A,, '! 1“ .“f*ef- and the thundering arpeggios through the fuilShl.1!^ °n the 8031 toward t0 a{m at ‘he target two’ octaves distant. Jg. i sufficient facility with the - whole keyboard, sustained by this pedal, you have -struck the first note, • Four t The ' following exercises are helpful in'.-.fix yoUr mind on the; last o • . atm, , -2/4, 3/4, 4/4, using phrase is acquired thc period, double per- Spring Song, Mendelssohn produce the tremendous chords which instilling confidence. - . FOR THAT! four sixteenths to a beat. iod and small , two and thrci -p.r ’ forms Allegretto grazioso make the piano a rival of the orchestra. Starting with the thumb of the right For the descending scale the process is Four measures fin 2/4, 3/4, 4/4, using can bt taken up. Pupils who ai,- given “Veiled playing,” which is an imita¬ hand on middle C and the fifth finger of- simply reversed. * In the beginning- it is ms sufficient drill in extemporizing tion of piano playing as heard at a great the eft hand on low C, strike these notes better to Confine yourself To two octaves, smaller forms will learn not to play whole ' distance, has a special poetic charm. Of firmly, giving them the relative value Of a Later your ingenuity will lead-you to.prac- Four measures in 6/8, using pieces pages- long as though they con¬ Ped.a)^*J*J!*Jl:J|t J*J|U-| course a very light touch is required to quarter note. Then play the scale of C tice it in contrary motion and extended sisted of a single phrase. Thc ability to produce that delicate, ethereal tone, But through two octaves with legato touch, over four octaves.- A little earnest work n pufictuatc, one of the first • requisites of Ped-Mf-C J J | J—J-[-J—J—h the touch alone is not sufficient. The ser¬ vice of both pedals should be enrolled in __ allowing .each note'the relative, value.iof a on this .exercise’means inevitable improve- i>i1r.s„„ ■’ «■ T I,,” 9 9 9 9 8Qod musicianship, should be .i., mired if the pedal is changed together with sixteenth note and1 ending with the thumb nv * triplets,^ a11 .rhythms, using ties and from much practice in creating the differ- addition, the piano pedal to diminish the .... , . , the chords (as in b), an empty space en¬ bulk of sound and the sustaining pedal to . Only the use of the middle pedal makes After . , , , ent se8™ents of a complete sentence, sues when the hands leave the keys and the beautify and idealize it. This union of Pu°s^ to bring out clearly he solo (Do You Know Tjhat mic improvisation melndi ^ & fbyth- In all extemporization pupils i uld be foot releases the pedal. On the contrary, both pedals produces a velvety shade which the midst of the arabesques of scales, reqU,Ved to state before starting w!,„ they if the pedal is lifted after the chord is gives the illusion of veiled tone. Spinning As soon as the chords of the chora are By Harold S, Farnese struck (as in a) and again .when the songs, lullabies, gondolieras and similar faught through the sustaining pedal, both , , . atsrsss fingers are lifted to prepare for the fol¬ compositions which call for murmuring hands are freed to play the scales, W ic 1. Schubert.... ir s C011SIdered 6. Cesar Franck had practically no lrnProvisation pupils must be taught the Th i c lowing chord, the pedal sustains the aban¬ sounds can be beautified through the simul- otherwise (with the sustaining pedal) second-rate while the world extolled Men- standing as a composer in his time and value of repetition and sequence and th* ./a,Ue. of such a course ln ‘ vtem- doned chord. Consequently a perfect con¬ taneous use of both pedals. would cause cacophonic entanglement. _ delssohn to the skies? that, when he died in an accident. Am- consistent use of given figures ’ Motive uf” ,s ,nestirnablc- h teaches tinuity of sound is obtained. 1 J1 ffipFL . ,h By Winton J. Baltzell MANAGING EDITOR OF THE ETUDE MUSIC MAGAZINE FROM 1900 TO 1907 The Son of Peasant Parents HAYDN WAS the child of peasant The passing of Mr. Winton James parents, singers of the folk tunes of Baltzell, in New York, ,on January the Croats, a people of Slavonic race with 10th, removed from American musi¬ a rich heritage of musical spirit. The com¬ cal life one of its most earnest and positions of Haydn showed the influence o f self-sacrificing devotees. Born at (he people’s music, an evidence of the in¬ .Shireinanstown, Pennsylvania, on fluence which early environment has upon December 18,1864, he received a lib- musical development. His brother was : eral education at Lebanon College, also an excellent musician and composer. : the University of Pennsylvania, the Haydn left no children. New England Conservatory, and un- Although much younger than Haydn, the ' der Sir Frederick Bridge and path of Mozart crossed, that of the older William Shakespeare, of London. master, for he spent his short mature life Returning to America, he became ac¬ in Vienna, the home of Haydn. The father tive as teacher, author and editor. of Mozart was a musician of eminence in Prom 1887 he was an assistant editor his life-time and was, himself, the de¬ of'The Etude till 1900, when he be¬ scendant of a family of bookbinders of came managing editor up to 1907. He Augsburg, Germany, whene this occupa¬ then became editor of “The Musi¬ tion was raised to the dignity of an art. cian” till 1918. Besides vocal com¬ The older Mozart was the teacher 6f his positions, he published in 1905 a son and must have had solid attainments "History of Music,” and in 1914 a as well as fine educational discernment. “Dictionary of Musicians,” the latter He watched over the growth of his son a standard work for reference. The with the greatest care and devotion, fully accompanying article was written aware of the wonderful endowment in shortly before his death. music which Had been given to the child. Mozart’s son became a musician and en- vjoyed a considerable reputation in Vienna. HEREDITY has more or less absorb¬ The most famous of the older English ing interest for the student of per¬ musicians was Henry Purcell (1659-1695). sonal development. Certain writers MOZART AS A CHILD His father was a church singer and com¬ claim great value for this factor. There From the Famous Statuette in the Luxem¬ poser, his uncle was a court musician and are also those who take the ground that bourg Museum, Paris his brother, an organist and composer. environment is the strongest force in the Henry left a son who was an organist and development of the individual. The object kept up the family tradition. Like Mozart, uncles were musicians and organists, and of the present writing is to present the cian, an excellent singer and evidently a Purcell had a short life. the family talent continued in the next easily obtainable facts with regard to a clavichord player, judging from the fact Contemporary with' Bach and Handel generation. number of famous musicians, leaving it to that Bach wrote certain studies for her. was an eminent French musician, Rameau. Such was the.nature of the heredity and Contemporary with Bach, born in the the reader to make the deductions as to His father was a musician and an or¬ environment which had part in the develop¬ same year, 1685, was Handel. No musical the influence of heredity or environment ganist. The boy early became a proficient ment of the sons of J. S. Bach. talent nor even inclination was shown in on individual development. player on the harpsichord, organ and vio¬ Among the prominent older French mu¬ the parents of this master. Yet, it is evi¬ Unfortunately, information as to the lin. Owing to lack of a competent teacher sicians were members of the Couperin dent that the mother recognized a musical early years of musicians and the lives of in composition in his native city he made family, organists and harpsichord players endowment in the child, for she gave him their forbears is not extensive. This leads his studies in that branch unaided. through several generations. Most famous an opportunity to learn to play a spinet the historian to make conclusions which Friend of Handel and contemporary of of them was Frangois, surnamed Le against the uncompromising objections of must, in part, take the place of facts. Bach in Germany and Rameau in France, Grand (the Great). His father and his the father. Handel never married. Heredity may be due either to one parent was the famous Italian harpsichordist, or to both. It may have the cumulative' Domenico Scarlatti. In his development force of several generations. The investi¬ both heredity and environment played - a gation which follows indicates the source part. His father was Alessandro Scar¬ of genius, so far as is possible, and gives latti, one of the most noted of Italian credit to the parent who contributed most composers of his time, and one who did to the musical development of the child. much to perfect Italian opera, especially A study of the careers of most famous the aria. Domenico was thoroughly trained musicians makes it plain that the special in the musical science of the day by his fitness for music was shown at an early father and gained fame as an organist age and that training also began early and harpsichord player. A son, Giuseppe, and kept pace with physical development. was a composer whose operas were es¬ Most virtuosi are made during childhood. teemed at Vienna where he lived during Few persons become a real success in the last twenty years of his life. A nephew music if they begin the study during later was chapel master at Naples and produced adolescence or after that period. Only in an opera. singing is it necessary to wait for adult physical development. Later Classical and Nineteenth The Older Classical Period Century NUSUAL musical endowment seldom Q EETHOVEN, the master who summed appears in successive generations of ° up tlie work of his predecessors, Mo¬ the same family. Two exceptions to this zart and Haydn, had a musical heredity. rule are found in the stories of the Bach His father was a singer and his grand¬ and the Couperin families. In the former father a church musician of high standing. case, 'while the father, uncles, grandfather The father was a man of dissolute habits and sons were musicians, the culmination but most exacting as to his boy’s training of genius rested in Johann Sebastian. in music. Apparently the younger Bee¬ Owing to the death of his father and thoven inherited the sturdy, self-reliant mother he was cared for by an older character of his grandfather. Although his brother, an organist. His first wife was environment was distinctly musical, it was a member of the Bach family and a singer, HAYDN CONDUCTING THE FIRST PERFORMANCE OF ONE OF HIS STRING not of a character to develop the softer and and his second wife the daughter of a musi¬ QUARTETS, IN HIS HOME refined graces. He never married. APRIL 1928 Page 277 Page 276 APRIL 1928 TEE ETUDE Bellini, Italian opera composer, was the a man of strong „,„dmind „„dand splendid Judg-judg- finefin, violinist, «s„ei»Il,especially noteanotrf Wj*Ior nl“ son of an organist. Under the father’s ment in.educational' «l matters. Before him p.a,teplaying, »dand jl»also »’<»a Virtuoso on the ou careful teaching the boy made such rapid was a father of eminence as a philosopher bass. Later he was a theater director and progress that lie was sent to the Naples and thinker. Mendelssohn’s mother was conductor. An uncle was a singer and vio- Mothering Genius Lonservatory for his further training. His a woman of artistic tastes and an excellent lin player; his grandfather, a musical en- Whither the T5rend Tndthe’ ARTISTIC heredity, a"d cnvir°nmcnt tal-----£',t f°r ~composition.developed developed early. amateur musician. Music was one of the thusia..,-thusiast, sang and .played . the organ. .... and•. the -P* were__ factors in the development of f1 he first part of the nineteenth century central ideas of the family life. The other violin. Weber’s fattier believed min the Char]es Gounod.’ His father, an’artista of the birth of four master musicians, children, Fanny, older than'Felix, was a genius of his son and was assiduous m de- dis(inction dietl wi,;ie Charles was still of these, Chopin, came from Poland fine pianist and credited as composer of veloping it. Other . children. of the family SITIdllj .IHJy. A ..v ia.iv.|atter was watc...... jlw| ... 'VTr spirit or me some 01 tne tongsSon9s without Words.Words- A wereweI? excellente3Lcd1^ musicians.?,,s?ans;„r__ a the greatest devotion by his mothermother, an ft °f Polish race. Chopin’s father was a French- brother, Paul, was a fine cellist. The English family of Wesley showed a the >,ho s 1 f'ne mail who settled m Poland and married Like Mendelssohn, his older contempo- marked ability in music. The first was j t ’ „ er a Polish woman. He was a teacher and a rary, Meyerbeer, was highly favored in Charles Wesley, son of the Rev. Charles »™ly - aer art. man of fine education He had the ability his surroundings. His father was a wealthy Wesley and nephew of Rev. John Wesley. P endnwment to his mother 1°' u lModern "Music to discern the unusual genius of his son banker and his mother gifted intellectually His musical instinct developed early, and «*“she t° h. mother, herself and secured the best possible teachers for Among his teachers were Clement! for he became a notable organist and com- deS<” ^nMr"l|d st,,lct,?n- him. Chopin was not married. piano and the celebrated Abbe Vogler for poser for the instrument. His younger Madame Grieg wa a ellent pianist, Artistic- v, endowment seekssccas expressioncA.prcsi.ioii in theory.uicui'jr. Meyerbeerivicycrucer was tnethe only musician brother, Samuel, was a prodigy as a umuchild -although * not a professional , artist, . She vanous- lines. A parent who‘ creates in one in the family. One of his brothers was and played thee violin, but his favorite in- f°'ookok care ofot the early musical education of Jin Interview With the Famous French "Miodernist hue may have a child who seeks another an astronomer; another, a poet. strument was the organ. He became ac- her son.son Grieg left no children. HisH,s wife line of expression. Such was the case with Parental influence was marked in the quainted with the.« works* ofr Bach and— j didj:j was a distinguished singer Llemenh, famous as pianist and composer early life of Paganini. His father was an much to make them known in England. Leschetizky, distinguished as a “maker TAautttc A/frrTTATTn m his time. His father was a fine silver- employee of a mercantile firm in Genoa, His compositions include the most of the of Pianists>” was ,lu' of a teacher „f smith in Rome and an amateur mu- a musical enthusiast whose favorite instru- forms. A natural son, Samuel Sebastian, P,an0- His mother seems to haw had much sician. Recognizing the gifts of his ment was the mandolin. He began the was one of the distinguished organists and of the strong temperament of the Polish son he had him instructed by capable training of his son with great ardor and composers of his time. racc- Leschetizky began his career as teachers according to a comprehensive equally great severity. Punishment often The last of the three B’s (Bach, Bee- Pianist and teacher. Secured Expressly for The Etude Music Magazine C°“ training. . took the form of deprivation of meals, thoven and Brahms) seems to show the An American composer and pianist of ramous as a pupil ot dementi, J. B. Balancing the father’s severity, however, influence of heredity. His father, Johann distinction, Edward MacDoH.ll. showed musical h>s endowment to a was the mother’s sympathy and ambition Jacob Brahms, ran away from home to de- »° hereditary disposition to im,,ic. His linist of Wc'- a ,Vi°' tha,‘ ker S”n sholild become the greatest vote himself.to music. He became a pro- father was a merchant with ta ■■ and skill By Laura Remick Copp son of . nfL' t! “ London- hl,mS.elf a °f hls time' ficient orchestral musician, especially on in art, not developed because oi iia-Quaker DARIUS MILHAUD member of h/optoht VI°Mmst’ a ,Carl Reinecke was the son of a musician the contrabass. The younger Brahms faith in which he was raised. The mother cheTtra Is a mere chitH r” ^ n Tv 6 fdy training of tbe showed special aptitude for the piano and of MacDowell, a woman of strong charac- whom our group regarded as their fetich, was instructed in violin J ‘ !ra™er boy- Tbls ^as supplemented by associa- received thorough training, in which the ter- watched over the early \. ■ ,,f her made some interesting discoveries con¬ I think, is still too young and has not yet AFTER THE WAR French music, was the forerunner of the French School and in theo v bv h s fatW nlT? P YT’ T °‘ er PUp’ls> 3™ng them Gur‘ WOrks of ^Predecessors, Beethoven and son. MacDowell left no child.cn. which had been silent so long, cerning the young Russian writers.” It found himself, although individual. He of to-day. fte machh^omeLnt ’ ? g **** " S° well-known *> chiI' Bach, had a large part. He was not mar- . Another American, of an older gciera- awoke with a start, and French com¬ is the youth of all lands about whom he wrote after the manner of Stravinsky, then “Our beloved Satie all of his life was t .. . , _ . . r>ed. tion, William Mason, was the son of posers raised the cry for something new. concerns himself for the reason that, by changed and writes more like Beethoven now. A composer changes, and during ready to welcome the newest manifesta¬ Czemv-thr P„h-7 eBV,r0nment of Ross'nh fa- Among Austrian musicians Carl Gold- Lowell Mason, one of the : i neers in The long and autocratic reign of impres¬ contact with the youthful, one can find UAjjo . ? he Pupil Pe a composer, was essentially mu- mark shows the power of a musical heri- American music. Ilis nepheu. Daniel this time everybody thinks he is lost to tions in our music. Young people starting sionism, whose leader, Claude Debussy, new elements. p name0 Of r ^ was dr^T-mn Wha ^ His father was a Jewish cantor. Gregory Mason, is one of the dMingnished had just died, was about to be overthrown In reply to the question, “What school the public, but he will come back. He is to compose always received support and and a new and unknown ideal substituted of composition or which countries interest only just changing.” encouragement from him. He did not de¬ etudTteL^rofhis dmtwmS Me^whS S ’moth", t S^Uf K buff 40 f ^ 1 ■ you most?” he replied: “All schools, all mand that a youth of fifteen have the which are the back-bone of most present! excellent singer, secured an engagement as n' o^’a in its place. Just what it was to be, no day courses of study. His father was a a comedienne and supported herself and nence A nephew Rubin fTL“i? * awpnony Urclicstra, the son of a one knew; but a group of young people countries; but the young composers espe¬ Li\es the J^eui technic of a university professor, but musician and the first teacher of his son. chlId untd her husband was released. Fol- P ’ Goldmark, a (Continued on Page 3 It) in Paris met together, discussed the sit¬ cially. It is what the youth of to-day are instead was patient until he could develop UT JAZZ M. Milhaud is enthusiastic The boy became a pupil of Beethoven at *owlng that both were members of opera uation, formulated a code of their aesthetic doing that appeals to me most—the very, B his gifts, aiding him during the long about. “I like the vitality, the melody the age of ten. He was never married. companies. principles, and drafted a kind of summary young, for they hold the key to the music period of groping and of doubt, while he I get from it. The ‘punch and go’ of the Donizetti, one of the most facile of TrU(; son of the people, Franz Schubert of what the ideal should represent. of the future. In Russia, one Igar Gle- felt out a number of paths before choosing The Eighth 7\[ote bow has gathered around himself young rhythm fascinates me. The blues I find Italian opera composers, had neither mu- emb°died the musical life of the lower These aspiring musicians were named the road to follow. It was the youth who well worked out musically and with new sical heredity nor family environment as tdass_ °f Vienna, the home of light-hearted “The Six” and consisted of Louis Durey, literary and musical men and formed, as instrumentation effects. But there! are two interested him, too. Satie once said to factors in his development. His father fflustc- His father was a schoolmaster By Lulu D. Hopkins Mile. Germain Taillefere, Francis Poulenc, it were, a musico-literary coterie. That group will bear watching. Prominent kinds, good and bad, and I like only good me, ‘I wish I knew the music that the was a weaver and wished the boy to be- wbo bad keen well trained in music as a An eighth note is equal Georges Auric, Arthur Honegger and four-year-olds of to-day will compose.’ He in tune value beats and the “two” following each num- among them are Kamienski, Dechvoff who music; I prefer a good fox-trot to a poor come a teacher. After some years at the parf °* h's caBing. Franz was taught the to one-half of a quarter no! Darius Milhaud, the last of whom is one was forever exploring the horizon. From conservatories in Naples and Bologna he r,udlments of music by his father and also there can be two eighth note.' • re.0re T represc,u tbe last half of the beats, of the most prominent composers of the is about thirty, and who has written an in¬ sonata. Popular music and dance forms m the time thus: behind his spectacles, with his indefinable entered the army and, while in the service, the violm- An older brother was his piano s s . e contemporary world. Five years ago he teresting ballet, and Teuline, whose De have always had a great influence on musi¬ Profundis for piano deserves attention. cians ; for example, Beethoven’s Minuets, smile, he peered, forever searching until composed his first opera. teacher. Another brother was also a good of a quarter note, | ] = J , four eighth Ex, visited our country, and during the season he discovered.” Robert Franz, one of the masters of the musician. Thus it came about that a fea- notes jn the time h u* of 1926-1927 he made a second sojourn in Bach’s Suites and Chopin’s Waltzes. The public of the olden times was much more Lied form of composition, was not born ture of the family life was a string quartet our midst. “And, by the way, the above The “Schools” Amalgamate into a favorable environment. It is prob- whlch later expanded into a small orches- title,” so Monsieur Milhaud says, “has open to new ideas than that of today, as The “Radical’s” Viewpoint tt'T'HE Scriabin influence is absolutely can be seen easily in works of Rameau. able that neither of his parents had incli- tra trough the addition of friends. The caused much misunderstanding, as it was SKED if radicals ever write music 1 and definitely at an end in Russia, Gluck, in ‘Iphigenia,’ introduces a minuet, nation for music, for both of them opposed comP°sitions of the boy received sympa- and eightei&ht eighth1 notes ii the time of ; not selected by the group themselves but to poke fun at us, their auditors, or, and so that chapter is closed. Stravinsky a dance-form. of his day; and so why his wish to become a musician. In spite of thetic “try-outs” in these gatherings. whole note thrust upon them by a newspaper reporter. in American slang, to put something over ' they now call a Parisian and have cast him should not a composer of our time intro¬ this he learned to play the piano and the R°kert Schumann wrote that all the arts on us, he replied instantly in the negative, out of the Russian school much as in a duce a fox-trot? organ and finally won consent to pursue a are simdar bl,t that the material of an art adding that they are sincere, never think “The Six” Concerts former generation ‘The Five’—Borodin, “In 1918 jazz arrived in our midst, from systematic course of study. determines its technic and special prin- of their audiences nor care about them, but ay and smg the following melody. Keep HEY HAVE never really worked to¬ Balakirev, Moussorgsky, Rimsky-Korsa- New York, and became the rage. The The American-born composer and pian- c!p,es’ The creative faculty seeks expres- Ex. 1 only write, write to express themselves time by tapping the beats with the foot. gether; that would be impossible: but koff and Cui—did Tschaikowsky. So the best composers took it up. Stravinsky ist. Gottschalk, was the son of an English S10.n in a medium most grateful to the one and write music. “Personally I don’t mind Ex.4 they did cooperate and hire a badly heated, followers of Stravinsky to-day arc in wrote rag-time. Wiener wrote a syn¬ father (a graduate of Cambridge Univer- endowed with it. Schumann’s ancestry the’ public. I don’t know what the public poorly lighted hall, so as to provide a place Paris and a new school lias sprung up copated sonatine and some blues, as did sity) and a French mother. In the culti- !^Pw®d no trace of musical inclination, is. I like American audiences as they vated atmosphere of a delightful family „ father was a litterateur and a book to give new compositions a hearing. They in Russia. I- am a great admirer of Stra¬ almost every composer. But the influence -— ^ ui a ueugmiui show a confidence toward the composer life the boy learned piano playing as an f. who had sympathy for art pursuits. were of the same age, had the same ideals vinsky and regard him as great as our in Europe is now at an end—in fact, has that is helpful; also they are more atten¬ amusement. His talent showed itself so With his approval Robert had somewhat and ultimate goal in mind; but almost at French masters, and the work I like best been since 1924. It came like a thunder¬ tive and courteous than those abroad.” definitely that he was sent to Paris to desultory musical training as a boy. But random a journalist chose the names of is the piano concerto. Lambert, of the storm, swept all before it, and, going away, To the question, “Where is music tending study. He died at the age of forty. after his death this was denied by the six people as representative and they'were English school, I find expressing the cleared the air and left a better atmos¬ us was denied by the rn;^TTreSenting one beat receives one today,” he replied, “Where the next com¬ Giant- of— ...thev fiwusocpianistic world,worm, rranzFranz mother,.- who w~~- -uncompromisingly • • - op- unt‘ wnen two consecutive notes rer,r» called ‘The Group of Six.’ The concerts modern idiom most convincingly; and phere. When America, that is, serious, poser takes it That remains for the next Liszt, took up the classical idea and out of posed to music,music- Tt was not until early ?,ent one heat they are sometimes counteH were popular and although the hall was Rieti, whose music is very joyful and educated America, saw nothing in jazz the generation to say;” and so we wonder, it developed the romantic and program manhood that Schumann was able to devote ,one and two-and.” “One” renr! far away from the beaten path everyone clear, of the Italian. French did; but now, when the rage there after today with its complicated rhythms, style. He was the son of a steward in tnethe hlmself exclusively to music. the fi«t half of the beat and thf attended.” “Among the very young French com¬ is over, you are just putting on a jazz service of a Hungarian nobleman. The represents the last half of the beat thus Monsieur Milhaud, of this little band posers of to-day, from whom one might opera here;” and so he deduces naturally strident harmonies and oft-times to us father was an enthusiastic amateur in mu- Verdi’s J^eutral Environment of trail-blazers, is a genial, kindly cour¬ expect something, are Henry Sauget of enough, “We are always ahead of you lion-understandable logic, what ? sic and a pianist of sufficient attainment 'VT OTHING is recorded of Verdi’s an- teous man with a vital and serious inter¬ Bordeaux, who is largely influenced by here,” and he thinks that applies to all But let us support and have confidence est in things of to-day that is gripping. Chopin, and Maxime Jacob, only twenty musical situations. in the apostles of the art of our own time X hlS b0y’SJfirSt teacber- The i .. cestry t0 sb°w a musical heredity! and let us persist; for some day we, too, fr. ,was an admirer of Beethoven Neither was his environment specially con- To meet him is an inspiration. And he years old—a Jewish lad from Bayonne; also from a little band of three young may be able! to hear beauty (for Monsieur and mstilled. the same feeling in his boy. EVERY really musical nation is in love selections. Thus correct vocal habits were hanging at the side. Lift the hands above restful concords; but , .. .. with group singing. Rich and poor, formed. These habits, applied in the daily the keyboard, allowing them to dangle series of “Old Hundredths decidedly old and young, literate and illiterate, classroom lessons in music, eliminated most — , , from the wrists. Now study out every monotonous. share in this universal medium of emo¬ Qhoral Singing in School Scales and Arpeggios of the' usual difficulties in diction, breath What VYtuSlC Shall I Study? motion that you make, and be sure that it So tell your pupil that dissonances are tional expression. All the people sing. A (1) What form of scales is taught control and tone quality. Given normal is absolutely needed for what you want to the real events of music—events each oi after the major, minor and chro¬ few years ago in one of the grade schools posture, active relaxation, deep breathing, play. Use the hands only when the fingers which represents an emergency that makes matic? , . of Cincinnati I witnessed an amazing ,t present working (2) What method gives a complete and (College . good diction, unrestricted and well modu¬ themselves are insufficient and the arm us want to find out “how it comes out — t table of arpeggios and their finger¬ demonstration by seventy-five foreign-born Bach’s Inventions.il ai Sibelius' Va, only when the hands are inadequate, what will happen before a final chord is ings. Should these be taught at the lated speech, the singing voice functions .eacher says th chddren from eight to sixteen years of same time at which their relative key such music is in only the fifth grad Weed out every nervous gasp and direct reached. As Browning admirably says: in scales is given?—L. A. M. age, gathered in a public school auditorium. normally and beautifully. Indeed these I would like to know the nr" By Dr. Hollis Dann habits permitting the voice t function of some brilliant classical piecet. _ each movement .straight to its end. Prac- Why rush the discords in (1) The only other form that deserves Every one of these children had landed the seventh grade student. My i tice music which is comparatively easy for But tjlat harmony should be prised? without physical effort or interference are attention is the whole-tone scale, which is m the United States since the previous Director of Music in Hew Yor\ University struetor gives me simple p’ - to master. Play the same passage June. I hey represented nine' nationalities— the principal objectives of the successful I know that I can do more Concords, in other words, are points of frequcntjy met with in modern works, singing teacher. (Since our visit Margaret work, since I am her most r many times, each time striving to do rest, while discords suggest movement. No especia]Iy those of the French school, hrance, Germany, Italy, Czecho-SIovakia, pupil. I fear that she is • quietly. You can learn to play Nichols has written an invaluable book sksY it^ ' . .. .. r wonaerwonder matthat uissoiiaucesdissonances prevail in musical.....j.-.-. I refer you to James Francis Sweden, Poland, Rumania, Holland and to select it myself. F. B. if you put your mind to it hard compositions during these hectic days of Russia After saluting the flag and sing¬ on "The Training of Children's Choirs” Cooke’s Mastering the Scales and Arpeg¬ ing America” in broken English, one and has become an authority ..» the sub¬ Don’t be too sure that your teacher is enough, autos, speed boats and aeroplanes1 gios, in which the fundamental forms of ject.) unwise in giving you music that is well both are presented with their fingerings fnn~F Xher a"0ther sang their native songs this unique program evoked in me Learning that {lie director of Hygiene within your capacity. The worst teachers Phrase VYCar\s drills and Other VYCatters and with valuable suggestions as to and most of the other teachei - in the I know are those who, in order to give a conflict of emotional reactions—admira- (1) In playing the following twi (1) In the piece, AnUra’s Dance, methods of practice. Farmers’ Road School were tra tied in the the idea that their pupils are advancing note phrase, should the hand t tion for their perfect memory of both by Grieg, should the trill consist of It is well to alternate practice on scales Graystoke Normal College, 1 later spent rapidly, habitually give them music that is drawn away after playing the F, r four or three notes? Also in Black words and music, although trained in should ordinary hand staccato l Itawlc Waltz, where the trill begins and arpeggios, teaching a few scales, then several days there and was again im¬ either much too hard or is at the very used? widely separated schools and homes, tears of E flat, should It be played eb-f-eb, arpeggios based on these .scales, then a and sympathy following some of the songs, pressed *by the value of coordination in limit of their powers. In either case the or eb-f-eb-f? I have heard It played Ex.l both ways. „ . . • few more scales, and so on. laughter at the lighter songs, especially the elementary school, particularly in pupils merely play of the music and never (2) In the key of Cb, how should by the French group—above all a feeling of closely related subjects having many really master it. the diminished seventh chord be writ¬ ten? Is it wrong to place three flats shame and chagrin that any group of objectives in common. It is a pity that After a certain grade, one should ad¬ before the B? 13 he Peginning Age American adults similarly situated would the tremendous potential power of subject vance not so much in studying music of (3) One of my pupils, a small How early should a child begin child of ten. has. in her second year’s piano lessons? Some maintain that have faded utterly. greater complexity as ill acquiring more (2) One of my pupils is learning coordination cannot be effectively utilized Mozart’s Fantasia and Sonata in C work, encountered much difficulty. it is wise for the average child to We have no songs which all children in our public schools. finesse, more accuracy and surety of a baby the palm of hr start at tire age of five, while others minor (Presser Edition, No. 279). -Now it is a name a few years later. Is it more know and which they might sing together technic and more delicacy of expression. The metronome marking Is J' = 76. „_,_ annot real- worthwhile to start children when _d wider than a sixth. Would wherever they go. American children or The Organized Chorus It seems to me, however, that you may they are in the kindergarten or in American adults similarly situated would soon be ready for selections from Bach’s Should it not be M.M. J = 76? yoii advise using any extension work ? the first grade of school, or to wait '"P'HE AIM of this paper is in consider (4) Please explain the difference until the third grade, when their De helpless, knowing neither words nor Well-Tempered Clavichord, for Beetho¬ (.3) When singing the minor scale between Htardando, rallentando and minds are more developed and their A tile organization and direction of the by the Tonic Sol-fa method, what syl- rttenuto. The dictionaries seem to music. A list of choice! songs, to be taught ven’s Sonatas, such as Op. 26 and Op. 31, attention better able to he held? If selected chorus in American schools. Ex¬ disagree as to the exact meaning of they do begin at the early age. is from year to year to every child in the No. 3, and for pieces such as Mozart’s these terms.—L. M. class or private instruction prefer- cellent material is available in cn ry grade public schools, should be agreed upon by Fantasia and Sonata in C Minor, Weber’s school, every high school, every normal (1) Let the wrist fall in playing the A, ^(1) In measure 8 of_ Anitra’s. Dance, the Supervisors’ National Conference and Rondo Brilliant in E flat, Schubert’s Im¬ school, every college and university. Child¬ and jump up When playing the F, releasing the triIi ;s executed either a r chili every child m the land given a chance to promptu, Op. 142, No. 3, Mendelssohn’s the finger from the key, so that the hand my reading on tbe know them. Then the songs would carry hood and youth everywhere are ready and Rondo Capriccioso, Schumann’s Papillons, hangs_ ^down ^ from the wrist.. over into adult life, as they do in Europe. eager to sing when favorable opportunity - — some of Chopin’s Waltzes and Nocturnes ^ (2) The metronome mark... given the Regular private lessons are rarely suc¬ Any group of Welsh men and women, for is offered. Thai why are superi. r choirs and Liszt’s Nightingale. Perhaps if you presser edition is correct, since the Term cessful with a child before the age of example, will sing hymns and folk songs so rare? Why is the average chorus lack¬ suggest some of these to your teacher, she Adagio, when used by Mozart, indicates six, or, better still, seven. If he shows by the hour, entirely from memory and in ing in beauty of tone and diets , : Why will let you try them. an extremely slow tempo. distinct musical tendencies before then, four parts, with thrilling effect. t e poor attack and release, the unsatis¬ (3) Since the syllables used for the however, they should be encouraged—as factory tempi, the absence of intelligent minor scale are the same as those of its in the case of Mozart who wrote minuets Appeal of Group Singing phrasing and tone color, and, above all, why Playing With Ease relative major, the minor scale begins with at four! A clever parent may guide a SUPERIOR group singing makes an o our choruses sing so much cheap and la of the majorlUdJUl scale, soDU thatUiai Itsits thirdtituvi antiand unworthy music? makes it difficult child along the early steps by several les- universal appeal, whether it be by pro¬ e people play flowingly. without sixth are respectively do and fa. Thus the The rapidity of the pace effort, their hands moving softly and so that the first S011S a week °* 1)Ut a *ew mmutes eacl1 fessional or amateur choirs. We are Choral standards are improving; con- scale of A minor has the following sylla- t0 PIay ,the notes, easily among the keys as If through version is more practicable for the piano. and may thus wtet the child’s zest for amazed and delighted with the wonderful i ions are much more favorable than they water, not as though they were bles (se is used for the seventh degree) : singing of the Prague' Choir of eighty- ere twenty years ago. But the improve-] kneading bread or mixing a cake. In compositions written since 1800, the Pia"° P^ruig until he is old enough to I know a woman past forty with Ex. 2 nve teachers and college professors, and p6”4 • Is . t°° slow—unnecessarily slow, short fingers, not especially pliant. trill almost invariably begins and ends on study with a teacher who is wise m the charmed with the art of the incomparable er am definite and absolutely necessary She has never had much instruction the principal note. . Before this time the w°rkln^ °f the young mmd’ . . ( in music, never really practiced, but regular rule prescribed that it should begin , Something in the way of kindergarten English Singers; we are thrilled also by eps should be taken to bring about higher she has always kept up her music * - " the singing of a chorus of Welsh miners, because it is easy for her to play.- do - fa ti .la on the upper note: there were many ex- c>as.s w°rk may; however- bf admuab e _ an. ardL, and t0 produce infinitely better I love music, both melodiously and a Glasgow Choir of amateurs, a pic- results. The principal cause of poor choral theoretically, hut I feel that my ceptions to this rule. dunnS tbe,se early staf * ,and ™ay ltsel,£ turesque group of Russian or Czecho¬ singing and the resulting lack of interest music sounds like work. It may beie Thus, as you will observe, the third and (2) wIn the key of C^ ---flat minor, the— .P™«* tbe a«c. at wb, ‘cb, individual work that I poke the keys too much. I • - - - « « • pjj should begin. As a child stands o«t from slovakian peasants, a fine church choir, and enthustasm shown by both singers and notice that the easy players seem sixth of the minor scale are not regarded diminished seventh chord is Bb, Db, Fb, 5 lould be^n’ As a rch,ld stands from hundreds of people singing a familiar to caress them.—Mrs. B. H. IT as lowered, but as notes that regularly Abb- Theoretically, three flats might be the general group, for instance, by rea- r?rn0t difficu" to discover. Every avoid conform to the signature, while the seventh placed before a single note, although this f°n of his ready grasp of new ideas and hymn, a group of children or adults singing 0 e indictment points to the cause. To play easily one must learn iu . Christmas Carols, a Rotary Club, a family DR. HOLLIS DANN every unnecessary muscular motion. ls consequently-* sharped.-J ’ never done in practical usage. There hls enthusiasm for the subject, he shows no call for it in this instance. that he is Prepared for more concentrated group, the singing of a great oratorio Tone Quality Sometimes, as in the case of your friend, room, and auditorium without seats. The' Be this condition comes naturally: oftener, (3) I should be careful not to give any w°fk- h I T is n° Iimit to the sixty singers were mostly little girls from (Consonances and ‘Dissonances exercises which would tend to strain the On the subject of early class instruction, heights which may be attained by an or¬ - EwhUT\ 0F T0NE is boss must be acquired by careful thought and nine to thirteen, a few from fourteen to when the voice is properly u< ave a pupil who wants to study muscles or stiffen the wrist. Judicious I suggest these books: ganized chorus, or to the enjoyment of good vocal habits areP pese>n- practice. • informal group singing. sixteen years. Before them stood their pieces that sound pretty. He hand-massage may prove efficacious. . Musical Kindergarten Method, hy Dan- Proper posture, breathing, reto Sometimes silly motions, such as throw¬ understand why dissonances oe- leader, Margaret Nichols, one of the.grade I have explained the reason for 14) Rallentando and ritardando are >el Batchellor and Charles W. Landon. ing up the hands or bobbing the head, teachers. The children began,to sing. For hut he doesn't seem to be satis- practically synonymous terms, each mean- Half-Hour Lessons in Music, by Mrs. Farmers Road School MMtVS-K have been cultivated to impress audiences, Kindly give me an explanar forty minutes we listened vin. wonder and singing m the person of MargarrfNkLh ing to slacken the time gradually. Ritenuto Hermann Kotzschmar. ¥ N THE MIDST of the factory district second, unique arid effprtivo •• hols, but the modem virtuoso has pretty well amazement. Exquisite tine, beautiful is often used in the same sense, although For connecting this work with regular m East London are long block of little The of gotten over such tomfoolery. Often, how¬ shading and phrasing, balance and diction departments Hygiene it really means to adopt a slower pace sud- lessons, these books are valuable: Musical houses joined together, each looking Music coordinated daily ,Ri„ht . T?and ever, players waste their strength need- 1 that seemed perfect. The music included a play in which denly and to keep the slower rate uni- ,dcas for Beginners, by F. Marion Ral. exactly like its neighbors. Here we found lessly. To jerk one’s hand violently back go Elgar’s “Snow” and other selections sup¬ posture, deep breathing andr fa ‘ion °f the Farmers’ Road Grade School. We had from the wrist in playingtying staccato, iorfor in- nornmgnothing happened butuuu ^ which the actors formly. In Chopin’s Rondo, Op. 16, for ston; Elementary Piano Pedagogy, by posedly beyond the comprehension of chil¬ dan, practii „d/r" S'ZS faults, is the conductor It is a heard a lot about the Farmers’ Road Girls’ stance is a difficult and8 perfectly useless pursued the ordinary course of existence instance, just before the second subject Charles B. Macklin, What to Teach at the dren. All were sung with feeling and— of the supervisor of Hygiene r Choir. Presently the choir was grouped pronunciation and distinct Correct choraf ’ Hheref0re' that the 51 motion ;IS for thek^wouki rise" just as placidly and uneventfully. . Now . disso- enters, there are two measures marked judging from the atmosphere, facial ex¬ on one side of a big room which seemed with particular attention t^thTSh^i the ln°n Ct0r Sha" be quipped quickly if the hand were simply relaxed nances are the happenings in music—the poco ritenuto, meaning slower, followed Mr Williams two books Times for Tiny pression and general effect—with full after the^stroke things which excite our interest and give by two measures marked rallentando, Top and First Year at the Piano are ex- to combine a hallway, gymnasium, cloak¬ understanding. quality of voice, were acquired ’ o'l reading and frequent delivelyS ^ To acquire ease, begin by relaxing every zest to a piece. Old Hundredth is a sample meaning to grow slower, before the a cellent. ^ A defi™te knowledge of the caps playing muscle to the utmost, with hand of a composition that consists only of tempo brings back the original pace. (Continued, on Page 317) (Continued on Page 309 THE ETUDE „ APRIL 1928 . Page 287 Page 2S6 APPJL 1928 TBH STUM CLASSICi MODERN and contemporary master works 'Musical (Composition in BRIDAL CHORUS T From “LOHENGRIN” EDOUARD bLHU I 1 CONCERT TRANSCRIPTION R.WAGNER . , ... the ‘Philippines Here is a delightful arrangement of the much loved Wagner Theme, made by the great Russian Pianist, Edouard Schutt, long resident iu Aust, . and Italy. It will make a sensation on any recital program. Grade 6 jt>oco rail. m. 43y Carlyle L. Smith these old melodies we cannot be sure. The older composers and experimenting at the Filipinos had no notation in the early times, keyboard of the harmonium. Mr. Adonay so the songs were handed down from mouth now began composing. Being of a deeply to ear and car to mouth—a dangerous proc¬ religious nature, he, like Palestrina of old, ess if accuracy be desired. The Islanders devoted most of his efforts to the produc¬ had for many years been trading with Asia, tion of music for use in the church. And and now the Spaniards were among them. it is'not amiss to say that, in freshness, Naturally, we expect their songs to bear the vigor and originality, Mr. Adonay's com¬ influence of both Asia and Iberia. positions have considerable in common with the old Italian master. Philippine Folk Music Naturally, when Mr. Adonay’s composi¬ tions were well received and repeatedly per¬ OF COURSE, these first songs of the formed in various churches throughout the NICANOR ABELARDO Filipinos would be classed as folk- archipelago, as well as in Madrid and Bar¬ CONSUELO MARTINEZ music. They were communal rather than celona, where they met with considerable individual, being passed on from person to IN THE FAR Philippines, the most dis¬ success, many of his contemporaries began person, generation to generation, not writ¬ Philippine Composes tant land under the American flag, to try their hands at composition. Much ten and preserved for posterity, but chang¬ AMONG composers wh... music is loved and enthusiastically culti¬ of the work of these men is now lost, neg¬ ing as the times changed and outside in¬ ^ * m the larger forms arc IT vated. Though the art has not reached so lected or forgotten; but they and their fluence crept in. They may have gained or tiago, Kicauor Alielardo and I Unity high a state of development as in America, compositions played an important role in it is quite probable'that at one time there they may have lost—who knows?—but it don, who have to their credit mar bringing about the production of music in phonics, overtures, piano convert was a greater variety of original music in is certain that they are not what they were the Philippines by Filipinos. chamber compositions. Manila ! . use in these islands than in o'itr own in the beginning. Then came a corps of composers, many phony orchestra; and. altogether country. The first person to inaugurate notation there is of whom have produced works of lasting developing throughout the island- Mr. Louis C. Elson, upon authority of in the Philippines—that is, the writing of value, though generally in the shorter forms musical culture and a school i Mr. O. G. Sonneck, states that James Lyon music that it might be of permanent rec¬ of songs and dances. From them the tion which is rather distinctivcF i ord, also singing and playing by note ac¬ id i vicinal, (1735-1794) was the first American com¬ younger musicians have received the in¬ Tapales Isang, or Isang Tapal cording to the established rules of the art ■s as she poser of original sacred songs and that struction, counsel and encouragement which is sometimes called, has been tb operatic —were probably the Augustinian Friars. are so necessary to the making of artists. Francis Hopkinson. (1737-1791) was the sensation of Europe for two ><■. ions. In For as early as 1718 Padre Castello was first to write in the secular line. In the The Etude Music Magazine i October Philippine Library I have seen the, original teaching boys in Manila to sing by note and there was an extended interview u ith this letters (in Spanish) which passed 'between to play various instruments. Remember remarkable Filipino girl, which ; e Editor Jacobo Zobel and Jose Inzenga, in which that this was only one hundred and twenty- of The Etuhe secured in person, in Paris, Zobcl quotes from a dictionary of the Tag- eight years after Jacopo Peri had produced last spring. Miss Isang paid gr, alog dialect, compiled by Padres Juan de the first opera in Florence! No doubt the to the advantages she had h Noreda and Pedro dc San Lucas in 1754. good Padre's methods would seem to us “American” musical education Zobel quotes many Tagalog words descrip¬ rather antiquated—even childish; but re¬ from American school teachers. tive of many types of songs for fise upon member that in 1718 John Sebastian Bach, Stars and Stripes, in her native 1; all sorts of occasions. the father of modern music, was only also explained that a great deal << thirty-three years old and not weli known cess was due to the education sh outside his own country. from listening to phonograph rci Early Tagalog Tunes The most important product of the Au- MOW IF Lyon and Hopkinson were gustinians’ teaching is Mr. Marcelo Ado- 1 ^ born in 1735 and 1737, respectively, nay. the first real Filipino composer—lov¬ Records of Great Singers and this dictionary was compiled in 1754 ingly called by the younger men Dean of ISOLATED in a distant country, sh and contained Tagalog words in current use Filipino Composers. heard these records of the world’s fore describing many and varied kinds of songs, Marcelo Adonay was born in 1848. The most singers over and over again, until sh boy entered the Augustinian school at the it is not too much to suppose that music could almost sing the great arias back age of seven and received instruction from was in use as a social art, at least in cen¬ wards. This, combined with a good vocal the friars until he was twelve. He studied tral Luzon, as early as in the New Eng¬ instrumental and theoretical training, grea solfeggio and plain song and was eventu¬ land Colonics, where, according to Elson charm, and hard work, has brought he ally made a member df the chorus in the more applause than most singers have re (History of American Music, page 2) the Cathedral. He also studied violin and Pilgrims used music only for religious pur¬ ceived in Europe in recent years. Tb learned to play the harmonium without the general musical educational work of tin poses, allowed nothing to be sung except aid of a teacher. He had received a thor¬ tbc Psalms, and used but five different Philippines has been both remarkable anc ough grounding in solfeggio and the rudi¬ encouraging. The admixture of Spanisl tunes for their psalmody. ments of music, and he pursued the study However, as to the real character of romance. Oriental warmth, and Amcricai of harmony by reading the scores of the progressive educational methods, will pro <'»«• great artistic results in the future. Summer treasure Hour of Music Study The blanket Indian who for seventy years had lived over an oil well that he sold for $2,000,000 is hardl *■* over the thousands of neglected opportunities. One of the most serious phases of this neglect in America is tie ^ ^ are now living of getting in just as much musical practice and study during the summer months as possible. “ * £ *° reco2™e the vast importance International Copyright secured Copyright 1921 by Theodore Presser Co. Other Music Sections in this issue on page* 259, 295, 327 TEE ETUDE APRIL 1928 Page 291 Page 290 si.£-xi±ijAPRIL 1928ia^o Tempo I. ^_ FFI TX FOUR OP Arid 'Ie REVESETJEUXPEPITA! FELIX FOURDRAIN Readers who have been clamoring fora breath of continental modernity will have a delightful experience in playing ° charm¬ ing piece by a brilliant French Composer. Note the ingenious use of the whole tone scale in measure nine! ). ^ Tres lent, (Mouvement de Berceuse). M. M. J.= 63 al yJ» £• ^ ^ - * / PP ±11 *—!at r r r f f f f_JL rj.perdendosi PPPP “Sleep sweetly, my baby, So quiet, so pure.” FIRST INTERMEZZO From a Scotch Folk Song A great modern classic. Grade 6. J. BRAHMS, Op. 117, No. 1. («**) Andante moderato m^m. W- = 48 • Th. melody-in tb. inner part-must .lightly pp.domin.te oy.p the .ccompanyin* (f APRIL 1928 Page 293 THE ETUDE Page 292 APRIL 1928 A SENTIMENTAL WALTZ inTth*. gwitty likeUd rS^oiSr**11 CompOSer’James Hotchkiss Ro®ers has written 110 ingratiating melodies or harmonies than are tobe found In slow waltz time---- _ JAMES H. ROGERS f r *From here go bach to the beginning and play to A, then go to B. Copyright 1927 by Theodore Presser Co. British Copyright secured APRIL 1928 Page 295 THE ETUDE the etude I Page 294 APHID 1928 SCENTED MEMORIES OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES PAR LA SENTE EMBAUMEE . This is . section from a moot a,luring piece by a contemporary French composer. The completed work wi.hi.s fine climaxes »makes AT TWILIGHT CHARLES HUERTER a delightful recital number. MAURICE PESSE Andantino moderato m.m. J=108 ' uJJldLL Lev! call, ml Ur.'ill.n.. When n.eting bird* at e - ve.t.de Are sofl-ly wht.P - r.V H |»- -=SE==^r ,U|.,lr -== rit. ? p a tempo Love calls me. When na - ture all in slum - ber lies ’Neath ,T Lmm lii ■-—■ 1 . a S774 fif] g4u4 1 \ irl 2 4 n # Words used with the author’s permission British Copyright secured Copyright 1927 by Theodore Presser Co. ,, Copyright 1914 by J. Jubert Other Music Sections in this issue on pages 259, 287, 327 IL APRIL 1928 Page 297 THE ETTJDj; TEE etude Page 296 APRIL 1928 BY SINGING WATERS Animat o LEONE.WOLF THURLOW LIEURANCE FROM "IMPROMPTU" Transcribed by Op. 142, No. 3 EDWARD SHIPPEN BARNES FRANZ SCHUBERT Andante Solo Manual Copyright 1928 by Theodore Presser Co. Copyright 1927 by Theodore Presser Co. British Copyright secured APRIL 1928 Page 299 ^O LORD, WITH WEARY HEARTS WE’RE YEARNING E.A. BARRELL H. ENGELMANN Moderato mp Ev - er - more our thoughts, re - turn - ing, seek Thy cast a - side ail sin and walk with Thee; T n Q era fr»aa - Iv 0*1 VP: For it is Thine own dis - pos - ing That we FOR ONE OR TWO VIOLINS HELEN DALLAM Our davs with wrongs and sor - rows la - den, Op-press us with a deep des dear Di - vin - i - ty. rZsThe n^ of death hath . riVn, We shall not fear a^ast to shall for-ev - er live. Copyright 1926 by Theodore Presser Co. take time British Copyright secured British Copyright secured Copyright 1928 by Theodore Presser Co. APRIL 1928 THE ETUDE Page 300 APRIL 1928 In modern Gavotte style. Very graceful IN A ROSE GARDEN MONTAGUE EWING SEOONDO Allegretto con grazia m.m. J = 3-0- ~-* , rJ pP-gfe: s=pirff j t#fT t#n -——i—i—i— 1 fiff-t 1 jjM ~=p 7 T r ht -t-t- _ii-i_ t- ■ rL^TBI°k^ l:?: , -"T-. .iff_> J > J > |l '*1 ' D. C.% P r\ mf canti abile —j— mm m f PH mm J_—- dim. pH _ mf -2—t- Ql. * g=; ^.g t) / r y ^ j p ^ • -4 3 Aft j . -^-yg ■wHH Copyright 1928 by Theodore Presser Co. International Copyright secured APRIL 1928 Page THE ETUT)v the etude Page 302 APRIL 1928 SUMMER TWILIGHT H.P. HOPKINS Sducatiohal Study Notes on Music i Transcription for Violin and Piano by Arthur Hartmann $ in ^5his Etude Andante espressivo m.m. J*72 By Edgar Alden Barrell Si L f \MJ c ,vpnir de la Danse, by Denis Dupre. ^k‘Vuul ,iay 111 wll‘cl1 JI- ^our.drai" '“ds us toc{i StllliSSli j ifeS1ISIh! i •^p'^tinK’””1 I'lh7^‘r^meSu^M» slowly' # When played in public, Mr. Hartmann’s name must be mentioned on the programs The Copyright 1927 by Theodore Presser Co. * Publishers. British Copyright secured APRIL 1928 Page 305 Page 304 APRIL 1928 tbe Bros1 tiie etude How to Study a Song REMEMBER that a song is the musi¬ the melody. If you play your own accom¬ cal expression of a poetic thought. paniments, you may at this period turn t5he SINGER’S ETUDE Never regard a song as merely a your attention to the piano part of the „ ” If it is only that, it isn’t worth composition, but unless you are an expert Edited for April by inrinsr No matter how sensuously beau- reader and performer you should master tiful the melody, the melody is not the the accompaniment before attempting to ECAUSE most would-be singers per¬ B John C. Wilcox ning another inspiration. \[ake th' song' it >s only the medium of expressing sing and play simultaneously. sist in the notion that the vocalist habit of your breathing system, and d* * the song-thought. must master some man-discovered IT IS THE AMBITION OF THE ETUDE TO MAKE THIS VOICE DEPARTMENT always in vocal practice and likewise wh/ Begin the study of a song by thought¬ The Student'Singer patent breathing method, I cannot too em¬ “A VOCALIST’S MAGAZINE, COMPLETE IN ITSELF.” actually singing songs, excepting only i fully reading its text. . Reread until you phatically reiterate that correct breathing BVIOUSLY these directions are for cases where a very quick catch-breath k fully comprehend its thought, recognize its O for the vocalist is merely developed pupils rather than artist musicians necessary. At first you may take mor phrase groupings and feel its moods. Read NATURAL BREATHING.. although many singers who regard them¬ time to expel unused breath and again fin the poem aloud with regard to the reso¬ ' •' ■ * c. selves as “artists” might follow them with the lungs than would be desirable betwee nance of the voice in vowel sounds and the Bodily Release happy results. Many modern songs of the the phrases of a song, but with practice clear definition of consonants. 'T'HE VERY FIRST condition to es- you can do it so quickly that no appreciab! present day are so vague in matters of tonality and rhythmic structure that it is tablish is that of Bodily Release. 'Developing the Voice time will be consumed. There are very What About the Music? (That, by the way, is the condition that practically impossible to analyze and learn definite reasons for this practice tyT XT OW TURN to the music. Note the must be retained all along the vocal jour¬ them in the simple and direct way here know that muscles grow in strength anti key, discovering whether it is major ney, in every phase of development.) To suggested; but such songs are not for responsiveness through persistent use ' or minor. Play the tonic chord. Sing the breathe naturally you' must not control the the pupil singer. If attempted at all, it for Song and Speech movements which cause them alternately tn melody with a light tone, using a vowel breathing act by conscious effort of the should be with the personal help of an contract and relax without strain. Wheh syllable (Lah or Lo) instead of words. If will but rather release the body from wil¬ you draw breath into the lungs one set of artist-teacher. ful control and allow it to function. you have any difficulty with the time values By John C. Wilcox co-ordinated muscles contract. Not until of melody notes, tap them with tips of fin¬ The subject of song interpretation is too Because it is easier to release bodily you completely expel the breath are these big for consideration in this little book. tension when lying down you will more gers or a pencil on some object that will muscles thoroughly released so that a new make the tap audible. Persist in this until The student who is ready for a diversified quickly secure tile natural breath impulse blood supply carrying food for the work¬ repertory will naturally seek the guidance in that position. Lie flat on your back on the time values of all melody notes and the ing tissues may be received by them. of one who has authoritative knowledge in the floor unless you have a long tench, SfrLJS C0-°rfIi»ati°n of breath through systematic and persistent Furthermore, we know that, very quickly that field. table, window-seat or other convenient and sound to take place. Unless you are the organism involved, Kimball Piano, Chippendale Design after air is taken into the lungs, its oxygen object that affords an unyielding surface able to. approximate the freedom of utter¬ whereon back of head, shoulders, buttocks ance secured when lying, go back to that is absorted into the blood and what re¬ and heels may rest on a level line. Use position- and there re-establish the co¬ Psychology of Breathing mains is largely poisonous gas. Failure ordination. ' your will to banish all tenseness from your EMEMBER, also, that there frequently to cleanse the lungs of this de¬ c.Developing the Voice Your Future in Musics and the body so that it will approach a “dead¬ When the natural, automatic breath im- vitalized air and to bring in a sufficient been weight” condition. Take a deep, complete 1 y °°y of breatphysioi0^elI£v: “ wquantity of oxygen with the new breathbrea (Continued from Page 304) breath as you would if lying down to rest definitely estab¬ after some wearying activity. Let it out lished that it is VitaLT S'"2 foot forward beside the left (see Fig. 3); KIMBALL PIANO like a sigh, with no effort at conscious habitual, the stu¬ ing muscles of reasons for the practice of exhaling u: when the outstretched palms reach a level control. dent may reason¬ the singer have vocalized breath before again inhaling, with the shoulders swing the arms outward ACCOMPLISHMENTS in music! Your aspirations- ably begin prac¬ been developed to Breath control is merrl . a balanci until they are extended at right angles If you have really released your habitual lead you out into the “afterwhiles,” and you know tension you will observe that the wall of ticing more vig¬ a degree where energy between the resistance of the voc from the shoulders (see Fig. 4); then the torso from the lower abdomen to the orous sounds — they are fully hands and the force of the outgoing breat raise them to an angle slightly above the that you need a piano that satisfies at every point tone, which will natu¬ chest expanded in an upward wave, coin¬ capable of deliv- That control comes gradually and aut< horizontal line. The monotone is to be action and lasting quality. cidentally with the lateral expansion of rally call for ering vitalized matically through correct pr.uiicc in acta continued steadily from the moment of its greater breath beginning until the hands finally reach the the sides, when you drew in your breath, breath to the vo- making of tone, and in no other way. E The Kimball piano is famous for the very qualities you and that with the expiring breath the cal bands under samc token, breath capacity (which i position last mentioned (see Fig. 5). The must have for success—correct tone, evenness of scale, walls gradually fell back into their original co-ordinated con- turn depends upon muscle strength), position. Repeat that deep, sighing breath Balanced trol, a perfunc- £radual!y and automatically develope responsive action. There is ample proof that all these several times—in fact, persist in its repeti¬ Energy tory attitude of t*lro,,s'1 this same systematic practice i fig. 1. HO- 2- qualities in the Kimball have stood the test of time. tion until you have secured the pliant action spirit may fail to t?ne maklI1R- Breath capacity and contro that I have described. T>R E A T H The most critical judges have bestowed unstinted praise. ENERGY call into action “,erefore- come from systematic voa Begin a monotone in the middle range this trained:d or- pract'ce under correct conditions. at the samc instant that you start to bring Breathe With Sound must always be Of perhaps greater importance to you is the part it has played in c o m m c n surate ganism. Under the hands slowly forward and upward, developing musical talent, shown by the number of homes in which J_JAVINGi —~ INDUCED-i_.lv sucholie11 free,iree, com- Stimulative Exercises for Inducing with the intensity such conditions a imagining resistance to the movement of children have “grown up with the Kimball”—households numbered 1 plete breathing, continue the inhala¬ of the tone. psychologi - Vigorous Breathing the hands, as if propelling them through tion as before but sigh a gentle sound with by the hundred thousand. Yet, notwithstanding the great demand, If the voice- 1 stimulus is heavy water; meanwhile bring the right the outgoing breath. Use some embryonic (Rote—These 'reises should „ Kimball prices have always maintained a consistent moderation. user’s develop¬ needed. The im¬ employed before the correct involmilai vowel sound in the comfortable speaking breath habit !,«« been established. They at ment has been agination must be range of the voice, with falling inflection valuable only j„ helping the student to rita FIG. 5. Catalogs on request. If yop are not conveniently carried forward appealed to in t,hrou«l1 '“"lily movement ike a vocalized sigh. (“Hm” with lips fan mated to stimulate the brea thine musch near to a Kimball dealer, we can supply you direct. under the right such a way as to movement should be so timed as to he barely touching; “Huh” with lips very to greater activity.) conditions of bod¬ rouse the singer complete at the moment of ending the slightly parted, or “Ho” with practically ily release, this from inertia'50011 as y°u have established the coi tone. Repeat, singing all vowels on vary¬ W. W. KIMBALL COMPANY no lip formation are suggested as favor¬ cause him to put |;tvt l,rcati' habit in co-o ing pitches. This is an admirable exercise, (Established 1857) able mediums for this preliminary prac¬ himself into his ocaI sounds- bodily movements as it induces a vigorous action in both tice in co-ordinating breath and vocal Department KE, 306 South Wabash Avenue, CHICAGO, U. S. A. and tone will ™ S ca‘ educators and readers of America vocal expression ? phonatlon- F'rst, walk about the rt dorsal and intercostal muscles and insures sounds. The “H” prefix should in each keep pace auto- For some years he has held a prominent Motional h- p". Smg"\s the simpie monotone case be very loosely and gently aspirated. a deep, vital inhalation. matically. While Place among our teachers of sineine and tensity win “uto- f 'JIVf exerclses explained on pa With the breathing carefully developed Let the sounds be as unstudied and natural as involuntary sighs.) the body must be our writers on musical themes He was for maticalh stimu- T, ? °f th,s .,Jook' occasionally tun and controlled, the production of a good tone has been more than half assured. HARMONY BY MAIL Do not too intently fix your thought vitalized com- some years the dramatic and musical cfiZ late a t° side (to insure FIG. 3. FIG. 4. upon this process. You are trying to mensuratelywhen of the “Detroit Daily Efews ” Forma physical °" spina! ax,s)’ tone of greater years he has been n ifodf 1 arl>' intensity. al? g t,le arms as in a gesture of app P Small monthly payments. sense an automatic, involuntary action of Send for Prospectus and Rates. Mss. corrected. intensity i s re- IfZl nf Z , °Ug the musi' A fervent soul , ?CCas,onaIb raise the arms perpend the breathing and vocal organism, and Pianologues Music composed, send poem for estimate. quired there ZZts{ T V fwon« ac- ' cry cannot be cot arlyLfrom the shoulders.be/orc taking yielding is more important than doing Vhe Singer’s Hygiene The clever pianologue merits a place on every enter¬ ALFRED WOOLER, Mus. Doc. should always be . S‘, e,ts By H. C. Hamilton 15he ORGANIST’S ETUDE Many a choirmaster might retire on is the practice of singing every note at the a competency were he given a dollar every same strength. Every tone, whether it be Edited for April by Eminent Specialists time he admonishes his singers, “Don’t one of four beats or only half a beat—all THE EXPENDITURE of amounts drag!” And yet choirs still do drag— are given impartial treatment—every tone of money ranging from about $3,000 r and St. George's. congregations, too—both those who sing is the same dead level of sound. Nothing to $100,000 for an organ not in¬ IT IS THE AMBITION OF THE ETUDE TO MAKE THIS ORGAN DEPARTMENT ;sc things are significant and w. by note and those who sing by ear. Many is more wearisome. Also, the sliding frequently lies in the hands of one man. Weight of Metal and Thickness They reassure the Drosnec “scoop” we hear between intervals' in many “an organist’s ETUDE, COMPLETE IN itself” leaders are at their wits’ end to know More often than not that one man is the of Wood how to overcome this fatal habit—fatal well-known hyi s adds the finishing organist of the church. He is rarely the A/TOST METAL pipes are made of to everything that stands for improve- touch of ineffectivi s. The following: organist of a theater, for many managers -f *■ an alloy of tin and lead, or zinc I fluSTIN ORGAN CO. ment. Simply to say "Don’t drag 1” and of theaters confer with organ architects obvious that money would be saved if 165 Woodland St. Hartford, Conn. to hasten the tempo is but a temporary Ex.l . . when they lay down their good cash in builder if he used thin rather than £ v' remedy. The singers hurry, scramble. Tempo ad libitum _ _ _ such amounts. meta for the pipes I„ an organ confab have 110 idea where to take breath, and ..jf [, 4 r. -p—f—, 1 ,Ed Before entering into the technical side of mg two or three thousand pipes the Z finish with only the thought of having WjF 4 T V ' * 2--* this discussion let us consider the way in ORGOBLO How to Buy an Organ ferencc in dollars and cents would run im got through in a shorter time than usual. 1" ‘ R sus" which the church organist may secure a knows what lie is expected new organ or build additions to his present a considerable amount and, in the cour° P aimer unless it is to “sing faster,” and the state is an example of how a hymn is killed in instrument. The scheme here suggested is of construction, man., organs during the By LeRoy V. Grant he finds himself in after doing so is such too many churches and prayer services. the one which was used in the purchase of year would represent a large sum’of that he is glad to lapse into dragging again, Every note is sung at exactly the same Christian the new organ for the Scottish Rite Tem¬ ial Orgoblo , if only for a chance to rest and breathe. . ple of San Jose, California. metal and thickness of the wood, the Organs are like singers. They need Again the cost of tin is much greater 1 and Studer strength; there is a “holding-back” at the If the act of singing slowly meant in- "jj °f- e’ach■ measurt ’f getting ready An organ club was first formed called voicing and the specifications. For the plenty of wind. Without plenty of wind than that of lead. \ n lt is true that evitably dragging, every andante and adagio t0 tfie bar- sliding “scoop” “The Scottish Rite Organ Club.” The benefit of the organist who is not familiar they are liable to fail at the crucial mo¬ some Stops are better n the metal used is THE SPENCER TURBINE COMPANY says ^Kilgen: movement in music would he tiresome, and officers were a president, a secretary and with these points let me briefly discuss ment. There comes a time in the life of a high percent of tin or all tin. It 1 " rr Department indulged in where the length of the note Connect icu only the movements at a brisker tempo a treasurer, anci.it was their duty to devise them. every organist when he wants to use full generally considered 1, 1 practice to make permits the delectable privilege. And how possessed .. - . interest. Fortunately, the ciraggers do roll every note under their means of raising money for the organ. The location of the organ chambers has organ for an extended period. What of pipes of pure lead. Within the last three "It has been a pleasure to be¬ this is not the case. The trouble" lies1 chiefly tonRUej as a sweet sanctimonious morsel! First, a letter was sent out to all the to-be a great deal to do with the way in which the wind? months the writer lool„-d through a large in the fact that many do not realize what come acquainted with your members announcing the organization of the instrument sounds. It will be muffled The size of the blowing plant will de¬ three-manual organ in California in which The more inartistic, the more it seems dragging really is. As in the club, stating its purpose and calling for or it will be clear depending on the posi¬ pend not only on the size of the organ he saw probably one hundred pipes sagged GUILMANT s case of a to gratify natures whose sense of the bcau- Tulsa High School installation. physician, a diagnosis is firs jeessary and (;{uI seems so dormant, that the more subscriptions. A rather good response was tion of the chambers. Suppose, Mr. Or¬ hut also on the pressure at which it is down of their own weight—almost all of ORGAN SCHOOL the trouble located before prescription crude the offering the less “worldly" and The organ is eminently satisfac¬ made to this letter, which served the ganist, you had a choir of seventy voices voiced. The late George Ashdown Auds- which were made of pure lead. In a pedal ____ be forthcoming. further mission of . acquainting members and that that choir had always to sing in ley is entirely right in his contention that open diapason a gripping quality of tone _acceptable it is. This to One who i; tory, both tonally and mechan¬ DR. WILLIAM C. CARL Time and rhythm mean a systematic ar¬ of the fact that the purchase of an organ a corridor outside the auditorium. ,You low pressures are better and produce more is required—a tone that seems to take the Author of all beauty! But fortunately rangement of accents. Where these ac¬ ically, and you have followed was being contemplated. Then, entertain¬ would secure a few beautiful effects, hut beautiful tones, for the most part, than hold of one. If the walls of the stop are ' we are past the day when the belief was Studei 5 Aided in Securing Positions cents are disregarded a distortion of time- ments were held the proceeds of which a large part of the beauty would be lost. high pressures. (We except the big reeds, made of thin brash ..1 we get a noise ; universal, in the Church at leasf, that the details of the contract. Tulsa values is certain to he the result. Phrases, went into the organ fund. The effect could never be brilliant, as it of course, which should have high pres- and no drama at all. Free Church, Recital, everything lovely to the eye or ear partook is to be congratulated on this should at times be. strains—all the parts which go to make a Next a meeting was called for the mem¬ What shall we say , f this matter of Scholarships Theatre Courses of evil. complete melody—must get somewher forward step in advancing the bership; the desires and actions of the When the choir sings in its proper stalls Thus, if the flue work is voiced on three voicing? To discuss it we must enter the However, anyone who will give or balcony', it can run the entire gamut AV.t Prospectus Ready be arriving at something. There must be her jlonest’ opini0n, will admit that the organ club were made public, and cards and a half inches and the reeds on twelve, shades of twilight in the organ world. cause of music among the young¬ of effects, from pianissimo to fortissimo. were distributed among those present, read¬ and if there are twenty-five speaking stops The voicing of an organ is like the paint¬ 17 E. Eleventh Street New York clearly defined n following method of singing the hymn It can be either robust or delicate. So it ment” may be at varying r will do much towards making r er people, and your work is no ing as follows: in the organ, a fan blower with a four- ing of a picture. What is the difference is with an organ. I f crowded into a small na r everyone. I herein subscribe $100.00 to the horsepower motor should lie provided. between the scene as represented by Corot small item in this movement.” chamber, with an insignificant opening for the sentiment to be expressed, hut Scottish Rite Organ Fund (or agree The importance of this cannot be over¬ and as copied hv John Smith? When the the swell shutters, half its effect can easily estimated. more; there must he no coming to a dead to get others to subscribe to this be lost. reader can answer that question he can Ex.2 Palmer Christian —of the University - amount). stop except in places so designated. And ante moderate. The scales and the pressure have a good speak intelligently of wiring. The or¬ of Michigan at Ann Arbor, is one of Payable on or before January 1st, There is to-day on the Pacific coast one The way to avoid the “drag” is, first of extreme example of badly located swell deal to do with each other. A small scale ganist should hear many organs and de¬ all, to observe bar divisions. As everyone America’s foremost organ masters. Recog¬ 192.. pipe voiced on ten inches will produce the cide which is the most beautiful tonally. chambers. The organ was made by one knows tlie first beat of a measure is the nized in this country and abroad as a con¬ Dated.192. volume of a larger pipe voiced on less of the foremost builders in the country strong accent, therefore of paramount im¬ cert organist of supreme skill and rare The above cards were printed on white wind. But the quality of tone will not he Specifications portance. Now, if 'this emphatic beat is cardboard. Yellow cards were then dis¬ was the price paid- About WE TEACH YOU THIS PROFITABLE The tempo need not here he increased technique, Mr. Christian is no less distin¬ $15,000 worth of organ gets out. In brief, so good. However, unscrupulous builders in any way retarded in its entry, a drag tributed, reading as follows: FAO NOT BUY an organ on a price PROFESSION AT HOME DURING SPARE TIME i the slightest. The strong accent falls guished for his very exceptional musical it is of no use to pay a large sum of sometimes use small scales with higher Send for FR,: l: ronv of the 30th ANNIVERSARY is sure to result. After one has entered a / hereby subscribe $. to the basis or because om agent submits EDITION book. "WINNING INDEPEN¬ n the first beat. The shorter eighth notes knowledge, and for his judgment both of money for an organ, unless the chambers pressures for the reason that it is cheaper DENCE.; • lb-.,i how atudenttmMtw^tunlnj vrnn measure, a momentary wait is not so ob¬ Scottish Rite Organ Fund, payable on a larger specification than another! ' A a _re rendered more lightly and semi-dc- rendition and of mediums of expression. are made right. These should be rootnv. so to do, and, on paper, a larger organ jectionable; but if such a wait occurs be¬ or before January 1st, 192... may thus lie secured. But, after all it is specification is misleading, because, as a fieadThe'urn', -'non InVill'pnrts of the worfd Willi , a„d tached, and the third beat has a moderate Tlie openings should be large and look rule, it does not indicate scales. Often it tween the last beat of one measure directly into the auditorium. The walls not a question of how large the organ is. accent. The fourth beat in measure two is Dated..> 192. does not specify the size of the blower. Choice of the Masters should he as nearly as possible sound¬ It is a question of whether or not it is most'rirritating,£ effectenisU11in'oduMSd.re' A silent in: order betbetter to separate the parts Secured by . If submitted to the uninitiated it often proof. beautiful tonally. Therefore, let us se¬ This makes it easier t Complete satisfaction in a This is the way the scheme worked out. shows a large amount of four and two- The Blower cure the quiet and religious tone in our anv snontaneity. If Hhe “choirmaster will take breath and insures a better attack o A member pledged himself to raise one organ, the cathedral effect, rather than the foot work which makes it appear that the any spontaneity. jmI-_ the .firstfirst beat of measure three. Pipe Organ, as judged by Mr. LIVERY ORGANIST has heard a hundred dollars by a given date. To this restlessness which seems to belong to the organ is larger than it really is. Again, ENGRAVING Christian’s standards, embraces end he was given the yellow cards for the singer who has a good voice but not organ voiced on high pressures there may lie a large amount of unifica¬ MUSIC enough breath control to sing well. Some tion in the instrument, which is not so in¬ Piano, Band, Orchestra and Octavo work. We a myriad of perfected details, smaller subscriptions, he himself having Different scales will he needed for an specialize in book work; also engraved titles. of that singer’s tone would be beautiful dicated on the specification. signed a hundred-dollar card. Whenever Send your mss. for estimate. i iSSte?- A - EE only in whose perfect ensemble, he secured a smaller pledge a yellow card m certain passages. But at other times required1 \ ^ audi!orium from those In the choice of an organ avoid like¬ the audience would listen' with strained required in an auditorium of laruc urn OTTO A. C. NULSEN, thVuTthe're is— another evil to combat as ciples put congregational singing o a Master of the Organ can find properly filled out, signed by the pledger wise an unusual or “trick" specification. P. O. Box 774 attention lest the voice crack in the middle Portions The scale will he deterged to well as this “holding-back” tendency, one and countersigned by himself, was given some extent by whether or not the It ns possible that an organist may have genuine pleasure The remark¬ to the secretary who counted it in on the of a note. This is due to improper breath discovered something unknown to Widor, too often in evidence, especially among ■s to be free or in the swell box T se able list of famous organists member's hundred-dollar pledge. control, which is another wav of saying or Guilmant or Farnam. but it is more those of little or no musical training. It that it is due to lack of breadth are matters about which no general rule Almost the entire amount was pledged can be laid down but which must he de- likely that their specifications have been How to Buy An Organ who so strongly endorse Kilgen at the meeting mentioned. One pledger directed by the logic of manv generations Organs, tells an eloquent story. raised $700 almost entirely by telephone past. Jn the majnj our fathers were right. (Continued from Page 306) COURSE IN calls within ten days. It is not difficult to “e should always look to the future but “(^hanging Stops on the Swell” could be leathered. If part of the organ — thus another famous musician joins raise a few hundred dollars in small stilt have our feet planted firmly on the is made free and part closed the free stops the impressive roll of great Organ Masters amounts. The only difficult thing is to foundation of the past and present. A By Lynne Roche Theatre Organ Playing could differ each from the other, while who know and prefer Kilgen Organs certain specification submitted for a three- overcome a natural reluctance" to solicit stops of the same general nature could he famous artists like Yon, Renzi, Hollins, money. Here is a point of very great impor¬ manual. 36-stop organ had six sixteen-foot stop and at the same time to make a vrad Two-and three-manual Kimball theatre unit organs for placed part in the box and part without. Davis, Vierne, Diggle, Goldsworthy, If half a dozen men in any church of tance to the organist. If a stop of con¬ stops on the choir. Without doubt many ual increase in the power, it is well firt Carpenter, Biggs, Cowper and Thompson, average size are determined to make a siderable power is to be added or with¬ unusual effects could have been thereby lessons and practice. Special course for pianists changing u mention only a few among the many. success of it, a campaign for a ten thou¬ drawn, this must be done with the greatest produced, hut they were not worth the to organ. Advanced pupils have the a \ ant age ., Unification of care, else there will be a sudden ac¬ sand dollar organ can be had in eighteen money it would take to pay for an extra before the screen under the same cond.t.ofts « pwati months. A point of great importance is cession or an ugly gap in the tone volume. group of large pipes. One reputable firm, THE FOLLOWING rule will be found -".rC3rr:r““li' in any large theatre. Graduatesjtre tn constant demand, to cover the matter of unification in the the fact that an organ is usually a most Suppose that we have a Swell Organ increase in the power. graduaI at least, refused to hid on the specifica¬ tion. majority of cases. Never let unified stops popular object for which to raise money. with three or four 8 ft. diapasons, one If a smooth decrescendo is desired ( at big salaries. One should seek for as large a spread serve as a foundation for the organ. Let ffiitgen each of 4 ft. and 2 ft. pitch, and then course the process will be reversed 'n foundation stops be all separate ranks. Judging an Organ reed stop will he pushed in , The of color as possible. If one is to have Write for Catalogue E. YChoice ofthe Masters a fairly powerful 8 ft. reed stop. The Soft-toned stops may then he unified, if (~)F FIRST importance in the final ar- swell box begins to open iUSt as the two flutes on a manual, let them be as adding or withdrawing of this reed stop it seems advisable to do so. In the main fistic success of the organ are the Averse as possible, perhaps one closed VERMOND KNAUSS sclIOOL°F GEO. KILGEN ec SON, INC. will make a considerable difference in the it is better to avoid unifying or duplexing organ chambers, the blowing plant, the J!”e 'Em wl71«. and the other open. One could be metal, 4032 North Union Blvd. * < St. Louis, Mo. power of the Swell Organ. THEATRE ORGAN PLAYING until enough organ has-been secured. Then scales of the pipes, the weights of the another a harmonic length, perhaps a Now should we wish to add this reed Allentown, Pa. one may feel free to do as his individual double flute, and so on. One diapason 210 North 7th Street taste demands. Pipe Organ Builders for 288 Years (Continued on Page 307) APRIL 1928 Page 309 Page 308 APRIL 1928 the etude School Music Department ORGAH AND £HOm QUESTIONS ANSWERED I (Continued from Page 284) By Henry S. Fry limitations of the adolescent voice, espe¬ demanding all the musical intelligence, feel¬ Former President of the National Association of Organists cially of the basses and tenors, and the ing, good taste and power of interpretation I Dean of the Pennsylvania Chapter of the A. G. O. skill properly to handle them, is mdis- that is required of the individual singer, WANTED .-sable to the maintenance of good tone is entrusted to young men and women lack¬ No Question will be answered in THE ETUDE unless accompanied by the full nam. !!ality and to the intelligent selection of ing these essentials. They attempt a and, address of the inquirer. Only initials, or pseudonym given, will be published. music The ability to classify voices musician’s job without the musician's roperly is a necessity, and the courage equipment. Small wonder that the chorus Ld determination to assign each voice to is mediocre or worse and that the public Q. Would you be good enough to publish PEDAL ORGAN Substitutioi its proper part regardless of a shortage of interest wanes. Contra Bourdon, ft. instea altos tenors or second basses, is equally sultan t Bass 32 Superior Conductor—Superior Chorus COUPLERS essential. The ability to recognize tenors, Theatre Organists Add Great to Pedal 1 ft. nlus the skill to teach them to cover the WHEREVER an efficient choral con¬ 'A.' The following specification can be fur¬ Add Choir to Great Quint. ductor is at work superior choral nished by a good builder, for "K""t Q. Can you unoer tones and safely to use the upper amount you mention, with usual voice, is an especially vital part of the singing will be found; and -wherever such display pipes, and so forth. conductor’s equipment. No man or woman singing is heard, interest and enthusiasm Positions paying salaries of $40 GREAT ORGAN are quite as great as for the orchestra. Double Open Diapason IS ft. 73 Pipes made at each bar in plavina ami ■ fit to conduct a school chorus without to $ 100 weekly are so many that t Of skill in this most ected phase of the finished players are practically assured of engagements through the College. A Unique Home-Study Course for fciBii |1| Advanced Pianists ISlfirlPs CHARLES H. DEMOREST and HENRY FRANCIS PARKS Fame SUMMER MASTER SCHOOL June 25 to August 4 (Six Weeks) SCHEDULE OF LESSONS IdpsISi issasisKfissa- FREE FELLOWSHIPS :r or winter catalog on request I NOW OPEN FOR ORGAN STUDY STUDENT DORMITORIES CHICAGO MUSICAL COLLEGE st Van Buren St. (co^BulJdd) Chicago, Ill. be'us^M^a's APRIL 192S Page 311 THE etude Page 310 APRIL 1928 THE etude 'What is Good Practice? By Jean de Horvath We are told that “Practice makes per- right notes, right bowings and correct feet.” If that be true, have we not often rhythm before one can honestly take credit stopped to wonder why people who play for practicing. many hours each day do not develop into So many of us start in merely repeating The snap caused by the moving string • first-rate musicians? before we have ever thought out the very pupil should be able to sharper and more distinct.than that 0f (L. E We have an erroneous idea, many of us, problem sufficiently well to play it at all. string and tune his own violin moving peg. In either case the snap mea ' IT IS THU AMBITION OF THE ETUDE TO MAKE THIS VIOLIN DEPARTMENT as to the meaning of “practice.” Just And then we sigh and wonder why so properly. It is impossible to play that the peg has moved a very minute space repetition? Is that what you do when much “practice” does not clear up the satisfactorily on a violin out of tune.. Con¬ “a violinist’s magazine, complete in itself. tie-hundredth to one five. you pick up your fiddle for your daily task muddy .passage and make it sing. Now sequently, a pupil should be taught how to hundredth of an inch. The writer has of practicing? Does just “going over” an here is a little hint. Let us take the com- tune from the very beginning. Of course, tried this on several violins and in nearly this does not apply to very young children exercise satisfy your musical conscience? position we are studying and consider the every case the pegs or the strings, have Then its no wonder that next lesson day troublesome place. We cannot seem to further than teaching them to distinguish produced this snap. a perfect fifth from one that is discordant. finds you just about the same kind of make it “sound.” Let us study this portion It requires, on an average, about six of fiddler that you were last week. away from the violin, hum it, whistle it. these snaps or cracks to raise or lower a Turning the Peg Pleaching ‘Pupils to Toune Did you ever stop to think how much feel, mentally, every note, eyery bowing, string one whole tone. Consequently, for control the head must have over the fingers the rhythm, even every nuance. Let us go PUPIL should be taught to turn the A fine tuning the student should never raise and arm before a passage can be well over it “in our minds” rather than on our ■peg very gently and very little at a or lower a string more than one snap at played? So it remains for the serious instrument and then try it again. We time, either backwards or forwards. The the Uiolin a time. If one snap sharpens it too much, student to get this “head” control early in shall find that our trouble has vanished, temptation is to turn the peg too suddenly, he should not turn it back but pull the the game. There is a certain amount of We shall have knowledge of the passage, too violently and too far. string a few times. Then it will likely very necessary repetition, but, and here is and with that knowledge will When new strings have been put on, or come exactly right. By Thomas J. Barron the difficulty, it must be repetition of the and assurance. when the strings are very much' out of When a string is slightly out of tune it tune, the best plan is to sit on a chair with (This article applies only to violins with ordinary wooden pegs and gut strings.) is a mistake to twist the peg backwards the tail end of the violin placed on the and forwards. This changes tile tension lap and the neck slanting outwards, the Fine Tuning makes the discord worse, then the “A” is loo suddenly and too much, and the string Fiddle Frea\s strings facing the tuner. In tuning the E sharp. If it is only slightly sharp, he UPILS SHOULD be trained to know will not stay long in tune. The same thing and A strings, hold the left hand- well up P should not touch the peg at all but gently (Continued from Page 320) fifths are perfect. (Vocalists can is true in piano tuning—the less twisting of to the top of the neck so that when twist¬ pull the string two or three times with the always do this. Why not violinists?) the peg, the better the string will stay in implement. Another instrument is a square There is also to be noted the exceedingly ing the pegs the pressure will go against thumb and finger. This movement will tune. tile left hand. As the peg is turned it Many a student, when- he finds a string box (except for the protruding floor peg attenuafed instrument, the Pcra, looking likely bring it right; if it does not, the In tightening a string the increased strain should be screwed in gently so that it will slightly out of tune begins twisting the and fingerboard), a groove being cut for like an emaciated pear, all too delicate for Yellowstone peg may be twisted back. affects every part of the violin, and the hold when the fingers are removed. peg backwards and forwards violently. the bow passage. One string stretched the club of a bow it companions, The proper thing to do is not to touch the various parts cannot lie expected to accom¬ from end to end was sufficient for playing The Nail Violin, a quite recent offshoot Park Hold the left hand in such a way that The Snap Idea the string can be twanged with the thumb. peg at all until it is decided whether the modate themselves immediately to this the interlude between the poet-musician’s of the violin family, is based on the Twang the string repeatedly and often string is flat or sharp, To ascertain this IF A PEG has not had soap or any other extra strain. A violin when not in use harangue. principle that bow hairs scraping across One Amazing Sight while turning the peg until the desired the finger tip should be pressed on the 1 lubricant put on it, a slight snap or should be kept in its case as a protection Instrumental players in those days were metal nails produce musical sounds. The pitch is reached. string (long section) close against the crack will be heard when one begins to against damp and changes of temperature. ' often royal personages, as witness the pic- nails are' pe'rpendicularly fastened around After Another! Eor the D and G strings reverse the nut If it is the A string the student is turn it. This means that it has moved in If the case is not well lined the violin ONLY ONE SET AT THIS PR ICE. ture now extant of a rather rollicking the edge of the curved side of a flat board “FIDDLESTRINGS” free Friendly bears signal the cars hands, that is, place the right hand near tuning, it should be sounded with the D, the hole about one-hundredth of an inch. should lie wrapped in a silk or woolen king playing the' Crwth which had four in half-moon shape, and diminish in height a fifth below, using the bow. If this pres¬ s held ii and beg for candy. Buffalo the top of the neck and twist the pegs with But this snap is more likely to be caused cloth. The strings will stay in tune better, MULLER & KAPLAN ‘newyork- strings two being bowed and two twanged as the notes rise in pitch. It wa and moose and elk roam about sure brings the “A" in perfect tune it the left. When twisting it is essential to by the string moving across the bridge last longer and the violin itself will be with the thumb of the left hand. The vio- the left hand by means of a he its wilderness. let the pressure come against the other hand. shows that the A string is flat, but if it when the tension is increased or diminished. benefited. fin was held upside down (according to board. . C&lo^e our notion) with the pegs near the shoul- Violins that are played upside down and The scenery is active^! Gey¬ der and the other end resting on the knee, sideways, on the knee and on the floor, on sers spout water high into the Rough Tuning air. Volcanoes of boiling water Repairing Kings must have had their own way of a table and in a box have been put before T T IS BEST not to bring each string up will amaze you. A roaring E.J.&J.V1AZI doing things even then. us. But there yet remains one more, the ^ to pitch immediately but to bring the mountain steams from base Fiddle Frea\s VIOLIN MAKERS Reinmar, the Minnesinger, seemed to prize of them all, an instrument of the strings ti]), one by one. a little at a time, AND DEALERS to summit. have had just an inkling of the modern South Sea Islands which is played as one so that the tension may come gradually way of holding the instrument. He held reclines gracefully on the ground. But You’ll never forget a vaca¬ and evenly oil the whole four strings and By Hope Stoddard tion in Yellowstone Park. Its his “Fiedel” neck down, in his left hand let not the weary student prick up his ears on the bridge. Before starting to tighten strange spectacles—the glory and his bow in his right—but somehow or too soon 1 For we hasten to add that up the strings, make sure that the bridge N THE PROCESS of evolution the of its Grand Canyon — the I As we come to the Europe of the RUGU5T GEMUNDER Si 50N5 is properly placed, with its top slanting fish becomes a serpent, the serpent be¬ other he simply let the upper half of the this instrument—a mere string stretched thrills of the Cody Road — will modern violin lies as great a difference ; Middle Ages, there sectu to lte as many W Violins, Old and New t stick— neither beautiful stay in your memory forever. away from the fingerboard. Keep 'on tight¬ comes a bird, the bird becomes a beast instrument droop across his chest—or else along - lies between the hairy savage with h variations of the bow-stringed instrument Vy For All Kinds of Players _ fascinating to hear. ening the strings in turn, a little at a time, aud'so on, in as smoothly running a series those artists in the Middle Ages were cudgel and Stokowski leading the Phil: 5jr Our Catalogues are Free and will safely In fact, a pupil should think thrice be¬ The 4Vrday tour costs $45 the until they are at the desired pitch. The as a novice’s beads at vespers. But every as there are men to make them. J Guide you “stumped” when it came to drawing any¬ Lodge way, $54 the Hotel way dclphia Orchestra. fore he decides to become a virtuoso on it. pupil should tune to the corresponding now and then—just as an irreverent ’ 125-127 W. 42nd St.,Dept. E., New York thing tucked under a person’s chin. —all expense. “In Gardiner, Let us go looking for relics—the bow For, while it would mean easeful hours notes of the piano or tuning pipes. thought will intrude upon the sincerest of J Violin House Establish! 1846 Out Cody” is the way to see and accouterments of those instrumen1 of practice through the years of study— After bringing the strings up to pitch, devotions—there occurs what scientists call the Park or by the new Gal¬ that fell by the way in the process t what a figure he would cut on the con¬ latin Way, from Bozeman. If pull each gently outwards from the finger¬ a “sport” which is neither bird, fish nor evolution. you will mail the coupon, we’ll board four or five times with the finger serpent,, neither man, ape nor “missing cert stage! And how would the following The liavanaslron came into existew notice look at the lower margin of the be glad to send you free book¬ and thumb so as to distribute the tension link,” but simply a curious freak thrown in India some seven thousand years or t program ? lets and information. evenly over the three parts of the string. together by nature in one of her whim¬ ago. It is a small hollow cylinder open o sical' moods. This will put the strings out of tune; so one side and covered with a piece t Monsieur Yodell Uses the Stonehurst Mat¬ Northern Pacific raise them again to pitch. Repeat the Now, since evolution is a process that snake skin on the other. A long rod, fl; tress for All his Concerts process once or twice. They will now stay does not stop at nature, but goes on to Railway 011 t0P a,'d rounded underneath, serves ; It is indeed a curious fact that, through in tune unless they are new. and will be in those implements of man’s creation, the neck and fingerboard. Two strings a! the ages, as the instrument evolves, there Mail this coupon to as good tune as the notes of the piano or same strange phenomena of selection, sur¬ extended over a tiny bridge which res is a corresponding evolution in position. 681 Northern Pacii tuning pipes. But that is not good enough vival of the fittest and improvement of the on ™ sound-board and is cut sloping c At first the instrument is held in a for the violin. The fifths on the piano are slock exist in the violin world. There are top. The bow is made of bamboo. Tl MY VACATION TRIP not perfect; on the violin they must be the same succession of curious freaks— lax manner in the lap, while the player tone is soft, ethereal and ghostly-; sleepily strums his tune. But, with the absolutely so. gargoyles on the Notre Dame of the Vio¬ though the soul of it still wandered Pupils, as a rule, arc able to get this far lin Art. passage1 of time, he begins to hqld it and I euka8’0"3 of the mystical country , himself erect. He develops decision, firm¬ with their tuning; but the difficulty seems Both the piano and the violin are out¬ ness, certitude. Then, at last, with perfect to be to get them to recognize perfect growths of the monochord, an instrument A variation of this is the Indian Serine exactness gained, he can voice the whis¬ fifths when they hear them. which was little more than an oblong box PERFORMER ON THE REBAB wtth a rounded back and a top shapt pers of his soul. How much more divint After the pupil is able to tune to the at each end of which was fixed a triangu¬ like an anchor, wtth three strings stretch, reinmar the minnesinger must this soul become with such an outlet piano or to pitch-pipes, he should learn to lar nut. A peg at one end held the string from end to end. \Ye can well imagine that people bought “YOUTH’S MUSICAL COMPANION” in view 1 But just as man’s development dispense with both, except to gct’the “A." which was strained tight by weights fas¬ violins in those days because the shape The musical magazine that will help you Books or Trips I am Round Trip Summer lie should strike the note on the piano tened at the other end. Sound-holes were just fit their new parlor table or because Suddenly in the midst of the dusty has been, not all stern, methodical ascent, interested in 1V ) Fare from Chicago to get more from the music that you hear. □ Yellowstone Park - - - $59.35 gently and remove the finger, wait a second cut in the' belly near tbe tail and the bridge it was just long enough to reach to the Send for sample copy. heaos of fiedels, 'fidulas, vedels, viedels, but a way rich in means of rest and u Dude Ranch Vacations $57.95 to 66.90 and then twang the violin string. He was moved to produce the desired note floor when it was hung on the hall-rack, „.-L. liras rattas and rebecs, there is freshment, so the violin m its slow evoht- □ Rocky Mountains (Helena-Butte) 61.95 a ’ familiar object with a name tion has produced strange freaks, grotesque □ Inland Empire (Spokane) - - 85.05 should not sound the piano note and string (the present-day bridge of all bowed in¬ or because it was exactly the right width “Youth’s Musical Companion” □ Pacific Northwest j - together but should leave a second between struments is a vestige of this monochord to be slipped under tbe arm on long jaunts we Suhankfufiv under'our tongues-the phenomena which afford to our Cremor- □ Rainer Park ) Tacom. • 314 Bulkley Bldg., Cleveland, Ohio □ Alaska (Skagway) - - 180.3 them since the ear can judge better in this bridge). The monochord at first was evi¬ across-country, or simply because its novel hurdv-gurdy This was actually a form of accustomed eyes a spectacle as amusing □ Burlington Escorted Tours Enclosed find SI.50 for which send me way. Tuning by “beats” is all right for a dently placed on a table and plucked with shape took the fancy. the “vfol” played with a wheel inside the a cage of chimpanzees at the zoo. (all expense) $151.04 to $238.61 THE SERINDA ‘Youth’s Musical Companion” for one □ Canadian Northwe^ piano tuner or experienced musician but is the finger, but the bow (a common mili¬ One of these variations is the shape 0 year. too difficult for a young pupil. Neverthe¬ sounding box. na^g'S at^least—T remnant ‘‘The true concert artist is not -worthy tary one) was probably early employed. The Omcrti is something the a present-day coffin (only much smaller) The “North Coast Limited” less it would be good for pupils and musi¬ shape of Name.City. ofTonTe’ flourishing species-and every of the title unless his art is the outcome The monochord had its origin, no doubt, our modern frying-pan, with a with a domino-like bridge near one eri cians generally to know something about very long ot a once <• —- of a completely unified nature. Sets the Pace Out West! when a savage snapped a dry tendon of an handle. It had one string which t and spools at the other to tighten two Saturday morning we was bowed Address.State. —Fritz Kreisler. animal he had killed and found that it with a small arched bow. lone strings. The how is the usual archer s vival with our copper pennies. ETUDE. It identifies you a (Continued on Page 311) advertisers always mention THE When you write t ■ I APRIL 1928 Page 313 THE etude the etude Page 312 APBIL 1928 T Bands and Orchestras Department Violin Questions Answered (Continued from Page 283) You Will Enjoy This New Music By Robert Braine it repnmts the WJ tat offerings of /«« orary composers. An especially fine variety >m is afforded the music buyer in this list^of si o pieces for teaching and recreation! songs, vi ^ :oSS may be had for < VIOLIN AND PIANO Cat. No. Gr. Pr. DONATH, JENO • ... 24060 Roid^oTovPiF.F)'.::USE jo = !B3S=f: ' .„ . ----deouldtbetdLecn3°3edlr' ^Only ul . _j of his homeland by pre¬ THE FIRST PROGRESS . mbssswu? senting the ehorale agmnsha background y^Q Quessing flatter By ROBERT NOLAN KERR "1 drumsC°ntinU0US an ™ ^ r° By T. L. Rickaby O^the* J&srP^tempo th^ reentry of the ofVboIrd and right-once in a ns 1 luesf :t II gS,~ taining^a pianissimo three measures be- cure correct proportion and equal rhyl ffSKSS1. re the change in tempo. These three Count aloud—till the rhythm is fixed. !S^D; new sSSSEBSS ■’ °“ SI?.1 EtS*-«-.****** MUSIC - ■SF?**** Si A CONN saxophone... new, easy in- 23967 ^ DPur Powcie; -'ll MACKLIN CHARLES R c_A Summer Course in 20791 Time I’ve Lost in Wooing, the start, you entertain yourself and iHii SCHOOL CHO BAND CONDUCTING PIANO DUETS Five Weeks: June 2 5-July 28,1928 Given by the distinguished conductor and composer 23940 «^AE:.S SSilsii VICTOR J. GR ABEL - phase of the subject. Write for outline, mentioning this magazine. THEODORE PRESSER CO. m SHERWOOD MUSIC SCHOOL Mail Order Supply House for Everything in Music Publications ■ rCSfiSC' I ffiSSfclKcSjSSS-Ki 1712-1714 Chestnut Street - Philadelphia, Pa. tiH CHICAGO, ILLINOIS APRIL 1928 Page, 815 Page 811, APRIL 1928 THE ETPhli flip ETUDE Parental Influence in the Lives of Famous Musicians Get Rid of Every Ugly, TEETH ARE WHITE Superfluous Hair (Continued from Page 276) — at Once! violinist, began his studies as a mere His father was a professor of harmony child, played in public at six, and became and composition and a piano teacher at BUT... an orchestral violinist when barely in his Warsaw Conservatory; outside of that his Painless, Harmless, Inexpensive ’teens. professional activity was that of an or- Method a Boon to Thousands Sir Alexander Mackenzie, one of the chestral director, eminent living English musicians, represents Korngold, one of the distinguished Aus- Summer School the fourth generation of musicians composers of the present, owes much Free Book Tells Secret™ family. His father and his grandfather to the devoted care of his father, an emi¬ Five Weeks, June 25 to July 28 were violinists. As a boy student in the nent music critic of Vienna. Send for It! conservatory at Sondershausen, Germany, The father of Serge Koussevitzky, con¬ lie played in the grandducal orchestra. ductor of the Boston Symphony Orches¬ Classes Every Day Practical and Intensive Courses I had become utterly discouraged with Sir Charles Stanford’s father was a tra, was an orchestral musician and „ heaVy growth of hair on my face and lawyer but was devoted to music and was planned a musical career for his boy. At L i tried every way to get rid of it, an amateur singer. The family environ- the age of ne he was a violinist in an but all were disappointments. exceptionally favorable to the orchestra fourteen he entered la music Public School Music Orchestra Conducting I thought it was all hopeless boy’s development. At ten his composi- school at Moscow and began the study of until my research brought me lions were performed in his home city, the double-bass of which he became a vir- “ simple but truly wonderful Dublin. tuoso. Band Conducting Appreciation of Music method which bas given / such great relief and joy > The father of Sir Arthus Sullivan was Paderewski’s mother was his first teacher One Course for the Elementary Grades to me and to other / a bandmaster and professor of the clarinet beginning his instruction at the age of One Course for the Junior High School women that it really in the military training school. The boy three. Her death, two years later, was cannot be expressed was brought up in a musical atmosphere, followed by _ desultory and superficial So good to look upon, teeth of flash¬ One Course for the Senior High School ing whiteness adorn personal charm. in words. strengthened by his membership in the teaching, and it was not until the bov was But they do not safeguard health My face is now not N Royal Chapel, repeating the experience of twelve that he entered the Warsaw Con- against Pyorrhea. Applied Music—Piano, Voice, Violin, Theory, only free from superfluous other eminent English musicians who re- servatory, Unaware of this fact, 4 persons hair, but is smooth and ceived their early training as boy choristers, Puccini came from a family of musi- out of 5 after forty and thousands soft, all by use <>t the sim¬ Rubinstein’s first musical instruction was cians. His great-great-grandfather was younger pay Pyorrhea’s price. They ple method which I will sacrifice health. Brass and Wood Wind gladly explain to any wom¬ received from an accomplished and devoted music director at Lucca and an excellent mother. composer of church music; his great- Take this precaution: See your (Specialists for Every Instrument) an who will send her name dentist regularly. Use the dentifrice and address. The first musical training of Saint-Saens grandfather was an eminent theorist; his that not only cleans teeth white but This method is different was received from a great aunt who lived grandfather won recognition for his church also helps to firm gums. Pyorrhea vSCHEDULE from anything you have ever in the family. His father died when the and operatic music; his father was a seldom attacks healthy gums. SUPERVISOR’S COURSE used—not a powder, paste, boy was very young, but he received de- church composer. Morning and night, every day, use I. II. Ill, IV. wax or liquid, not a razor, Forhan’s for the Gums. It does all a Methods II. Gradi voted care and attention from his mother Edward Elgar’s father was an organist „Y‘h50¥S...Lunior Hi*h. Class Methods, Bras not electricity. It will re- and the aunt. At seven he passed under and also conducted a shop for the sale of dentifrice should do. Get a tube move superfluous hair at from your druggist—35c and 60c. the instruction of Stamaty. music and musical instruments. This en- Appreciation (Grades) once and will make the skin Appreciation (High Sc Wagner’s early education did not center vironment had a strong influence on the Formula of R. J. Forhan, D.D.S. Stage Craft, etc . soft, smooth and beauti¬ fully attractive. Its use on music, but the connection of his step- development of the boy who early made Forhan Company, New York means an adorable father with the theater and the fact that himself acquainted with orchestral mstru- Baand ' Rehelrsaii''’’■’;•’;•’!■';!; • • ■ • • • ^ • ■ • • • i i .3 houre a week appearance. And older members of his family were actors ments. ST±er,^fR^SaIs .! a week you face the brightest and singers undoubtedly influenced his de- Ysayes first instruction was received Forhan’s {?Jfhse light—the most brilliant •elopment. from his father, a violinist and orchestral electric lamps—even the conductor. The family inclination for mu¬ OUR TEETH ARE ONLY AS HEALTHY AS YOUR GU* glareof sunlight joyously. _ Modern Musicians sic must have been definite, for another My method is absolutely painless and son, Theophile, was a distinguished pianist Extra College Maximum Charges aa harmless—so simple and easy to use—so The extra College CASALS IS the son of a musician, an and teacher at Brussels. Classes Classes are fully inexpensive that you will marvel at its organist, who gave the boy his first English Complete Course CEORGE DASCH ‘Musical education in the Home Conductor Little Symphony, Chicago a. r. mcaluster Write today for Art Year book JAZZ Lire, tor Township High School Band, Joliet, Ill. OCH<3DEFAmiED AW (Continued from Page 217) and ARTHUR OGLESBEE Boom No. 7 Battle Check Mich. The early fundamentals may also be gone days. When actual work at the in- Appreciation — Analysis — History of Music Novel Piano Playing ,ail£rht in a lively and fascinating manner strument begins, then the individuality of This book is sand pc Faust School of Tuning Ly gcharts and mechanical device^ Then, ’the^ild, -taL an^phymej shouldje contains everything, including all modern Special Teachers tor All Other Subjects - A Most Comprehensive Course - Fully Accredited when the tiny tot is ready for work- . jazz figures, biucs, breaks, fills, bass- keyboard most of the drudgery of the adapted to its special requirements.requirements Since work, etc. Price $2.00 Postpaid. .1 children you migl Christensen Schools Thro v gho c t the ■ Send for free Summer School catalog beginning period has been done. With the you have several children you might World carry all,our books in stock or you Reed Organ and Player wealth of the attractive “first lessons’’ for a little class in the “leam-while-you-play”learn-wh.Ie-you- can order direct from the Chicago office. Piano. Year Book Fret vlrH to be had now, “taking music method in your own home and have a good MUSIC TEACHERS —LOOK! he Aboard ^ be had n - ^ and Mt of fuil out of it yourself. - > “Chris snSchoo 27-29 Gainsboro Street this is your golden opportunity to enter a pleas¬ BOSTON, MASS. uninteresting period of by- mailing you a list of material. ant and profitable business. Write at once for SX SL our lucrative Teacher’s Proposition. Exclusive Columbia School of Music Franchises granted. BOOKS ON OTHER INSTRUMENTS We also publish Jazz Instruction Books for Care Osborne Reed, Director Box E. 509 S. Wabash Ave., Chicago, III. Saxophone, Banjo, Hawaiian Guitar, Violin, Tmmpet,^Clarinet, Drums, Trombone and Uku- There is no recipe or rule for creating masterpieces of art. and thns recommend such and such a system are nothing more than musica The great masterpieces of music akvays triumph wit Christensen School of Popular Music Suite 445 it is sad that many great composers die in the dim 20 E. JACKSON BLVD., CHICAGO, U. S. A. ——writ,: for rrices —> ~ the aid of . straits.”-—Saint-Saens. Please mention THE ETUDE when addressing our advertiser^ mention THE ETUDE. touch with the higher ideals ot a APRIL 1928 Page 817 etude Page 31G APRIL 1928 THE ETUDE THE Master Discs (Continued from Page 282) , , c]iarni. Personally I think the piano familiar Liszt is admirably played, as is SUMMER ■ 6 fficient. likewise the plaintive Chopin Mazurka. MADAME SCHUMAHK'HEim 1S “Tannhauser” by Wagner, Wolfram’s The piano tone is realistic. • c and “Mignon,” by Thomas and “Concerto No.'5 in E Flat” (Emperor) "Wieeenlied” by Brahms; sung by Hein- Opus 73, by Beethoven; played by Wilhelm MASTER FIRST WORLD’S h Schlusnus (Brunswick). Wolfram’s Bachaus and the' Royal Albert Hall Or- rich f ]ove and his beautiful ode to the chestra (Victor). son?;ng star are admirably sung by Schlus- “Concerto in E Flat Major” for violin SCHOOL • likewise there is Lothario’s “Lullaby” and orchestra, by Mozart; played by jc 'rendered with rare masculine Jacques Thibaud and the Royal Opera MASTER CLASS " Vness Orchestra (Victor). June 25 to August 4 (Six Weeks) ^“The Waltz” by Ravel; Coates and “Oberon Overture” by Weber; played S mphony Orchestra (Victor). This work by Coates and Symphony Orchestra lAlphabetically Arranged) Will Be Conducted in Kansas City at ■Joften termed the “Apotheosis of the (Victor). Waltz" I'1 reality it is a much-glorified "Hungarian Dance No. 1,” by Brahms- MAURICE ARONSON altz written for modern orchestra. Coates Joachim, and “Slavonic Dance No. 1” by EMINENT PIANO PEDAGOG "Inducts realistically a frenzied and almost Dvorak-Kreisler; played by Toscha Seidel relentless work which suggests a gigantic (Columbia). VIOLA COLE AUDET Horner-Kansas City Conservatory ballroom pulsing with whirling crowds. “Leonore Overture No. 3,” by Beetho¬ NOTABLE PIANIST AND TEACHER ven; Henry Wood and Orchestra (Colum- Love for Three Oranges bia). PROF. LEOPOLD AUER June 11th to July 14, Inc. (5 Wee\s) 4(T OVE FOR Three Oranges” by Pro- These are splendid recordings of stand- MASTERiVlOLIN INSTRUCTOR OF THE WORLD L kofieff. IV all .'-scherzo and March ard works which deserve especial com- Three Lessons Each Week (Total Fifteen Lessons) and Scherzo; Coates and London Symphony mendation, although space does not permit MOISSAYE BOGUSLAWSKI (Victor). These are selections from a an analytic review. The Beethoven is an NOTEDIRUSSIAN PIANIST modern Russian Opera which Coates con- admirable performance. Thibaud plays ducts with superb vigor. The Walls- Mozart’s graceful music with artistic re- schcrso suggestii ; “Fiends Infernal” is finement, and Coates once again excels in EDWARD COLLINS Three Free Scholarships!!! most impressive a favorite overture. The,Seidel violin disc RENOWNED AMERICAN PIANIST “Campanella" by Liszt-Busoni, and has real beauty of tone and artistic execu- At last an opportunity to receive personal instruction “Mazurka in 1! Minor" by Chopin; played tion. Wood gives an orthodox reading of PERCY GRAINGER under this great and celebrated Artist by Ignaz Friedman (Columbia). The the popular “Leonore Overture.” WORLD RENOWNED PIANIST RICHARD HAGEMAN Classes necessarily limited Write at once for full particulars Educational Study Notes NOTED COACH AND ACCOMPANIST (Continued from Page 303) Study carefully th.- ]«.cm of the present song, naturally, and the melodic charm of his style has VICTOR KUZDO EMINENT VIOLIN PEDAGOG AND ASSISTANT TO PROF. AUER Management: horner-witte concert bureau iimn. which would not for the knowh e<* emphasi 3000 Troost Avenue ~ ~ ~ Kansas City, Missouri it is by Arthur Hartr W. OTTO MIESSNER By Arrangement George Engles NOTABLE AUTHORITY ON PUBLIC SCHOOL MUSIC „ , . In a Rose Garden, by Montague Ewing. ALEXANDER RAAB From “Impromptu, Op. 142, No. 3, by An attractive four-hand number by one of the EMINENT HUNGARIAN PIANIST Schubert, Arranged by Edward most prominent English composers of the Shippen Barnes. ^‘totap the P, LEON SAMETINI sume gether. Try t i them properly^ 1 RENOWNED VIOLINIST , throughout; that is, these colunins raeloc[y jet the other e subdued. And try i selected the . -Li th beautv nd fragrance of tl HERBERT WITHERSPOON Conservatory Ne,“B-flat Im- UV Ewing as so faithfully i DISTINGUISHED SINGER AND TEACHER lich best lend ^trough the medium ui iuuca. markfaof inter- O Lord, With Weary Hearts We’ri and Faculty of more than 200 Artist Teachers ch he has add- Yearning, by H. Engelmann. BUSH EfeK80" CHICAGO FREE FELLOWSHIPS 49, No. a by Beethoi Summer School Day Dreams, by Helen Dallam. TEACHERS’ CERTIFICATES and DEGREES Miss Dallam has given ur =- n— r [FIVE AND SIX WEEKS1 smooth-flowing waltz for tw< JUNE 25 to JULY 28 [ COURSES position. The I) minor sec slightly faster than that in 1 PressionC^nPher' easy* leach FACULTY OF 125 INSTRUCTORS Get the dreamy “swing” o being, or into- your pupils, a tody of Love: Hcv^.- Y°'d ife n' STUDENT DORMITORIES PIANO SCHOOL MUSIC Summer Twilight, by H. P. Hopkins. DRAMATIC ART Mr. Hopkins lives in Baltimore, Maryland. He VOICE received his musical training under well-known " thewifrdl CLASS PIANO American teachers, completing his studies with PLAY PRODUCTION the great Anton Dvorak when the latter was in VIOLIN ORCHESTRA New York City. Mr. Hopkins writes easily and PAGEANTRY OPERA CONDUCTING EXPRESSION Teachers’ Round Table THEORY BAND INSTRUMENTS CHICAGO languages (Continued from Page 285) ORGAN . _ „ , pditinn No. 166) emphasizing m each dancing A Prospective Teacher f-al studie5 which seem most helpful. I am studying" Czerny,~ Op.~ 21l!>. As far as technical training is concerned, third book, and Krause’s Trill Stud¬ MUSICAL NORMAL COURSES IN ALL DEPARTMENTS ies, second book, together with Rus- you ought to be prepared to teach. But tje 0/ tipring, arpeggios, scales, chords, and so forth. Should I study before doing so, you should ac(lulre ■at any other method? least an elementary knowledge of har¬ COURSES ACCREDITED, SCHOLARSHIPS, REPERTOIRE CLASSFS nno..,Tn„, In what grade do you consider mony, musical form and music history and COLLEGE me? Am I advanced enough to take RECITALS, FREE ADVANTAGES. Writ!“ Pupils?—Mrs. a. D. should also read carefully as many doo as you can obtain on the subject oi 60 EAST VAN BUREN ST. . I Should say that you are in the fifth or as you can oi (SsttS) T. E. SCHWENKER, Secretary hxth grade. While keeping up your work teaching, also on pcu« 839 N. Dearborn Street, Chicago ln scales and arpeggios, vou mav well take possible atten a cour * and next the Fifty Selected Studies by such as is gw* “» * ld sum. Cramer (Presser Editioni No. 175) and conservatories during tne go the higher Meals of art anll ljte. :APRIL 1928 Page 819 TEE etude 08 ETUDE Page 318 APRIL 1928 School Music Department (Continued from Page 309) hr awrence qA Course in the ITHACA CONSERVATORY THIRTY-THIRD ANNUAL ConservcttoTij of Music . „ Williamson is conducting an attrac- Observing Great Conductors OF MUSIC cApplcton, Wisconsin Class Method Fm Lurse at Dayton, Ohio; Professor r\KE OF THE BEST ways to learn qloessel personally conducts courses at ^ conducting is to sing in a chorus A Department of Lawrence College Sington Square College, Nev r York under an expert conductor and to watch W. Grant Egbert, Musical Director summer Q^ession of degree course, described University him in action. As a young student of *;/ functioning in^ the School < music, in Boston, I was fortunate to he Incorporated with collegiate standing and degree conferring privileges under above New York University, under two years under Carl Zerrahn, conductor the Board of Regents of the University of Hew York Teaching Education, June 18 - August 11, 1928 “Yr^rion of the writer. Meeting a real of the Handel and Haydn Society, a season uie, urgent need, other colleges and unt- in a selected chorus conducted by Georg SUMMER MASTER SCHOOL of Piano Piano all“--Pc will no doubt offer this training. Henschel, and another season singing in F e attire s z Serd summer schools meet the needs of the great Wagner Festival Chorus under under the Direction of Leon Sampaix, to factors in service who cannot afford to Sharland and in the week of concerts Private Theater Organ under Theodore Thomas. It was my master pianist and pedagogue Teaching e m their work and attend school dur¬ privilege also to study Mr. Henschel’s con¬ Instruction An intensive eight-weeks Positions ing the academic year. By majoring in In all musical and dramatic course, given privately by BEGINNERS ducting at the weekly Boston Symphony Mildred Fitzpatrick, known The Sherwood Music School rfndi,rtine at a summer session, much can TEN WEEK TERM, JUNE 4—AUGUST 10 subjects. Faculty of 150, in¬ now has thirty-four Chicago Concerts, and almost nightly during the cluding many artists of na¬ as one of the most successful will be an important feature of the be accomplished. Columbia University’s opera season to observe excellent conduct¬ and highly paid theater Neighborhood Branches, in tional and international which are taught four thou¬ 1928 Summer Session of the summer program includes a course m Con¬ ing and to listen to the incomparable sing¬ SIX WEEK TERM, JULY 2—AUGUST 10 renown. Low tuition rates. ganists in the country. The ducting- and New York University offers sand junior piano and violin Sherwood Music School. This ing of a great array of opera stars— Special Classes students. The School is able both elementary and advanced courses, m- Christine Nilsson, Sembrich, Fursch-Madi, to provide teaching positions course is offered for all who wish to a special intensive course for ex- Del Puente and Tamagno, with Abbey and pe&C»ratS "on Piano Master Class, conduct¬ in these Branches for ad¬ ed by Andre Skalski. Violin prepare to teach piano [privately or ^ Wherever possible, Grau in the Boston Theater; and Patti, as in the United States and Canada. vanced students and teachers Special Course in Composition directed by WnllinKford RleKKer, Mas. Master and Normal Class, of piano and violin, who con¬ in public schools] to beginning summer schools „f mus.c m all sections of Gerster, Schalchi, Galassi and Campanini conducted by P. Marinus template extensive courses of the United States should provide training with the Mapleson Company in the Globe M^foly^ondi^ct^classes^in^arnion^Counterpolnt aid Keyboard Harmony. Paulsen. Other classes in study, but whose funds are pupils, by the class method which for conductors. . . Theater. We music students partially Piano Normal; Piano Teach¬ not entirely sufficient for has been a notable development of ing Repertoire; Harmony, The Musical Competition Festival is an earned our dollar front seat at the top of du their plans. Applicants for the house by standing in Tine an hour and Six large and handsome dormitories. .Reservations ror eituei Theory and Composition; these positions are given spe¬ recent years. An unusual advantage exceedingly valuable school for conductors Orchestra Conducting; Stage cial courses of preliminary of the course is that it does not both choral and orchestral. In Great then sprinting up several flights. Deportment; Choral Con¬ training includes actual prac¬ Attendance at numerous recitals and con¬ FALL TERM BEGINS SEPTEMBER 20, 1928 training, these varying in Britain these festivals now reach every ducting and Church Music; tice in film accompaniment. accordance with previous confine itself to one system, but certs, including the highly artistic recitals Sight Singing and Ear-Train¬ Four-manual movie organs, section, almost every village. The splendid Full details, year book and special catalogue sent on request. Address, Registrar, training and experience, if includes the best features of all. by Mr. and Mrs. Georg Henschel, sup¬ ing; Ensemble Playing; and with a tremendous range any. The Summer Session choral singing of elementary school choirs Operatic Ensemble. of stops, are provided for plemented the choral singing and the opera. 1 DeWitt Park, Ithaca, New York courses are designed particu¬ SCHOOL”! Write for Summer Session Catalog at the English competition festivals has de¬ It seems to me now that the educational practice purposes. larly to meet the needs of Public School veloped in British elementary schools, in value of this watching and listening was those who desire to qualify MUSIC spite of the absence of music supervision, Music for Neighborhood Branch NORTHWESTERN | at least equal to the benefit received in a Eight Vacation UNIVERSITY I principally as a result of these festivals. A six-weeks course, leading teaching positions. The nu¬ Year 1927-1928 classroom and private studio. One is to a Special Public School Sticftflooi) (Diisic StM In certain parts of the United States and Excursions merous additional teachers [Founded ,89, by Wm. H. Sherwood] hopelessly incomplete and inadequate with¬ Music Teacher’s Certificate, required for the 1918-19 Canada the steady and rapid improvement for Beginners 1. A boat ride on Lake out the other. Neither private nor class DUNNING SYSTEM and providing thorough teaching season will be en¬ FINE ARTS BUILDING of choral singing is largely due to the training in Methods, Sight- Michigan. instruction, nor any other substitute, can The Demand for Dunning Teachers Cannot be Supplied—Why? gaged from those attending for Schools, Academies and Colleges Including 410 South Michigan Avenue annual competition festival. Singing, Ear-Training, Musi¬ z. A visit to the Field Mu¬ the 19x8 Summer Session. Text Books, Reference Works and Collections proyide the necessary background for ---NORMAL CLASSES AS FOLLOWS: cal Literature, Conducting, seum of Natural History. Ask for details and applica¬ THEODORE PRESSER CO. CHICAGO, ILLINOIS sound musicianship which is attainable Folk Dancing, History of (Lecture by curator.) tion blank. (No obligation.) 1712-1714 Chestnut St. Philadelphia, Pa. The Manitoba Festival through the hearing of much good music Music, Form, Analysis, Ap¬ An automo- adequately and artistically rendered. preciation, and Harmony. DR. TERTI US T. NOBLE has been one of the judges at the Manitoba Festival Many Etude readers know about the Band Conducting Music Supervisors’ National Conference Asheville, N. C. . held at Winnipeg, every year since the Catherine Gertrude Bird, 658 Collingwood Avenue, Detroit, Mich. A five-weeks course, com¬ SUMMER STUDY IN DENVER first meeting eight years ago. His story which held its nineteenth annual meeting m prising eighty hours of in¬ of the marvelous improvement in choral Detroit in 1926. The first biennial meet¬ M^s^Jea^Wa^renCairickflM Eart 68th St., Portland, Oregon—Normal Classes. struction in all phases of band singing and in many other forms of vocal ing-will be held in Chicago, April 16 to conducting, given by Victor GUEST TEACHERS 20 1928 with a probable membership of - M“iC “d Jean Grabel, famous com¬ and instrumental music, is intensely inter¬ Baltimore, Md. five thousand. President Bowen has an¬ Beatrice S. Eikel, Kidd-Key College, Sherman, Texas. o Pari. France Summer 1928 poser and band conductor. RUDOLPH f A M7 MASTER PIANIST, Guest Conductor Elitch esting and significant. Granville Bantock, Ida Gardner, 17 East 6th Street,Tulsa, Okla. NormalClasses,Tulsa,throughout theSeason, Pans, France,Summer, It £-a Summer Symphony Orchestra, Denver the eminent 1 nelish composer, was one of nounced that the Chicago meeting is to be Gladys Marsalis Glenn, Amarillo, Tex., 1217 Bowie St., Vivans Place Amarillo, Tex. Recitals and the judges at the 1927 festival at Win¬ “a singing conference.” Several distinctive Florence Elizabeth Grasle, Lansing Conservatory of Music, Lansing, Mich. Master Class for Playing Students and Auditors July 2—August 4 high school choral organizations are to Harriet Bacon MacDonald—13434 Detroit Avenue Cleveland, Ohio; 6010 Belmont Ave., Dallas, Tex. June 4, Lectures nipeg. He was surprised and delighted Dallas- July 10, Cleveland; August, Little Rock, Ark Seven recitals by members of appear on the program. Mr,. Kato Dell Marden, 61 N. 16th St., Portland, Oregon. BLANCHE DINGLEY ]l/l A TUITAI/C Foremost Authority in Fun- with the artistic singing, declaring the re¬ Artist Faculty. Six lec- sults compared favorably \vith the finest m”' Ave .Dallas. Tea.—Colorado Springs, Colo., July 23. on practical and inspi¬ lTI.fl 1 flL YY ' damentals of Pi?no Pedagogy HKe Irving Prince, 4106 Forest Hill Ave., Richmond, Va. Jan., June, Nov. of each year. rational topics. All free to singing in the English festivals. " National High School Chorus Normal Course for Teachers July 2—August 2 Virginia Ryan, 1070 Madison Ave., New York City. Summer Session students. Dr. Noble pictures the interest, enthusi¬ The FIRST National High School Stella H. Seymour, 1219 Garden St., San Anton.o, Texas. asm, and musical discrimination of audi- Chorus of three hundred voices, Isabel M. Tone, 626 S. Catalina St., Los Angelos, Calif. Certificates— Personally conducted by Mrs. H. R. Watkins, 124 East Ilth St., Oklahoma City, Okla. aices and contestants attending from a chosen from high schools in all sections of Degrees scripts. Mr. and Mrs. Leo Podol¬ INFORMATION AND BOOKLET UPON REQUEST HARTMANN radius of more than one hundred miles, the United States, will assemble at the Summer Session courses lead 8. A journey in chartered car sky, of the Faculty of the and attributes the really wonderful im¬ to Ravinia Park to attend Normal Course for Teachers and Private Lessons July 2—August 4 Stevens Hotel in Chicago, on Monday, Teachers' Normal Certifi- Sherwood Music School. provement almost entirely to the Annual tes in Piano, Voice, Violin, operatic performance. Met¬ Six weeks residencein Paris, April 16. The chorus will rehearse twice Organ; also to Special Public ropolitan and Chicago Grand Competition Festival. The radical im¬ daily and on Friday evening, April 20, w.l with provision for music provement in tone quality, interpretation School Music Teacher’s Cer¬ study in the Paris Branch JOHN C. WILCOX give a concert in Orchestra Hall, assisted tificate; and are credited to JOHN C. KENDEL and general excellence is due primarily, of of the Sherwood Music STR1NGHAM by sixty members of the Chicago Sym¬ [O to the Hot Cities for ward the Bachelor of Music Voice Master—Vocal Pedagogy Conducting Notable Course for course, to better teaching and conducting. • ~7~ FOR 8 PIANO PIECES School. Itinerary includes Master of Composition, phony Orchestra. . summer Music In¬ Degree. Course. July 2—August 4 Music Supervisors Good, bad and indifferent teachers and Send Melodie Mignonne Gerald F. Frazer Paris, Cologne, Berlin, Am¬ Orchestration, Theory Competitions for male and mixed quar¬ WHY struction ? Lnjo^ a delight- A A Danse Grotesque.Walter Rolfe June 18—July 27 conductors hear each other’s choruses, glee I I The Comet, Galop Bob Wyman Living Accommo¬ sterdam, Hague, Brussels, tets will be a feature of the National clubs, quartets, trios, orchestras, bands, and dist.ngu.shed tc^hcrsat If \J JACOBS* CINEMA SKETCHES dations Bruges, Ghent, Ostend, and Frances Chorus. Improvement in tone quality and HENDRIKS vocal and instrumental solos, during an STAMPS 1" * Sorcerer’s Chamber ^ Available, at moderate rates London. Moderate cost. HENRV T- GINSBURG ELIAS G. TRUSTMAN interpretation is expected as a result of Sherwood Dormitory or Ask for illustrated Euro¬ Pianist—Composer—Teacher Violinist—Teacher Cellist—Teacher entire week and learn from the judges these competitions which are open to all SUMMER MUSIC SCHOOL or C01N Lore’s Yearning .... Norman high , private homes inspected pean Tour booklet. vhere they excel and where they fail—a members of the chorus The two quartets in the heart of the resort region. Courses in Piano. id listed by School. wonderful schooling for the conductor. Voire. Violin. Organ, ’Cello, Harp and the Orchestral i Aiter-uiow, tunc ».. c ... KARL °. STAPS FREE SCHOLARSHIPS ' One full free Summer Term winning first place will each receive instrurents. All branches of Theory. Harmony. I Anita, Spanish Serenade.Thor. S. Alien Scholarship with Ganz, Hart- Similar situations exist in many centers beautiful, silver Tiffany cup appropriately Counterpoint. Orchestration, Composition, History . Army Frolic, March. George Hahn mann, Wilcox, Stringham, Hendrik of MusiL SPECIAL RAILROAD RATES and -yOUR REQUEST for a catalog Organist—Teacher s, Ginsburg, Trustman, Staps, in the United States. Acting as judge, the lettered with the names of the winning INEXPENSIVE LIVING ACCOMMODATIONS. ' YOU WILL ALSO RECEIVE: Riggs and Mrs. Kyffin awarded in competitive examinations. writer has been impressed with the excei- Course be ins July 16th and ends August 25th. I What’s a Unit Organ? .DelCosUHo * will receive prompt attention ! schools and members of the Woman’s Place in the Theatre.Aoelyn Kerr !*ce of tile competitions at Emporia and cuns are presented by Thk Eti I New England Conservatory and School of Music Lloyd Loar GE CREDITS — DIPLOMAS — DEGREES Pittsburg .(Kansas), Springfield (Mis¬ A Novel Summer Camp lor Boys. .Albert Usher Attractive shields and plaques I The Development of Piano Music.Judson Eldndge awarded for satisfactory completion of required work souri), Lima, Youngstown and Columbus will "he* awarded to the schools winning u/hsi I Mr* in New Music.Del Castillo (Ohio), Wilkes-Barre, Scranton and Ha¬ second and third places in each competi¬ Unsurpassed Educational Advantages-Comfortable and Reasonable Price zleton (Pennsylvania) and elsewhere. The tion These prizes are presented by the Snenflaoil G)usic School Living Conditions—Inspiring Mountain Environment competition festival movement is growing National Bureau for the Advancement of PIANO JAZZ , Yea—all the ab cphrases from a Piano's Diary ? ? ? Ask Another ? ? ? Prelude (The Satisfied Piano) An Adventure By Annette M. Lingelbach i G? with the Spirit of VYCusic 3. What is All diaries have introductions. Even 4. What is a folk song? a mere piano's Diary wouldn’t be quite 5. When v..as Schubert born? proper without some sort of introduction By Ethel V. Moyer 6. What iis meant by molto ritardando? of who and what he is. 7. Who i s one of the greatest song When I tell you I am a satisfied piano, IT was a beautiful spring day. Just the “Yes, but wail until next week!” inter- writers? you do not know how happy and thrilled “Then we are to learn the 8. How many symphonies did Beethoven I am. There are so few satisfied pianos kind of day the children love to wander in posed Ruth Ann. -- . the woods and pick flowers, and listen to Spanish Habanera and that is so much in the world. Hut wait. Here is my pre¬ ,9. For what is Guido D’Arezzo famous? the songs, of birds. difficult. It has a triplet c lude. .10. From what is this melody taken? Ruth Ami and Dorothy were sitting on eighths on count two. As a piano, I do very well. I am not a fallen log with their hands full of early often banged on, and I am often dusted, violets. They were talking about their and I have not had a headache in five years. music club meetings and how much This is a remarkable record. My friend, pleasure they gave the children. the Sad Piano, must listen to jazz every “Don’t you remember, Dorothy,” said CJIf c_r day and he is rarely ever dusted, and as to 3 Answers will be found on page 324. Ruth Ann, “that we were sitting under this headaches—why, he’s had twelve this last very oak tree when the Spirit of Music year! talked to us on one of his.visits?” Answers to Last The children cause his headaches. They c_r “Yes, of .course I remember,” replied tu everlastingly make mistakes while prac¬ Dorothy. “He was so pleased that we Tire Habanera comes Month’s Questions ticing: they play every piece like every could answer his questions. Wrirad just other piece, and Beautiful Phrasing and • started our music club then. My, what from. Spain. 1. The signature of G sharp minor is Minute Perfection are words they just lots we could tell him now if he appeared 1” the same as of B major, five sharps. don’t know 1 “And what would you tell me?” asked 'How do you learn the rhythm?” 2. A! double flat lowers a tone one whole Everyone in this house loves me, too. - shrill little voice from the oak tree. quifed the Spirit. By clapping your hands step but does change the letter name This so helps a piano to sing as it should. Ruth Ann and Dorothy looked up and or by counting?” of the In the evening the children gather around there sat the Spirit of Music in a little ‘Oh, we count all right,” laughed Dor- 3 a metronome is a small mechanical their mother while she sings, and the mas¬ green suit the color of new leaves. othy, “but one of the pupils plays a piece instrument, which, when adjusted, gives ter plays the violin, and even the cat keeps on the piano and the rest of us clap our tbe rate of speed at which a composition time with little purring sounds. hands and count. Of course, we accent sh0uld be played. It is also used as an The children are kind in other ways. count one very strongly. aid to counting time, by those who are They don’t litter me with books that weigh tl r r “What other dance forms have you poor time keepers, down my spirit, and they speak of me in learned?” asked the Spirit 4. A rest is a measured period of silence. terms of the greatest affection, and they “We have had the Walt3,” replied Ruth 5 Handel died in 1759. do know who my ancestors are and what a Ann. “Of course everyone knows that the 6. Schubert wrote the “Unfinished Sym¬ very old instrument I am. They even r r Waltz is just one, two, three.” phony.” know the history of the great men who “Of course,” said Dorothy emphatically. 7. Con anima means, with “spirit or ani¬ have played me, and what a tremendous Did you ever Rear “And the Minuet is in three-four time also mation.” part I have had in building up the world of but it is usually more dignified than the 8. There are four strings on a viola, and beauty and happiness. Walts. Then we have had the Polonaise, they a tuned one fifth lower than the Now this is a comfort. It is trying a Mazurka which I like very much. It has an eighth violin, enough to have a child bang you to sleep “Oh!’’ cried both the children, “we and two sixteenths on count one, followed 9. Edward Elgar is English. when you feel like singing some new songs so glad to see you again 1” _ by t eighths for count two, and two 10. The melody is from Chopin’s “Fun¬ to him; but to have one of them say that “But what about this music club ? VVhat eral March,” written as the slow movement Paderewski invented the piano when he do you learn there?” inquired the little O in a piano sonata. wanted to have something new to play on is the last note. SP“Each time we have a paper about one Q r cj*rr c_r A JYCusical Qastle But I’m getting as grumpy a 1 sharp of the great musicians, then a few of his sixteenth-note and talking in that terrible compositions,” replied Ruth Ann By Frances Gorman Risser minor key of my sad piano friend. So “Yes, and don’t forget the trios for I’U play myself to sleep and talk to you piano, violin and ’cello,” added Dorothy Of CJ* CJ* I am building my Castle of Music, later. “That sounds quite musicianly, said the Tke Polorvaase Is So that when I’m grown up, some day. The Satisfied Piano. little voice from the tree. Who plays the It will stand as a model of beauty And melody, sober or gay; tr'“We usually have an easy one and an advanced one that the different pupils full of Spirit- advanced on^ _ 4_„ «You j^w our Every exercise, practiced so slowly. Little Jac\ Horner play,” said Ruth Ami. “You know our dghthg {or count three. Of course, they Adds stones to the foundation wall, teacher, Miss Dent, plays the cello as wen sometimes vary this So that it will not while the scales build the hundreds of By Marion Benson Matthews as the piano, and the violinists are ss become monotonous.” stairways West’s pupils.” . . “The great Polish composer, Frederic jbat jead tg the towers so tall; Little Jack Horner “But the thing we are learning now is chopin, has written a whole book of Sat in a corner the rhythms of different dances sa a polnnaises>> added Ruth Ann. All the time that I practice I’m making Practicing hard on a ’cello. Dorotbv. “Last week we learned tn «YeSj and there is another dance wc Castle more lovely and grand. "If I practice" said he, Mazurka, which is a Polish-dance, and it ];kcd &Q niuch>» sa;(t Dorothy. “It is the nl bc giad that I built it so nicely seemed so strange to put an accent on e (Continued on Next Page) Some day, when I reach Gfown-Vp Land! "Very diligently, -second count. Some day I’ll be one famous fellow." ETUDE rags -125 Page SU APRIL 1928 TE^ ETUDjjJ Junior Etude Contest Junior Etude will award three Office, 1712 Chestnut St., Philadelphia, Pa., dHE -zes eacb month for the best and before the tenth of April. Names of pretty Pn St0ries or essays and an- Pr'ze winners and their contributions will neatest orig be published in the issue for June. Little ‘Biographies for (flub ridice,” and “Alceste.” Altogether he wrote An Adventure with the Spirit STKWtPfor story or essay this month- , Put >'our name and uP?er left over thirty operas. Question Box Subject i°r ^ hand corner of paper, and address on upper ‘Meetings Some of his “reforms” were to give the of Music Dear Junior Etude: „A Mus.cal Genius. Must contam not right hand corner of paper. If your con¬ fer one hundred and fifty words. Any trjbution takes more than one piece of pa- chorus more to sing, to make the words (Continued from Page 323) Are the hands always to be taken off more important, to put more action into the the keys in any kind of a rest? h v or girl under fifteen years of age may pCr do tjjis on each piece, 6—Gluck No. story, and to make the orchestra more quaint, old-fashioned Gavotte. It is in S. E. K. (age 12), compete whether a subscriber or not. Do not use typewriters. musical. In doing these things he was The little Biography last month told four-four time but should really begin on California. All contributions must bear name, age Competitors who do not comply with very successful. about Beethoven, as you remember; and count three of the measure, although some Answer. If the hands remained on the , ddress 0f sender written plainly, and ALL of the above conditions will n His health failed and he died in 1787 of course everybody was already familiar keys the rest would not be observed; but 3,1 be received at the Junior Etude considered. (his full name v Some of his smaller flaying at‘Recitals Puzzle Corner ^Dancc ^the ifirits, Prize Winner Horrors! There were two mistakes (Also arranged for four hands) ere is bound to be some anxiety on printed in the puzzle in January. There is Gavotte from “Iohiffenie en Aulide ’ , / Have Lost My Eurydicc from “ I rrri rrr Questions on Little rrr rrr Biographies Everybody knows ck Answers to Ask Another Waltz LYRE AND WREATH WINGED HARP Prize, Class, Club or Choir Pin Prize, Class, Club or Choir Pm CS'K” CK" °“"S" “tS" cA“’E" ctel? St? «3r Playing at ‘Recitals Prize Winner Prize Winners for January Puzzle saw" tals I think you should remember three - mb,™ bob Jakuskv m ““ r Stephan (Age 8). Playing at Recitals Prize Winner There are manv reasons whv children reSsbC rT1 t0 ,play tiheirrcs^lSt of llt&Lra MBAS*- A=ii TT where perfect playing could be heard, would like it. Then there is another c-&2^tt’3lZ£Sl22l ^ct, and could understand1 wiiat music doe - h; w>«M. * K' S*i^ tora^U‘ Theodore Presser Co. chestnut st. Phila., Pa. St^on^uch oaccda W°Uld ^ ^ are “Iphigenie en Aulide,” “Orpheo ed Eu- THE ETUDE APRIL 1928 Page 327 Page 826 APRIL 1928 THU ETUDE DELIGHTFUL PIECES FOR JUNIOR ETUDE READERS gducational study notes on VYlUSIC -— (Ebomnastrrs dmiir IN THE JUNIOR tTUDE FOR THE MOflTH OF JUNE, 1928 By Edgar Alden Barrell (a) in front of anthems indicates they are of moderate difficulty, while (b) anthems are easier ones. ’s Waltz, By Margaret A. Wilson Date MORNING SERVICE EVENING SERVICE Priscilla on Friday, By Mathildc Bilbro This set of “Priscilla” very pleasing waltz is pieces has brought, hapRTtto- PRELUDE PRELUDE Organ: Intermezzo.Sheppard Organ: A Night Song.Harris hands everywhere, and we are Piano: Chorale and Interlude..Rogers Piano: O Sanctissima.Thomas sorry that Saturday will come Magnificat and Nunc Dimittis in around so quickly, ^when, we Te Deum in A-flat.Jones B-flat .Stanford T H (3> Bei°noett^™^r?enB Nevin (b) ThAynWin Be' bone.*"8?. BRuebT,h aiHii? D —^Y. — ”.— gEfJSSKS & | ssshs&n te teVSb'%»'.::hSSS T E N T OFFERTORY Softly Now t°rFEgRYofRYcoim | H With All .Your Hearts.Roberts •Mar?. Wary PianoV Marc!? of tie' Noble'.'. fS By Mrs. B. R. Martin I fe! is£tt~.:£X V E (a) O God Unseen, Yet Ever ^ (3) HKieN?™E”SEra Marks N (b) A Prayer.Engelmann T (b) 0 Come'Let Us Say Unto %Answers to E im N O . (S^sol^wit^optionar^iolin Obbligato) Qan You ‘JjelUxTL T POSTLUDE . Piano:MAlIa' Marii'a'.0'. PRELUDE T June .Tschaikowsky (Violin, with Organ or Piano Accpt.) Piagnon:' ^M^^V.Y.V.jlSSoS ?y Y tiis F O U Love DivineOFFERT°RY....Rockwen *. ‘sasi=:6 R T Organ: March of the Flowers. .Harker POSTLUDE Piano: Festival Procession 5. (a) Verdi’s “Rigoletto.” (b) H Organ: Postlude in A.Galbraith March .Rathbun Woman is Fickle. (Four-hands) 6. Tschaikowsky. 7. Minnie Hauk. Anyone interested 8. In a triplet of thirty-second * i request. V i*- ° ’ ^ the end of this piece ^jg eachnoterepre SCHOOL MUSIC Catalog Sent Gratis Upon Request positions—mostly for A very‘helpful catalog for School and College Directors and Music Supervisors. It lists numbers for Unison Two in^St Louis, Missour: Orche^r^Col^ecHons^ Writin ^Bookit ^ EtcSCS * f#r Special 0ccasions* Operettas, Sight Reading Material* clearly accented. large vocal composition; or THEODORE PRESSER CO., 1712-1714 Chestnut Street, PHILADELPHIA, PA. I Skipped and Skipped, By Mary Gail Clark an independent orchestral The little melody somehow composition in the form of skipping. the work-mentioned. Notice-Je tl rests in the left hand part. Be sure to take ir hand up e\ “^This is , Engravers Jtourt AND Lithographers The benefits derived from ensemble playing are ina Fpl*'Write to us about anything in this line greater extent when combining a larger number of violin sU Vi . SEND FOR ITEMIZED PRICE USX compact violin choir, subdivided into three to four distinct secti The Music Supplement of this Magazine is Printed byT/s suppor mg this ensemble with violas and cellos, where they . or with an accompanying piano part, to develop cam WOrkrh taste and untierstaiidiitg.,,~Leopold Auer. ’ Copyright 1915 by Theodore Presger Co. o7 oqk Other Music Sections in this issue on pages 259, 287, 295 APRIL 1928 Page 329 Page 328 APRIL 1928 THE ETUDE THE etude VALSB PETITE f ' D C. & Codas ~w THE WICKED WITCH CARL WILHELM KERN, Op. 500, No. 2 Very characteristic; an excellent study in freedom. Grade 2*. Allegretto con spirito m.m. J = 108 l.h. *| iixiiA Copyright 1928 by Theodore Presser Co. British Copyright secured THE HAPPY SHEPHERD A fine left hand melody. Grade 2£ British Copyright secured Copyright 1923 Theo. Presser Co I SKIPPED AND SKIPPED ®R.du‘3dskipped |SM^“iSi ]d..d I’d left my mother behind. I Skipped back before she could mind. MARY GAIL CLARK Allegretto grazioso i _ 5. 5_ -L British Copyright secured British Copyright secured Copyright 1927 by Theodore Presser Co. APRIL 1928 Page 831 the etude Page 330 APRIL 1928 TER ETUDE A gay little dance movement. Grade 2. GOLDIE’S WALTZ I MARGARET A. WILSON Moderato m. m. J.= 54 When Summer Comes keep up musical interest in your community with special classes —s- 4 : 3 "*-3- 4 1 1 5 ”3-"-“T 4 a4ny One of oAny cAge Hpt Informed on iMusical £>Matters will find it ‘Profitable to Join 5 3 5 I 5 a tempo 3 3 a Special Summer zMusic History Class or Study Club Using as a (juide ■ 3 "^5 \ Fine u /Y. 1 8 > « 5 * 1 » p j ~ii~ The Standard History of Music By James Francis Cooke rit. p PROFUSELY ILLUSTRATED—ENGAGINGLY WRITTEN—UP-TO-DATE—THE MOST POPULAR MUSICAL HISTORY—CLOTH BOUND ^ rff ^ f t 0 1* 1* Price, #1.50 * 11 5 3 5 3 9 1 4 3 if ^ The matter oi a summer music history class need not be approached timidly by l®aCfh 3 5 3 3 respectable member of the community may be invited to join. Not one, but a brines the The more folk the teacher 5 D. O music history clubs may be started and the nominal fee to each member or each r /T • ■ . > 1, 4 Every pupil regularly taking *| teacher a comfortable and profitable summer revenue. Classes for school childrenaftem,oond.isses either through class, private should be invited to join a for the ladies, and evening classes for those who cannot conveniently 4ev y S If the or self - study, the more possible if proper publicity, initiative and intelligence are combined in the . , profitable readily will future pupils sic history class. It tends community is small, a family affair, with all ages represented, can be made to hold interest and develop to all. Thousands of teachers know “The Standard History o Music ^dhowadmiraby study be secured. answers for a text-book. Those who do not know it need only to mmme a copy to have enthusiasm aroused over the possibilities of using it to stir up a real musical interest in their communities. An All-Year-’Round Delight Tell Music Lovers, Singers to Little Students and Lovers and Students of the New cpiano Classes for Children of Music. Ideal for Easily Pleasure they will have in Formed Special Summer Music After a Summer of Fill Your Classes by telling parents of the. special summer class Primaries in Musical History Study in Your Class Using plan by which, for so little cost, you can give their children know edge of, and performing ability in, the great art of music. Any lnteJhg*=nt parent even though a piano is not in the home at present, will Young Folks’ Picture Harmony Book appreciate the value of giving the child the opportunity through a class of obtaining something which woulS cost considerably more by History of Music for Beginners individual instruction. Individual instruction never will be s"rP“sed’ but the class method is ideal for awakening interest and gmng By James Francis Cooke By Preston Ware Orem musical opportunities to many who might rther^sebeeftmusicaUy ignorant and subject to social embarrassment later in life because ot A Book that Magnifies the Average A Text-Book that Lays a Most Sub¬ Child’s Interest in All Music Study. such ignorance. stantial Foundation for Real Musician- Its Popularity with Teachers Indicates ship by Making the First Steps in Its Merits Flarmony Easy to Grasp “Harmony Book for Beginners" is The author begins with the old brief, simple, vital, practical, and dis¬ MUSIC PLAY FOR EVERY DAY Greek fable regarding the origin of tinctive. It is an excellent text book music and soon leads to the facts relat¬ ing to the growth of musical art in such for class or private instruction as well °° ■» #From here go back to the beginning and play to Fine; then play Trio. as an admirable book for self'help. It an engaging manner that the young reader is fascinated with musical lore. Copyright 1926 by Theodore Presser Co. gives the main essentials of the subject A “brand new” book for piano beginners that engages the hwof British Copyright secured in such simple, understandable and in' children just like a delightful little tots story and picture book. It^s the Then, in due course, little biographical outlines and anecdotes are given of the By a very popular French teresting manner that it will prove in- valuable in first Harmony instruction or thTwayfiiTwhich Si"^bS^aiTerge^L8^ beneficial knowledge old masters. More important modern writer. Grade If. SANDMAN’S SERENADE masters are briefly introduced, thus ac¬ as a self-tutor. This work is not a re¬ quainting the young musician with hash of the old “cut and dried har¬ monies, but a fresh, new, sound treat¬ practically all of. the great composers. rr^ ^ - -1 jO 0-^ 3i ~~ i/-■ ment along modern lines. Hundreds of Throughout the printed pages of the -- r new in the “play-times” allotted. No teacher or prospective book there are numbered spaces and it enthusiastic letters have been received either fn "class or private, should neglect .-king the from delighted users of this book and is play for the juvenile to cut out of leading musicians and critics have acquaintance of this book which gives music a new and decidedly more picture sheets provided, the one hun¬ attractive appeal to children than any other first instructor. praised it unstintedly. dred and some odd pictures and paste \ p them in proper spaces in the book. Price, #1.25 These attractive illustrations arouse an -l-d Classes of Boys and Girls, Who Feel, Considerably the Seniors of interest in the things and individuals /yntl J 4 3 HI =H= -M r t£=T~l Kindergarten and Primary Tots, Progress F.nely with— and instruments pictured, and while ' ~5 ' 8~^ ■' si =11 For Further Study they apparently provide play with scis¬ . Fine FIRST YEAR AT THE PIANO sors and paste, they are leading the Theory and Composition child to a wealth of information on of Music By John M. Williams things musical. complete in One Book, Price *1.00 In Four Par. lor Class Use, Each 35c By Preston Ware Orem A natural play-like process of evolv¬ Few progressive teachers are not somewhat acquainted with the Poetical ing tunes is given, and so the young May be taken up by anyone having and successful teaching ideas of John M. Williams. Many agree that the student may get the fascination of writ¬ an elementary knowledge of harmony. i y,ar at the Piano” is one of his finest educational works. Tremendously ing little melodies, there are a half It teaches melody making, harmonizing successful as published originally complete, popular demand for it m parts for dozen pages of wide-spread music staves melodies, how to write an accompani¬ o^venience in its use as a class instructor caused its recent publication in four provided. ment, modulation, modern harmony, parts lt is a commonsense work throughout and aids the teacher to achieve Price, #1.00 and musical forms. excellent results. Price, #1.25 Accessories of Music Teaching (Sent Free) s. Handbook” if Interested in Writing Books, Rudimentary W DIRECT MAIL SERVICE ON EVERYTHING IN MUSIC PUBLICATIONS THEODORE PRESSER Co.1712.1714 chestnut street, PHILADELPHIA, penna. Copyright by E. Weiller, APRIL 1028 Page S33 tiie etude Page 332 APRIL 1928 TEE ETUDE A Night in Palestine Part Songs for Soprano, Concert Orchestra Folio Keyboard Adventures Opera Alto and Bass Voices orchestra hooks have proven For the Pianoforte o popular n the past that the announce- By A. Louis Scarmolin By Jac a Weinb collection which v collection has been hailed i l is alwavs helpful to teachers to have The publication of an opera of tins book will be vailable a 7arge variety of interesting kind, which has the proportions of a grand the first time. - ... HOIiiewnai m0re aavaneeciadvanced thanman our Seniorsenior , , works'in:n theti._ eaVlyriv grades. Op-On- opera, is a tremendoustreroenuuus undertakinguuuc. lan....*. **.-The bright, easy and melodious secular part- Orchestra Book. The numbers will be of , •?J? ,. V _Presented_j. *1 'to1.. vary. 41,wVivyiujilthe physical task of engravingenirravmir and proof read- ■?* -ry .n?!,c d - brilliantU( lH «.U(UatlU,character, although notilt/l Will*.difficult, Mi L, ffiLSCSfimatWi'ai'used with beginners who are prac- ing the necessary music platemates isjs aTheater greater There is much demand at present for su|ted for concert and exhibition purposes, tically neighbors with each other. woik than can be app ■. ^details of choruses arranged in this manner. The The orchestrations will all be extremely• However, Keyboard Adventures is such familiar with the mechanical .detarfs of idea is that the bass part be taken by all weH made and effective in any combinationn a work that can be utilized witii practically getting musical manuscript into print of the boys, while the soprano and alto of instruments. The same instrumenta-■- every voumr beginner, since it is a set of In addition to this there are such de- parts are divided among the girls. To tion win he used in this connection " 7 ^ studies nicely covering special tails__„ ....- a- fine English t-nslationtranslation under {he1 . soprano„,v»YY...nr» nart.part, if desired,fiesired. maymnv behe armedadded the11.„ Presses’,r>.. Popular Orchestra^ T ...... Bookt*_ and *“f efamentiTtectafa ’ They way and the publication of such a work the unchanged voices of younger boys. In ^ 0rcheJa Boofc. Every player I? ^;_ IV’”also is7 a“ most’T" expensiveccess be achieved~—' —* in its This Summer and You THE REAL SECRET OF MUSICAL Commencement Music oj-der to make these choruses go well and will. have something.„ goodr. to do but r nd crade Just as a vacation from an though great success be achieved m its If this Summer runs true to form it will EDUCATIONAL SUCCESS Now is the time school music super¬ to obviate the necessity of too much in- t00 much to do. A few of the numbers Extraction book or a larger volume of presentation J>y ’ visors and teachers turn their attention dependent part singing, tiie melodies in appearing in the new collection s ures *es, sales of the printed Sl¬ be full of sunshine, flowers, blue skies find these arrangements are assigned chiefly.- ..asy study material, Keyboard Advi singing birds. A carrying over of all the HEN all is said and done the secret of musical success gets right to the selection of suitable music for the Virginia Dance, by Atherton; March- will be found helpful in holding the ater- amount to figures insuring worth-while to the bass parts. Tiie material used is „jns profits to anyone, publishing such a work. happy things of this Summer into next / down to one thing—giant interest. graduation exercises or commencement i Peace, by Roeckel; In the Pavilioni'A est of young students and encou Fall, next Winter and many years to come, All the books on pedagogy and psychology in all languages echo program. We are prepared this year as selected from some of the most effective ■by Cadman; Polish Dance, by Prii Because of this, the opera, A Night in and appropriate numbers in our catalog. rnany others. “e’ ‘ them to further practice. can be done by not letting this Summer go this over and over again. never before to render expert assistance Botli treble and bass clefs are used. The Palestine, is to be undertaken for publica¬ by without really accomplishing some¬ This too is the reason for the long continued success of The Etude in making selections and our incomparable Some of the numbers are entirely original While the Concert Orchestra Folio is ii e of publication price is 30 cents a tion upon a subscription basis, guarantee¬ thing worth while. The time spent in re¬ Music Magazine. catalog is rich in suitable material. Those for this combination of voices while others preparation we are booking orders for ing the first edition. laxation or play out-of-doors will be en¬ By maintaining unceasing delightful interest in music in the home and wishing to have us make up selections for have been especially arranged from some C()pies deliverable when published at the cfT>’ P0StP-lla- Students of opera, as well as cultured joyed much more after hours in which in the studio teachers have found that the plan of having all of their pupils them need only write a letter telling the of our favorite numbers. None of the special iow advance of publication price musicians, music lovers and all others something of value in the future years has subscribe to Tite Etude regularly is of utmost importance to them. grade of work desired, the voice combin¬ selections will be found in any other book. ()f jr* cents per copy for the various parts Playtime Book wishing to give their patronage to the pub¬ The special introductory price i lication of this Jewish folk opera, can do been gained. Particularly, with vacation days not so far distant, this is a fine month ations available and any other information and 30 cents for the piano accompaniment. By Mil in which to enlist new Etude subscribers. Every issue is of permanent value of publication is 30 cents per copy, so at the rate of $5.00 for each copy they Those in the music world know that they they think would be of assistance. Their This is another little recreation hook value, and of great interest at any season, but just consider how much Tiie postpaid. wish delivered to them or their friends never can exhaust the study of this great request will he given into the hands of a Preparatory Exercises which is an aid in making music study art and that, they must apply many hours Etude will contribute to a “keeping up” of musical interest all summer. trained music clerk, there to receive Tt affords the uPon publication, or $10.00, if a copy of to gaining a full appreciation of music in How can your pupils spend $2.00 more to their advantage and to your in Double Stopping agreeable to young playi ... It attorns tne j)(. j.uxe edition, bound in prompt, individual attention and a selec¬ notation and key- gtaTOped Jn poU1, ,g desired. all its forms and an ability to give to business insurance? Book of Part Songs for Boys opportunity for learning tion of music sent, any or all of which For the Violin board geography in a very pleasant others enjoyment in the art of music. Why not make your entire class 100% Etude subscribers? may he returned if it docs not prove satis¬ with Changing Voices The composer has been prevailed upon The average year is 365 days. By the By O. Sevcik—Or. 9 ner and by successive steps. Tt a{ai to aagreegree to autograpnautograph every copy 1of the factory. velops a sense of melody aud tbe meaiung ,... md21 this numbered..1_i editi no time you take out Sundays, holidays, a For the convenience of those wishing to ,-ork is now irly ready. Among the foremost additions, in recent two week’s vacation and perhaps another make their own selections we have issued n and orig- ears, to the Presser Collection arc the ■, . , . , t_ weu as subsequent editions, will include half-day every week, there are only 268 ST in two, three c violin studies edited by Mr. Otto Meyer, a p 1 drav a folder entitled “Commencement Music,” ccordance with andmodernJa.P_P I“Lteachingr,!^!. idt the a Panted list of the subscribers to tiie days left. Deducting the hours that are first edition. Advance of Publication Offers—April, 1928 which will be sent upon request. The fol¬ Sevcik1 100k begins witii Middle C and with used for sleeping, eating, riding here or lowing numbers published during the past Meyer_ Already subscriptions have been received there, attending to personal appearance Paragraphs on These Forthcoming Publications will be found under These Notes. and the texts are such as will prove highly this important work of the celebrated figer. . . n from out-standing folk of both Jewish and year are especially appropriate: The special introductory price in ad- and comforts, engaging in profitable even¬ These Works are in the course of Preparation and Ordered Copies will be interesting. The numbers are all. very master of the violin and we feel certain Gentile birth and subscribers becoming ing relaxation, entertainment or social life delivered when ready For Mixed Voices tuneful and tiie harmonies that are intro- that our many patrons in the violin teach¬ ance of publication is 30 cents per copy. patrons of this work have the opportunity and in casual conversation, we find that The Slave, H. P. Hopkins. dneed are such as have proven populai ing profession will welcome the opportun- of virtually associating themselves with the hours left in a year total about 100 A «d Pieces—Piano_ Melodious Study Album f Four Indian Songs, 1'hurlow Lieurnnce. part songs of this character. ";y of adding it to their teaching library. some notable people in giving the world days. B ta—Stolts. Rue—A Pueblo Spring Song. The special introductory price in ad¬ This work will soon be ready and prior Piano Dialogs an opportunity to become acquainted with oods FROM Nature—Piano—N A teacher or an adult lover of music B for Boys with Chai Chant of the Corn Grinders. vance o! publication is 30 "cents per copy, to its publication we are offering it to By Helen L. CrajJJH a great musical art work that has been utilizes in professional and business activi¬ ight in Palestine, A—Opera- The Deserted Lodge. postpaid. advance subscribers at the very low price v about off the produced by a writer of tins d iy and age ties in the course of a year enough hours C Regular Edition. The Owl Hoots on a Tepee Pole. of 35 cents a copy, postpaid. .:_ A folder giving full details of the story The Same—De Luxe Edition to total 85, to 90 days. This leaves an For Soprano. Alto and Bass Betty Lou average of only between 7 and 8 hours each irt Songs for Soprano, Alti I.yf Attainments, world-famous musicians upon its merits CONCEI 1—Vioi Sunshine in Rainbow Valley, Bernard Comic Opera First Folk Songs two young students of equal attainments, week, from which time may be taken for Hamblen. will be sent to anyone interested. lessons in music and study or practice in 2—Violin—Seitz. By R. M. Stults For Violin With Plvno Accompaniment or by teacher and pupil. The fact that the little pieces are called Dialogs, indi¬ order to become more proficient in the art. Eclectic ano Studies—Heinze. ..SOc. For Three Part. Treble Voices By Mabel Madison Watson First Folk Songs—Violin—Watson. e Book—Pu: This is the kind of a comic opera that cates that the parts for the two players Concertino No. 1 and No. 2 When this is all the time that is avail¬ . ,30c. My Arcadv, A. P. Rishcr. offers young people a wholesome lot of There is nothing that encourages the y Exercises in Doub__,, Trees, A Sister of Mercy. .i- —- ■■ . „ are somewhat independent. Each player able, despite the fact that the actual vaca¬ Heller—Phillifp—Studies in Musician melodious music and entertainment to pre- student of an instrument more, especially ticipates in thc melodic scheme, and Violin and Piano tion is limited to but two weeks, just think ship—Piano—Four Books, Each. —Violin—O. Sevcik, op. 9.3SC. For Two Part, Treble Voices sent to their audiences. in the elementary stages, than by having Jvherev^r the melody enters, it is accom- By F. Seitz how few hours are available ' the'' course Keyboard Adventures—Scarmolin . Shepherd, The—Musical Play—Bilbro. . ,33c. Stories to Sing To—Taylor.20c. The Early Morning Breaks, William Many who have used this ... _ -...1-t o play A good tune is appropriate text. This little The Seitz’ Concertos occupy an impor¬ of a year, if the vacation is e__ Baines. poser's “ 1 Iearts and Blossoms,” “Folderol” always a delight, , even if it ls made up of ^ ofPPe Pest possible introdue- one of a moderate, sensible period to .... Litt“ Study Pieces in the Classic Tunes for Little Folks—Piano—Preston.35c. tant place in violin literature. Sometimes A Fairy Barcarolle, William Berwald. and other comic operas for amateur pro- blIt a few separate«te tones. The idea of ^ to four.hand paying. eral months of absolute idleness. Forms—Hammond . Twenty-five Primary Pieces—Wright. .. ,35c. called the Students’ or Pupils’ Concertos, Pickaninny Sandman, Sarah Talbert. duction will be eager to make a presenta- Watson ’s new book1 js to supplement The special introductory price in ad- because of their frequent use as pupils’ re¬ The earnest and ambitious music student m of “Betty Lou.” any First Instruction Book or Violin vance {)y Look to Your Banners, Meycrbeer-Fel- tion of “Bi” T of publication is 30 cents per copy. cital numbers, they furnish the student with and the progressive teacher upon consider¬ ton. Perhaps some who are reading this an- Method with material of the character t ifl ing this will he spurred to continuing .study Stories TO Sing To cent,y Mrs.. Preston has begun to write in a remarkable amount of practice in various in the Summer months. Sunrise, Moszkowski-Felton. nouneemluncement_ of__ “Betty__ Lou” have never outlined. The playing of familiar tunes technical difficulties for which he is well eluded in tlieir musical activities the tends to develop musical understanding An Easy, Effective and Interesting coflecUon'of^m^hJ^f 'f'r V Sunshine in Rainbow Valley, Hamblen. included in tlieir musical activities the tends to develop i- repaid by having at his command, when Teachers also should remind parents of production and presentation of anything r-lpbt from the beginning. In the begin- Piano Voluntaries younger children that the release of their Method of Developing the Sense of nfeces IV, " Y °f sl\ort ^t-grade Hey, Hilly, Ho!, William Baines. mastered, compositions that will alwa Pitch in Young Children ]:rs). ni A a-Y e used as tlle Vf'ry of this character, but once one has had the n;n{, 0f this work only, the open strings children from school studies is not a gift first pieces tor any young student, or they For Men’s Voices This new book will be entirely different entertain Ws listeners. The Number T’ of time for_,. idleness, but a presentation,__L of Gladys Iaylor may be used to supplement any instruction Land-Sighting, Edvard Grieg. thrill of giving a group of amateurs, par- are used and the stopping of the fingers m euBwnucontents, 1IUU1from thew books that we„v. iiave...... rC()ncerto.)n„Prt0 can be ppiavcillayed entirelyentireiv *m tne' opportunity for tlieir children to give This little work is a novelty in elemen- book. They start out in the five-finger ticularlv when they are in tlieir latter is introduced by degrees. There is an ea y pubijshed previously, suitable to he used pirst Position and thJ Number One takes better-than-ever attention to accomplish- tary teaching. The idea is to develop the position, after middle C has been located, teens and early 20’s, an opportunity to but interesting accompaniment through- for Cburcb or Sunday playing. While all . .j First and Third Positions. T'lie Intriguing Rhythm join in something of this cluiracter, which out and there are opportunities for a sec- them, of course, will be good piar" . ... ing something that will lift their mature sense of pitch in very young students by an(t at the beginning only one hand plays gives them so much fun, there is sure to Qnd violin to play along. This work will - . ■ -*--l years out of a “hum-drum work-a-day” a stimulation of the imagination, through at a time. The book works up to the point This has been called “the era of rhythm” P_| all will have a certain churcbly _ existence. It is the duty of those in ma- the imitation of various sounds such as where the students play melodies with m music. Fifty years ago very few be a resolution made to do something of be ready very soon. _ . flavor. The melodic character will pre- to”the Pressed Collection, which the sort regularly each year. The special introductory price m ad- turity to make reasonable efforts toward those of animals and of bells, at certain simple harmonics or accompaniments, teachers attempted to teach rhythms, in dominate, together with the singing style means t]iat t]le discriminating teacher will guiding children into using to good advan- definite degrees of pitch. In this book The special introductory price in ad- the earlier grades, other than the exact Anyone interested in comic opera for vance of publication is 60 cents per copy, of delivery, but there will be numbers .f th,g edition after 5fs' excellences tage some of the hours that are available there are two stories: The Rainbow Cat vance of publication is 35 cents per copy, tour-cornered or three-cornered varieties. amateurs, or contemplating having such postpaid. adapted for the usual purposes in church h'ave j)e(,n brou„bt to llis attention. The to them for valuable and beneficial things and Ding Dong. In the first story the postpaid. Music was hopelessly angular. It was -n interest in the future, now has the op- playing; such as, preludes, posthides and ndvan(,c of pubHcation price is 35 cents s the study of music. sounds are used as oral exercises, "E.G., either as triangular as a metronome or as portunity to file an Advance of- Publication- Studies in Musicianship voluntaries. Classic, modern and con- ff)r e|tbpr voi„me, fiO cents for both, post¬ The Theodore Presser Co. will be glad which is higher, the purple cat’s “Miaow” The Shepherd square as a brick. Now the fairy charm of order with fifty cents, to insure receiving Select Studies for the Pianoforte temporary writers will be represented. to send a “Descriptive Catalog of Musical or the green cat’s “Miaow”? etc. In the Musical Play for Children rhythm is added to teaehing'inaterials. postpaid when it is published, a copy of By Stephen Heller The pieces will be of intermediate grade Literature Books.” One’s store of musical second story, the members of the class Bg Mathilde Bilbro Rhythm is always a fascinating subject this bright, pleasing new musical play, In Four Books chiefly. Eclectic Piano Studies knowledge may be increased through Sum- imitate the sounds of bells at various “Betty Lou.” The special introductory price in ad- This is a short operetta in ten numbers. to teach. It presents difficulties, but there Edited by Isidor Philipp Compiled by Louis G. Heinze mer reading and self study. Helpful cata- pitches, IS nothing which will make the playing of mni'e of publication is 50 cents per copy. logs that will aid teachers to select 1 o arranged that danci The piano teacher who sees to it that |d Selecting from the wealth of material _ew The special introductory price in ad- mavS\eUiiNerir\vifhirt;TaTLC\V'aVtii'Kt,S the pupil “perk up” like rhythmic figures. students receive a good technical training » materials witii which to make their Sum- vance of publication fa 20 cents per copy, Although in three J ^.°™e Jeac^iers have made the discovery Moods from Nature used by him in his piano teaching expe¬ mer classes particularly attractive will be postpaid. .. . o■ — three acts, the work is very rience of many years, only that which has short, consuming only an hour and one-half that rhythm must be “caught” like the Four Sketches for the Pianoforte tt Melodious Study Album sent on request. measles. The teacher sets the pattern and proven most helpful in the grades covered in production. The libretto is based upon By Gordon Balcii Nevin preseiu.-u«jrpresent-day --demands for- r"r|l1 for Young Players by this book, Mr. Heinze presents this Tunes for Little Folks two of the Aesop fables. Miss Bilbro’s the pupil copies, like a student in a paint- ers atelier until the knack becomes a tech¬ By Arnoldo Sartorio work as a continuation of his previous con¬ For i : Pi a? work is too well known to call for ex¬ T„i; M .. sow r„«y « nical asset. This book is now ready but the special tributions, The Piano Beginner and The TwentyTive Primary Pieces By M. L. Preston tended comments. We can recommend this he studies in Opus 47, 46 and 45, there Tins dook 'jenuy u.c uu... ^ pianQ p, 'student8 in tbe work very highly. All this is to introduce a verv remark- fftssr ™.r“srs“diu3 K.«?«>»>».^5«r For tiie Pianoforte Mrs. M. L. Preston is a compos ... -^ ab'e set of Pieces known as Chelsea Bric- known through his songs and organ pieces, The special introductory price in ad- hut' ’ , . . . .-:- By N. Louise Wright known tor her many melodious teaching vance ofr publication copy, n Scac by the English composer, Percy ... _ . fil/fndvmatefaT fromsome little- many books of second-grade studies be in material given them and this Mr. Heinze pieces of intermediate grade. Just re- postpaid. Godfrey. A word to the wise is sufficient. composition. The four pieces comprising very fine*rtuttylt,a™ tr< the teacher’s curriculum in order that there has furnished by selecting the various The Very First, Pieces Played at the It you are looking for a means of inject¬ Moods from Nature, are in characteristic k"X„ affiliation fa made of these four will be plenty of variety in the work. One studies from the works of all the foremost Keyboard, by Miss Wright has had great ing freshness in your teaching, you'will, vein and verv cleverly constructed, em- lUien ^ represent,'!- tires of using the same old studies all the authont.es on pianoforte teaching. Care- success and this new book may be used as make no mistake in trying out some of ploying some of the more agreeable re- volul^, they are sure to T I me It lightens the pupil’s interest If 7 edited and progressively arranged, a continuation. It works its way through these pieces. They are about Grade 2 to sources of modern harmony. This volume t'on .’"^ecurneiUa o y too, to hear and to use new material. Mr. the teacher will And this book, one of much various little study pieces in characteristic According to the proverb, 3. Here are the titles: will he gotten out in handsome style each schools a"dnnCr°“e,ffeS ®M™ntIo„ orders for Sartorio’s new book is one of the best col- assistance, and many, no doubt, will add vein right into second grade work. All of Pierrette .. Piece being accompanied bv a beautiful The a nes Pf studies in musician- lections of original second-grade material 'l to their regular teaching curriculum, the pieces are of picturesque character “ The best things are the most difficult. ” Pas de Chat—Pussy’s Ballet...... 35 illustrative”photograph taken by the com- t at fO cents fm each that we have seen. advance of publication we are accept- and very tuneful. Pierrot . 35 fi-er himself. , shl.P W'‘V’irPc{ P?bus the entire group • The special introductory price in ad- orders for Eclectic Piano Studies at Tiie, special introductory price in ad¬ —Plutarch Amourette . 30 Tiie special introductory price in■ ad-t rn V lie "d .or tbl J. ,ance JpnmctiVion * SOU. per copy, the special price 35 cents a copy postpaid. Fox Trot ..30 vance of publication is 35 cents per copy. vance of publication is 50 cents per copy, |"“^sn^ay,{)‘c'ordered"singly if desired. postpaid.' {Continued on Page 334) Chorus of Flower Girls...... iso Advertisement pos paid. Advertisement APRIL 1928 Page i. Till'] ETUDE the etude Page 334 APRIL 1923 “Ghat the Guests ‘May be Contented” T5he Vi/orld of ‘Music This came as a great shock to me and in¬ THE ETUDE MUSIC MAGAZINE Sir Landon Ronald, English composer, conductor and director of the London cidentally spoiled my appetite. Announces that the Series of “However, with the help of some ad¬ Guildhall School of Music, includes a mirable food and some good Scotch chapter of “Stories Against Myself” in Musical Travelooues whisky, I was beginning to feel ‘fit for his book of “Variations on a Personal Memorable Visits to European Musical Shrines the fight’ as the tinie drew near for me Theme.” to speak. I had written down certain notes In one of these he explains how he By James Francis Cooke on the back of the menu and was just fared at a city banquet given by the Drap¬ Will Begin in The Etude for May, 1928 taking my final ‘wee drappie’ when the Many years ago Mr. Cooke wrote a similar series which attracted the ers’ Company. , . T Master of Ceremonies, who was an enor¬ “On my arrival at their superb hall, l enthusiastic attention of music circles the world over. mous man with a long black beard, came The new series will be marked by rare information, important historical was met on the staircase by the clerk who informed me that Sir Alexander Macken¬ and touched me on the shoulder and said notes, the atmosphere of romance and the spice of genial humor. in a fairly audible whisper, ‘Mr. Landon Arrange your subscription now so that you will not miss this delightful zie had sent a wire saying that illness pre¬ Ronald, will you make your speech now. and profitable feature. vented his attendance and that it devolved ! The Theodore Pressor Co. has a , or let the guests enjoy themselves a little ! ledger of patrons In all parts of Send $2.00 to The Etude and we will commence your subscription at once. upon me, as an official of the city’, to pro I the civilized world and conducts a pose the toast (of music) in his stead. longert” i great^volume of music business, In- supervision of the nationally known con¬ Improved Progressive Everbearing 1 Among those nations rich i musical tradition is Wales. Rich- cert saxophonist, H. Benne Henton. Mr. Strawberry—The hardiest of all berries. 1 ard II. Evans, whom we introduce I Henton is also a master teacher, and with It blooms early in the spring and com¬ this month, was horn in that little ; his co-editors, he imparts in this book val¬ mences fruiting from then on all summer; uneonquered country. He was brought to America at the very i uable hints on tone production and other 12 improved, everbearing strawberry early age of three, but his forma- 1 items of interest to the saxophone student, plants for one subscription. tive years found him surrounded by beside giving the best imaginable kind of Cumberland Black Raspberry—The Welsh traditions and users of the Welsh language, so that he is study material for progressing from a largest and best black cap grown. Six . fully conversant with Welsh at .. very beginner to an acceptable performer healthy plants for one subscription. i be aide to straighten1 out some of on the instrument. Many of the studies Cuthbert Red Raspberry—Theslargest in CORRESPONDENCE SINGING COURSE. our order clerks’ perplexities over “ A FELLOWSHIP OF $2,500 1’.... . I orders written in Welsh or giving have a second saxophone part. The price size of any red raspberry. Six properly Small Monthly Payments. of this method is $1.00. trimmed plants will keep an ordinary-sized WO IIUNDREDTH^NNWER^ARY open to Dr. Wooler, Cleveland Ave., Buffalo, N. Y. Music Play for Every Day, a first piano family well supplied with fresh fruit. All instructor for young beginners also is six for one subscription. ; women who desire io uevoi.- . MODERN HARMONY—By correspon¬ “‘.V'jgi * 1 ^me;8 and time to pleasing work. Send applieat dence. Edmund C. Barton, 53 Chestnut St., withdrawn from advance of publication Address Collingwood Conservatory of Mi for this month. Although at this writing 2310 Collingwood Ave., Toledo, Ohio. the book has not been placed upon the Now is the Time to established I*R VATE VIOLIN MUSIC COMPOSED to your words—Mr market, many who have seen it in its com¬ Plant Seeds Sf1 the Paris Opera. THE SCHUBERT CONTENNIAL PRIZES, pleted form unhesitatingly say that Music TEACHER desires poxiti Beautify your garden at no expense. We apletion of the “U Capable, conscici Play For Every Day will create a sensa¬ Symphony to the uuiupuoi poser "Sweetest Story Ever Told" and ( tion among those interested in piano in¬ will send you the following 16 packets of nurieuced ii other works, Ridley Park, Pa. structors for young beginners. It is pro¬ high-class flower seeds for only one new the FAVORITE MUSICAL COMPOSERS ^nbarWmthonhiciSwo?k ability at subscription. of Spanish radio audiences were recently aeter Schubert then,e. The c Address “8 fusely illustrated and more engaging than mined by a contest in which the result was as (the July date formerly any other piano instructor ever has been I pkt. Oriental Flower Garden. responsible). made for children and it is published com¬ 1 pkt. Aster, Extra Select Mixture. VerdT, 'Wagner.1" {^"^sini, Puccini Mol fl TadTS ; connection wnu 5 cat of'^Musief plete for $1.25, or in four parts at 40 cents 1 pkt. Sweet Peas, Choice Mixture. competiHons^of'thi^'smalative^omposws'cloMd A^reSsanpianph1627° Pea° for each part. Many teachers may use 1 pkt. Candytuft, All Colors Mixed. N. W., Washington, D. C. _ MUSIC ARRANGED—Vocal, orehest the work in parts in private instruction, 1 pkt. Calendula, Double Mixed. baud. J. Loftus, 544 Burrard St., Vancom but the main purpose of offering these 1 pkt. Calliopsis, Finest Mixed. parts is to serve kindergarten and pri¬ 1 pkt. Cosmos, Fine Mixture. HE ‘‘FOX BULLEnNOFTHE—^ FOR mary piano classes, for which it is ideally 1 pkt. Larkspur, Mixed. 1 pkt. Marigold, Giant African. sia by i he Soviet^Supteme^ouned for^physn T1,e Presser^Home^r^ReHredMusmJeac^rA 1 pkt. Mignonette, Sweet. h^eomn'i'issar^rff health a« “indecent products JeHlIin>'rnany eways.Vam ’ Attention! 1 pkt. Morning Glory, Choice Mixture. the fat American bourgeoise.” Phono- The D g Rodn 1 s 1 eet e t ely re ovated 1 pkt. Nasturtium, Tall Sorts, Choice. Everybody Responds to the Premium Workers 1 pkt. Poppy, Double and Single, All tv"0-nf the ‘broadcasting T thenTif f«- “ f ’“furt Here's your opportunity to obtain with Colors. £T four, “have been installed^ , New , hangings, new no expense and little effort, many useful 1 pkt. Scabiosa, Extra Select. articles. We have secured these from re¬ 1 pkt. Sweet Alyssum. Appeal of This Song— Album of Cross-Hand Pieces liable manufacturers and each one is guar¬ 1 pkt. Zinnia. COMPETITIONS ed by die fifty residents of t anteed by the manufacturer to give perfect All music lovers are lovers of nature. AFewExcellent Suggestions FREE FELLOWSHIPS to the ex The piano teacher who can combine the thousand dollars are offered by ’ Old-Fashioned Mother of Mine satisfaction. Following is a description If you have the space, here’s your oppor¬ for Male Voices should be^referred to th( play and study feature in the presentation of the gifts and the number of new Etude tunity to be a successful kitchen gardener. Music College, 60 East Van Buren The Presser Foundation i- by RICHARD KOUNTZ of progressive material to the pupil, even cago, Illinois. Competitions in June Words by MARK HERALD subscriptions (not your own) necessary We will send you 16 packets of the fol¬ Cat. No. Title Composer I Philadelphia, Fennsylvan JKey.-High.RaageF^rpmg^ 24020); Medium. E to F (Cat. No. 24021); after the elementary stages are passed, is 20621 Angelus, The her. Write for particulars. lat (Cgt. No. 24022) to secure these rewards: lowing vegetable seeds for only one new Thurlow TAcurance $ the one who usually is rated a success. Graded Pearl Choker—a very fine orna¬ subscription. 20710 Bow Down (A Spiritual) When technical difficulties can be taught ment ; only one new subscription. 1 pkt. Beet, Early Eclipse. through the use of interesting, tuneful Elaborate String of Pearl Beads—72 in. I pkt. Bean, Choice Early. 20586 Bull Pup, The (nrr. by EE* Xeuj Musical Wor\s, Reviewed pieces and introduced as early as the third Evans) Camille Sleekierr long; two new subscriptions. 1 pkt. Cabbage, All Season. 2040o Dreaming of My Old Home fac simile. For the collection, compilation grade, as is possible with the series “Al¬ A Beautiful Choker, made of small gold 1 pkt. Carrot, Oxheart. s.weet Home Geoffrey O’Hara Church Music and Musical Life is and preservation of these scattered and bums of Study Pieces for Special Pur¬ beads, mighty attractive; one new sub¬ 1 pkt. Cucumber, Everbearing. 20407 Gone Where the Woodbine poses,” why subject the pupil to hours of „„„„„ . Twineth R. M. Stulls Pennsylvania in the Eighteenth inaccessible annals, the reader’s thanks are scription. 1 pkt. Lettuce, Black Seeded Simpson. 20498 Long Ago in Alcala practice on dry-as-dust exercises? The Attractive Leather Envelope Purse—with 1 pkt. MUskmelon, Rocky Ford. M essagcr-Mattheirs Century due the Committee of Historical Research popularity of this series is phenomenal and 6189 X strap, suede lined and bound on edge with 1 pkt. Watermelon, Kleckley’s Select. When--.-.Ceil romantic appeal vivifiesllliuw the““ u-opages ^ pennSyivania Society of the Colonial this new addition, the Album of Cross- gold; only one new subscription. 1 pkt. Onion, Yellow Globe Danvers. V F. Widen er Hand Pieces bids fair to match its pre¬ nf. ViUtnriralhistorical fart,fact, a welcome from the j}ames 0f America. What devoted delv- Suede Change Purse—with fine gold 1 pkt. Parsley, Champion Moss Curled. ader is assured. When this appeal rep- jinn (jdeviousev;ous places has bbeen theirs! decessors if the advance sale is any criter¬ beaded edge; only one new subscription. 1 pkt'. Parsnip, Improved Hollow Crown. 20045 01’ Ci ion. Teachers should order copies now Francis Cooke isents the romance of the birth of a great Illjjj Volumes (I and II now ready) Leather Memorandum Pad—fitted with 1 pkt. Radish, Prize Mixture. 20729 Roses larden. The while it is being offered at the low intro¬ gold pencil; one new subscription. 1 pkt. Sweet Corn, Choice, Early. vilization, the element of interest mul- Published bybv the PennsylvaniaP< ductory price, 30 cents a copy, postpaid. Frank H. Greg Leather Address Book—size 4%x2J4 1 pkt. Squash, Genuine Hubbard. 20485 Sleepy Hollow "Tune plies in proportion to the immediate re- Society of the Colonial Another New and Attractive Song Worth Knowing tion of the reader to the theme in hand. Dames of America. ins. three pages for each letter of the al¬ 1 pkt. Turnip, Early Purple Top. 15752 Tragedy in China*™ Kount~ l“ (with JUNE COMING WE CANNOT BUT NOTE ITS FITNESS FOR WEDDINGS) Little Study Pieces in the phabet, leaves finished in gold; only one 1 pkt. Tomato, Stone. ,c , . ll\ Bcrwald .08' Herein lies the key which unlocks the Subscription: $21.00 new subscription. Male singing organizations would do Classic Forms wen to examine the two fun-making burl- :askct of fascination’’ and allows us to No single volumes to be had. Heart Secrets Send post card for circular describing njoy the spirit of these volumes. The _ By Fanny Reed Hammond many other attractive and useful gifts. Warning by John W. Brighai Lyric and Music by Edward Ellsworth Hipsher-Range c to E (Cat. No. 23921) Price 40 cents “Romeo an:” " ■* naracters who people their pages are the from t]l() This little book is a very delightful in¬ Look out for swindlers! Daily receipt troduction to the easier classics. The , ‘■Well-known Hymns for Men’s Voices." ircct forebears of almost everyone who of*tIie”M:!3Sie West, combed out Grow Your Own Fruit of complaints from every section of the by Frederick Wick, makes a valuable ad¬ peruse these tomes. All through the £‘f tlje steel-works of its pieces are original with the composer, but country that music lovers have paid money dition to the male repertoire for oeeas- they are in the various classic forms, each for the Table ions where hymns are In demand. mals are stalking those hardynaray piunco,pioneers through1"™%' the haze—I'oSings', of. city the.smoke, im S_plcked.«i n«. for Etude subscriptions and have failed ...... _i th-ir from th piece being accompanied by a description Below you will find a list of plants guar¬ to receive a copy causes us again to warn Theodore Presser Co., 1712-14 Chestnut St. bo risked their all to come and lend their t||C 8aloons and the side alleys, this collet’1 of its form. None of the pieces are beyond anteed by a reliable nursery. We will be our musical friends. Philadelphia, Pa. rains and brawn that the primeval ‘forests of prefaced with an explanai second grade in point of difficulty and all glad to send you your choice on receipt Look out for the so-called “ex-service nd uncharted plains might be transmuted £ketch -m the pungent idiom ofail Saoilb lie well under the hand. This work is now of the number of new subscriptions men- man”, or “college student trying to obtain nto granaries of untold wealth and far- the ’enthusiasm «"* in the hands of our engravers, it will be votes.” We employ no canvassers with Many communications reached the pub lung gardens of beauty. Among these lrllat’plies can grow in slime is^ old^ story, ready very soon. Eldorado Blackberry—Recommended by schemes. Beware of the man who offers “ZZiJJ T,‘® Music Magazine ame the sweet singers of Moravia, the A oCTer^nd^truer story^^^^ yo their feel- The special introductory price in ad¬ leading fruit growers, 6 vigorous plants, The Etude to you at a cut price. Better vance of publication is 35 cents per copy, one subscription. still, pay no money to strangers. If you thlt ’‘^relZpZu^. Palmists of the Dunkards and Schwenk- mgB through'song, postpaid. Lucretia Dewberry—Larger than any doubt a canvasser’s talk and wish to sub¬ elders, the trombone choirs and players of S^ub^hce^of £he’r( THEODORE PRESSER CO. he organ. These are they who whet fuU gcope t0 change them as b< blackberry, sweeter, of better quality and scribe for The Etude Music Magazine non o; SO important a subject. We heri Music Publications Publication Offers fewer seeds, (i thriving plants, one sub- ask him to give you his name and address, msh to express our appreciation of tin md hold our charmed curiosity as we grow mwrt ^creation ^ send your subscription to us and we will PhUadrtnr0? % J“ ° ™11 Car ,CWorks ’ager for the revelations of the page to so will tlle ajrs open up to hi 1712-1714 Chestnut Street Philadelphia, Pa. Withdrawn PWadelphin, pa„ „„d Ramsdcll Son Concord Grape—The most popular of cheerfully credit him with the subscription, the r nf Philadelphia, Pa.. Jo, The Beginner’s Method for the Saxo¬ all grapes. Will not winter-kill. A large, if he is entitled to it. We do not employ Tl -- ■ ... -_-... -i., J phone, withdrawn from advance of pub¬ blue-black variety of excellent quality. travelling representatives. We cannot be lication this month was made under the Three vines for one subscription. responsible for cash paid to “frauds.” ▼ Page 836 APRIL 1028 THE ETUDE Music Mastery Series ■ a"’ Immensely Successful Modern Piano Study Works Covering Many Phases and All Grades Progressive Teachers, Who are Earnestly and Sincerely Endeavoring to Lead Pupils to Proficiency in Piano Playing as Rapidly as the Proper Development of Technic and Musicianship Will Permit, Will Find These Study Works Great Aids in Gaining Results Take Advantage of These The Privilege of Securing Any of These Works for Examination is Extended to Teachers Bargain Magazine Combinations Here is a genuine opportunity for you to Save 10% to 25% on Your Magazine Order! All of your favorite magazines are here combined with The ETUDE at special prices Subscriptions May Be New or Renewal and ‘Begin When you Desire ETUDE MUvSIC MAGAZINE. Theodore Presser Co. 'rite to us for prices on any magazines not lisled. 1712 CHESTNUT ST., PH1LA., PA. — .. J r A Wholly New, Delightfully Distinctive Very First Piano Book Music Play for Every Day “The Gateway to Piano Playing” The Very Last Word in Approved Practical Juvenile Methods of Pianoforte Study YOU WILL EXCLAIM WITH DELIGHT OVER ITS STRIKING ORIGINALITY! Written By a Staff of Famous Musical Edu¬ cational Experts Whose Other Successful Works have been Demanded By Hundreds of Thousands. James Francis Cooke, Helen L. Cramm, Preston Ware Orem and Many Otpiers. Participated How is This in the Preparation and Perfec¬ Great Book tion of this Book. Different from All Previous Methods ? Everything to Delight, Encourage, Entrance or Inspire the Child has been Because it considers the included. Child and the Child Only From Beginning to End— There are Games, Cut-Out Pictures, Duets, Biographies—All Fresh and New For Instance—There is no formal title page and Interest-Compelling. within the book—Children do not care about The Book is Divided into Twenty “Playtimes” titles. 4 Instead, as a frontispiece, there is a beau¬ that progress Just Right. tiful. four-color full page illustration of the Another Feature is a Group of Twelve “Fairyland of Music,” which has been demanded Classics from the Great Masters Made Easy. by thousands and thousands of teachers. This is just one of the numberless sensible innovations. “Music Play for Every Day” Can be Used by Any Intelligent Teacher Without any Special Course of Prepara¬ tion to Under¬ stand its Prac¬ tical Use.