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

3-1-1925 Volume 43, Number 03 (March 1925) James Francis Cooke

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How Fast Can the Fingers Fly? where desired. A full description of the system may be ob¬ Some time ago the Literary Digest reprinted the follow¬ tained from the office of the Bureau, at 45 West 45th St., New ing article translated from the Kosmos of Stuttgart: York. “As his highest achievement the violinist executes six • If the music memory contest did nothing more than to hundred finger motions per minute—10 movements per second. stimulate an interest in music and in things musical, it would The pianist, when playing the Minute Waltz, must touch in be well worth while. There can be no question that it has pro¬ the same length of time 740 keys with his right hand. Great vided a splendid musical incentive for thousands and thousands pianists accomplish this in not more than forty seconds or of children. We advise teachers everywhere to stand behind even thirty-five. Among the most delicate and most practiced this movement, inaugurate new contests, and to help the child¬ muscles of the entire body are those concerned in speech, in the ren who enter them. use of which \ alentin, in the course of his experiments, exe¬ Teachers and music supervisors all over the country, who cuted 1,500 definite motions in one minute, or 25 per second; have tried the experiment, endorse it very strongly. and yet this record number in the case of man comprises only one-tenth of the muscular motions made by the ordinary house¬ “Letting George Do It” fly with its wings. This insect makes 830 wing-beats per second, It is not surprising that this pillowed age of ease and which is very probably the world record for rapidity among luxury should have bred the catch phrase, “Let George Do It.” all natural fliers; hence it may be given the title of world mas¬ Many of us are living our lives by proxy. Fifty to one ter of aeronautics.” hundred thousand people gather in a huge Stadium to see Such figures may surprise the layman; but they certainly twenty-two men play football. Every day during the sea¬ will be thought commonplace by many of the expert technicians son literally millions of American men watch collections of of the day. With a fairly advanced pupil there are definite “Georges” play baseball and call that sport. Excepting a methods whereby it is possible to advance the playing of scales very small part of our citizenship which indulges occasionly so that a speed of 1,000 notes a minute may be attained. We in golf, tennis, handball, cricket and a few other games we have seen this done repeatedly. What is the speedometer rec¬ conduct our sports by proxy. ord of Rosenthal? In housekeeping, gardening, reading, walking, religion, What does amaze us, however, is the towering number of in fact in most everything, we are laboriously seeking the im¬ notes that some of the great pianists have stored away in their mortal “George” to take the job off our hands. We demand memories, ready to be poured forth at lightning-like speed to. be amused, to be entertained, to be edified; and we expect when necessary. to do nothing more to deserve this than to go through the We sincerely wonder whether the human mind and the motions of sticking our hard-earned money through a wicket human hands arc ever put to a greater test of memorv and skill at the Box Office and getting the little pieces of pasteboard than that which the virtuoso assumes with ease half a dozen back. times a week. It is a fine thing to know' that we can buy instruction, amusement, entertainment and edification, whether it comes Music Memory Contests over the footlights, off the bookshelves, from the phonograph Last year 1083 cities of our country held music memory disk, over the radio, or in any other way. These media of com¬ contests. Some cities held as many as four, five or six. munication are most precious symbols of our glorious age. The plan of the Music Memory Contests is simplicity YET (note the capitals), are we all not losing a very great itself. r * deal by letting “George” do it all. We know from experience A group of compositions or melodies is played and the that the fun of doing a thing oneself is almost always ten times contestants write the names of as many as they can identify. as great as watching some other person, no matter how skill¬ fully he may do the same thing. There is more fun in working The value of the contest lies principally in the advance study given by the contestants to the larger list of works from out a Haydn Sonata at the keyboard and getting that inde- which the test list is selected. scribable satisfaction that comes from playing it even fairly well than the pleasure we may get from hearing a score of vir¬ The test is largely aural. That is, the contestant needs tuosi play it far finer than we can ever hope to play it. In to know nothing about music itself to identify Come Where My fact, the joy of hearing really good playing is reserved for the Love Lies Dreaming or Old Dog Tray, provided his ears are pianist who employs it to better his own playing. acute enough to remember the tune and to name it and the composer. We believe in concerts, the opera, the theatre, the oratorio, the phonograph, or the radio; but, for goodness sake, don’t It is not necessary, for instance, either to play the tune forget that these things bring you only a very small fraction or to sing it in order to be eligible to enter the contest. You of the joy that comes from doing the best you can in your own must know it when you hear it. Playing the tune and singing way at your chosen art. it may help; hut we have heard of a number of children who We earnestly wish that our younger readers will not re¬ have won contests who were not otherwise musically accom¬ gard this as a sermon. We are not preaching. We arc merely plished. Therefore, it is a fair test. It would seem, however, stating experience, not only our own experience, but the experi¬ that the musically-trained child has advantages. ence of millions of music workers who have gone before. We The Music Memory Contest, according to the report of have known of numerous students who have tried to do the the National Bureau for the Advancement of Music, was devised better part of their practicing by going to concerts and re¬ by Mr. C. M. Tremaine, in his family group, in 1916. The citals. We may as well try to dine by going to a banquet and first city-wide contest was held in Westfield, N. J., in the same watching other people cat. It won’t work. Concerts arc in¬ year, under the direction of Mabel Bray, Supervisor of Music. valuable; but understand—they are no substitutes for real The Bureau gives prizes of medals and bronze plaques, “honest-to-goodness” work.

iss THE ETUDE MARCH 1925 Page 157 The Making of a Virtuoso Violinist Diet and Divas An Interview with the Famous Violin Master, Leopold Auer Gumption in Technic Why the fat prinm-donna? . Gumption is an excellent Yankee won! embracing all that Is it success or ease; or is it something about singing Secured Expressly for THE ETUDE goes with common sense combined with quickness of perception. itself that conduces obesity ? , In piano technic, the live student who uses his own brains By ROBERT BRAINE We have an idea that it is a combination ot all three. and “catches on” easily, has gumption. Andreas Dippel, he of the innumerable roles, who once ruled Editor of the Violin Department of The Etude Every teacher identifies this now and then in rare pupils. the destinies of the Metropolitan, was asked, “What are your For instance, certain passages can be played much more favorite roles?” His instant reply was, “Vienna.” (Editor’s Note—The following interview with had lessons from Jacob Dont, the noted writer Prof. Auer lost his personal fortune and the many readily by a slight lateral twist of the wrist. The student with The successful prima donna is first of all a very healthy Prof. Leopold Auer, the famous violinist and of violin studies, at the latter’s residence. priceless decorations, medals, gifts and testi¬ gumption sees this at once. He does not have to be told over At the age of thirteen the young violinist’s human animal. She must be that to stand the strain. Her teacher of virtuoso violinists, was obtained for monials given him by royalty during his long mu¬ and over again “Why.” father took him on a scries of tours, giving con¬ singing has the effect of keeping the blood in prime circulation. THE ETUDE by Robert Brainc, editor of the sical life, as zvell as souvenirs, letters and me¬ Gumption is a rare quality; it should be definitely cul¬ certs as a prodigy violinist, lasting tzvo years in Very probably there is no finer exercise for dilapidated diges¬ “Violinists’ Etude.” mentos from famous musicians who were his tivated. all. Later he became a private pupil of Joseph tive organs than singing. This insures ready assimilation of Prof. Auer was born on June 7, 1845, in the friends. Perhaps one of the best plans is by the Socratic method Joachim, the famous violinist, who did much for little Hungarian tozvn of Veszprem. His father In 1918 the violinist decided to come to the of well-aimed questions which will encourage the student to nutrition. Success brings the means to live at restaurants him in building up his violin education. where delicious pastries, rich gravies, and creamy dressings are was a house painter and decorator, who was noted United States, with the intention of becoming find out for himself the “Why.” His student days over. Prof. Auer entered on for his artistic work. an American citizen. He received a warm wel¬ You may know perfectly well “Why” the thumb should the rule. The life induces indolence. And there you are. his life career of “many-sided musical activity,” The little Leopold commenced the study of the as Schumann has phrased it. He appeared as come from American musicians, and after giving be prepared at the “turn under” in scale-playing. Don’t tell After a few years the singer commences to expand. More violin zvhen a mere child, and at the age of eight solo violinist, leader of string quartet and orches¬ several violin recitals in the larger cities of this the pupil that he must do it as you do it. Let him find out by prosperity brings more fat. The audiences no longer see the entered the Budapest Conservatorium in the class tra director at various times in the principal cities country, established himself as teacher of the questioning “Why” the scale is smoother when the thumb is charming girl-like personality, but something becoming more of Prof. Ridley Kohnc. His progress was so of Europe with distinguished success. Much of violin in Arcw York City. He also conducts and more like the sweating Behemoth of the boiling Nile. Con¬ passed under the fingers ready to strike in advance of the time rapid that wealthy friends sent him for a wider his life zvas spent in Russia as soloist to the late master classes in the Chicago Musical College cert engagements grow fewer; Madame visits beauty doctors. it is due, rather than waiting for a jerky motion at the last field of study to Vienna, for a tzvo-year term in Czar, director of the Russian Musical Society and at the Philadelphia Musical Academy. Her breath gets shorter; she consults a lung specialist. If moment. the Vienna Conservatorium, where he zvas a mem¬ Orchestra and professor of violin playing in the In June, 1924, Prof. Auer zvas married to Mine. William Mason, Stephen Emery, W. S. B. Matthews, Wil¬ she has a strong will, she does the only thing which will make ber of the. class of the famous violinist and Conservatory of Pctrograd. Wanda Bogutska Stein, who had acted as his liam Sherwood and E. M. Bowman were great educators, be¬ her again look like a human being; she diets persistently and teacher, Prof. Joseph Hclmcsbergcr. He also In consequence of the revolution in Russia, piano accompanist in Europe for many years. cause they added to ample training the rare quality of gump¬ exercises judiciously. Far better is it for the young singer to tion. guard against the dangers of fat than to fight it later in life. Onf, afternoon last summer I sat in the Parkview Hotel “No country possesses a monopoly of violin talent. I “A rich nation like the United States should have a The wise diva is the one who places diet at the beginning of in Chicago, and discussed violin topics with Prof. Leopold find pupils of extraordinary talent here in the United national conservatory, with branches in all the large her list of the ingredients of success. Auer, the famous violinist and teacher of violin virtu¬ States, as much talent in fact as in Europe. The reason cities, so that the musical talent of the nation can be Organs Everywhere why so many more great violin artists have been pro¬ developed. In the case of pupils of great talent, who Recent investigations by large insurance companies indi¬ osi. I must confess to a thrill in meeting this remarkable No advance in musical life in America has been greater genius of the violin. Here was a man, on the eve of his duced in Europe is this: in Europe there are government are too poor to pay for instruction, they should be taught cate that the average individual in middle life is far safer music schools, with eminent teachers. The cost of in¬ free of charge.” during the past ten years than that to be seen in the field of 80th, birthday, still actively taking part in the musical when twenty pounds under-weight than when twenty pounds struction is low, and when a great talent is discovered “At what age should the future virtuoso start?” the organ. affairs of the world, teaching, giving occasional public over-weight. _ among the poor, he is educated free of cost or at a “Lessons can hardly be begun too early, if the pupil When one realizes that an organ is probably the most violin recitals, editing and arranging works for the violin, nominal charge. Here in the United States many splen¬ is to be a solo violinist and thoroughly master the instru¬ expensive of all musical instruments, it is difficult to picture Musical Music Critics and busily at work on a new book. In his teaching. did talents are wasted, because there is no one to look ment. Most of the great violinists began at five, six, Prof. Auer’s lessons command the highest fees of any after their development. Occasionally such a talent is seven, eight, or even a little earlier in some cases. All the very lavish manner in which we Americans are setting up We note with pleasure that the job of Music Critic on living violin teacher, and as a matter of fact the highest developed by rich- patrons; but these patrons, as a rule, the great virtuoso performers of the world—on every organs in all parts of the United States. the daily paper which once divided itself between the sporting fees paid any violin teacher in the Jiistory of the art, for instead of seeing the talent unfold slowly and develop kind of instrument—were wundcr-kindcr (prodigies) ; We know of several excellent organs installed in Colleges editor and the veterinary editor is now being given to real violin instruction. without undue haste, are • continually asking how long Paganini, Wieniawski, Sarasate, Liszt, Rubinstein, Hei¬ located in very sparsely-settled sections. In some instances musicians who have the gift of writing. Think also of chatting with a man, in the flesh, who it will be .before the young genius can go on the con¬ fetz, Elman, and countless others. The violinist who has known practically all the famous musicians of the cert stage and make money. They always want to be we have had opportunities to talk with the organists. The The reason for this is readily guessed. The folks who are would attain the topmost heights must commence in organ recital becomes the great attraction of the whole coun¬ world for the past 65 years, a man who frequently hurrying up the process. early childhood. All prodigies do not develop into great interested in concerts demand intelligent, authoritative reviews appeared as violinist, in chamber concerts, with tryside. Often there are as many as a thousand people waiting violinists -truly; but all great violinists were —reviews that, will help them to stabilize their own musical the mighty Anton Rubinstein at the piano, and prodigies to start with. outside, unable to gain admission. They stand all evening to judgment. No one who has not had either years of training who had played solo violin works with the “I am often asked what chance violin stu¬ hear the music and go home inspired and delighted and with piano accompaniment of the illustrious Liszt. as a critic or else the best of schooling as a music student can dents who commence at fifteen or sixteen years a wholly different conception of the interest in college life. Think also of a man who was on terms of dare to attempt this work in this day. of age, in the twenties, or in middle age, have Moving pictures could hardly do this. personal friendship with such great musicians The position of music critic on a daily paper of large and composers as Brahms, Wagner, Joachim, of developing into finished violinists, capable of We would like to know how greatly the investments have circulation is by no means an easy one. One of the things the Sarasate, Wieniawski, Rossini, VonBiilow, playing great violin works. My answer is, increased during the last quarter of a century. The organs music critic must know is where to stop. There is a certain Paderewski, Leschetizky, Tschaikowski, Liszt, ‘None at all.’ It is too late. Pupils who start Anton and Nicholas Rubinstein, Davidoff, come in one by one, and we have hardly realized what this meridian of general public musical intelligence beyond which between fifteen and twenty, if they have talent great introduction* of musical equipment means to the country. Cesar Cui, Rimsky-Korsakoff, Jacques Dont, and practice diligently, may become fair orches¬ he dare not go. It is quite proper for The Etude to dwell Goldmark, Vieuxtemps, Berlioz, Safonoff, Jo¬ In thousands of moving picture theaters there are now excel¬ tra players, but they can never make the vir¬ upon dominant-sevenths, because very few^ musically-informed hann Strauss, Borodine, Balakireff, Gounod, tuoso rank.” lent organs. people in this day who need The Etude fail to know what a Saint-Saens, Glazounoff, Robert and Clara “How much must the future virtuoso prac¬ This has meant the creation of a far greater number of dominant-seventh is. But to the business man who likes music Schumann, Hans Richter, Gade, Scriabine, and tice daily?” players. The development of the moving-picture organist innumerable other composers and solo artists and wants to find out whether what he thought of the concert “In this I differ from* teachers who contend is one of the interesting phases of present-day musical educa¬ of the first rank, as well as the most famous that the pupil cannot practice too much, or too he has just attended was anything like what a music critic vocalists in the last half century. tion in America. In one great conservatory there is a special many hours a day. There is such a thing as too might think of it—the dominant-seventh has no more meaning Here also was a man who has, produced a piany hours of daily practice, especially if a course in special rooms with special films. The film is shown than the boletace*. Yet, that same man, in his day, wants probably greater number of famous virtuoso large part of it is done on the interminable and the students mark down the selections they think appro¬ to be sure that the music critic knows what he is talking about. violinists than any violin teacher in musical technical exercises which some teachers advo¬ priate. The music is then brought from- a library and the stu¬ history, also violinists of world-wide fame, like cate. In the case of a really talented pupil, an dent is given an opportunity to show how his selections apply. Jascha Heifetz, Mischa Elman, Efren Zimba- average of about four hours daily practice is In this particular school the class-room is built literally in the * mallei ui until list, Toscha Seidel, Kathleen Parlow, and a enough; but he must take at least six hours to long list of others of almost equal fame. ' do it. By this I mean that there must be heart of a large organ. The student is surrounded by the Do you know at what pitch your piano is tuned? * “You have had great success in producing periods of rest between the periods of practice. organ on all sides. Later, when he becomes more expert, he The pitch most widely used in America is that known as great solo violinists, Prof. Auer,” I said, “what Let the pupil do a half-hour or more of con¬ is assigned to a larger organ in a real moving picture hall and “International Pitch.” That is, the middle A, or "A-3" (the in your opinion is the best musical blood for centrated practice and then rest fifteen or given a trial in the early morning with more film pictures. first A above middle C), vibrates at the rate of 435 double the development of great violinists?” twenty minutes, to give mind and muscles a "The Slavs and Jews,” said the great teacher. This kind of a training may make fine moving-picture vibrations a second. chance to recuperate. In this way we find that “These people have been oppressed and down¬ organists; but we like to feel that the one who becomes equipped the student with six hours at his disposal will Tins is just five degrees less than the old Concert Pitch trodden for generations, and this seems to have have done four hours of concentrated practice, to he an organist should study this wonderful instrument (440 vibrations) which was formerly widely employed. developed a mental state which makes it easier with two hours of rest scattered at intervals seriously and earnestly writh the view to becoming a church The difference of five vibrations is very slight, it is true for them to develop supreme musical expres¬ through the period of practice. This is better sion. It is better also if the student has known and a concert organist as well. The moving-picture organ¬ and the effect of a piano tuned at that pitch may not be quite than it would have been to spend the entire hardship and poverty in his youth, as the sor¬ ists are doing a wonderful work in popularizing fine music six hours in practice. I have no patience with so brilliant, but there is a greafi gain in mellowness in the lower rows he has endured and bis passionate longing in America. It has alwTays seemed to us that the very best of teachers who advocate seven or eight hours of tones of the instrument. The tension upon the strings is not for a happier life, will cause him to <(evcl.jp practice, a great part of it on dry, technical them are the organists who have been fine church organists so great and the pull upon the pins is less. into a greater artist, than if he had been exercises which are purely mechanical. Of cradled in luxury from his birth.” before they adapted themselves to moving pictures. School¬ The International Pitch corresponds to the 'so-called course a great deal of technical work must he “Do you find it possible to get talent here in ing always tells. French Diapason, adopted by the French Government done; but too much of it is soul-killing. The the United States for development into super¬ pupil’s nervous system should not be over-taxed violinists?” LEOPOLD AUER by excessive practice.” the etude Page loti MARCH 1925 THE ETUDE MARCH 1925 Page 169 How Haydn Got His Job How Long Will it Take? violin and mutes the note to that extent. If held high, so that practically the entire back vibrates, the tone will “How many years does it take for the making of a be greater, more sonorous and freer. By G. R. Betts virtuoso ?” “I favor the use of the chin rest, and a tall or short “No definite rule can be laid down as to this. Pos» model rest should be used, to conform to the pupil who “The story of Haydn’s entering into the service of Keep Your Piano in Tune sibly it might average eight or ten years from the has a long or short neck. As a rule I do not advise the one of the most important princes of Europe is interest¬ time the pupil has his first lessons until he is able to use of a pad or cushion, although in the case of girls ing,” remarks Esther Singleton in The Orchestra and By S. C. BURTON play the great concertos. Much depends on the talent and women it may be sometimes necessary on account Its Instruments. She then quotes Stendhal in the and enthusiasm of the pupil, of course. Some pupils of the arrangement of their clothing.” ‘arrive’ sooner than others.” following: , „ . -- . _ “Should the future virtuoso study the piano as well “Haydn had attracted the attention of Prince Ester- In Canada, the progressive group known as the “What about the choice of a violin?” We recently met a man who had purchased a very ex¬ “If a pupil is taking vocal lessons and practicing witli hazy by one of his symphonies; and friends of Haydn "An old violin is to be preferred, if a good one can be pensive Eiuropean automobile about a year ago and Manitoba Piano Tuners’ Association has just issued a the aid of an out-of-tune piano at home, he or she will "By all means. Every musician should be able to play arranged' that he should compose a symphony to be leaflet designed to give some of tlie reasons why the found for the pupil. The tone of an old violin is shortly thereafter had invested in a grand piano of a naturally fall into tlie habit of following or ‘copying’ the piano no matter what instrument he plays. Almost performed at Eisenstadt on the Prince's birthday. smoother and more sympathetic than a new one, and it is costly make. The automobile has had almost daily at¬ immense strain upon the wires of any ordinary piano the sounds in the instrument, and with disastrous results. all the great violinists in musical history have been able “Haydn executed it, and it was worthy of his talents. easier to play. Still I am not unduly prejudiced against tention of an expert chauffeur but the piano had not is enough in itself to cause the instrument to “let down” “And just here it might be mentioned that if the piano to play the piano to a greater or less extent. I have The day of the ceremony having arrived, the Prince after a time has elapsed. The following is an extract: new violins, since the violin makers of to-day are turn¬ seeii a tuner for a year. The piano had been kept in a at home is away below the pitch of the teacher’s piano, always played the piano; and very often play the piano seated 'oil his throne and surrounded by his court ing out some very good ones. As you probably noticed, room with varying temperature and although it had a good deal of tlie home practice is worthless. The accompaniments when giving lessons and no accompa¬ About Tension when you visited my master class this morning, I used attended at the usual concert. Haydn’s symphony was been played upon very little it was quite badly out of parents of the child will perhaps wonder why he or nist is present. A practical knowledge of the piano is of begun. Scarcely had the performers got into the tune. In the automobile the gentleman had kept up his a new violin in illustrating passages for the pupils. This “On an instrument called the Monochord (invented she does not advance more rapidly, and, seeking for the great value to the violin teacher, as he can act as middle of the first Allegro, when the Prince interrupted investment; in the piano he exhibited the tendency to let violin was made for roe by a violin-maker near Losch- about 2500 years ago by Pythagoras) a piece of steel cause, may blame the teacher; whereas the real cause is accompanist to his pupils when necessary. It is also them and asked who was the author of that fine com¬ the instrument “run down.” witz, in Europe, where I formerly did my summer teach¬ music wire is fastened at one end, passed over two in neglecting to call in occasionally an experienced of great advantage to the violin student if he can play It does not make any difference whether you have paid ing ; and it has an excellent tone. In concert, I use my position! bridges (one or both of which may be movable), then tuiier. the piano parts to violin works which he is studying, “‘Haydn,’ replied Friedberg, and he made the poor $400.00 or $2000.00 for a piano, it deserves "decent” , Stradivarius, but it would be too risky to use it in the over a wheel, or pulley, and a weight is attached to the as he gets a clear idea of the entire musical and har¬ attention. Many pianos are abused through neglect Danger from Moths and Mice class room, day after day. young man, all trembling, come forward. free end. monic structure of the composition from studying the “‘What!’ exclaimed Prince Esterhazy, ‘is it this more than through anything else. The owners are well “Unfortunately the average violin pupil cannot hope “It is estimated that if the wire selected be No. 17 “The action of a piano (that part of the instrument piano part as well as the solo violin part. Moor’s music?’ (Haydn’s complexion, it must be con¬ meaning; but they are ignorant of the nature of a good to become the possessor of a genuine Stradivarius, so and the bridges adjusted so that tlie ‘speaking’ part of which acts as messenger between the keys and strings) “It also goes without saying that the serious violin fessed, gave some reason for this sarcasm). 'Well, piano. It is for this reason that the writer has col¬ he must be content with an old violin by a less famous the string (that part between tlie bridges) measures contains a large quantity of felt and cloth materials, student should study harmony, composition, counter¬ Moor,’ he said, ‘from henceforth you remain in my lected some statements which should be of great in¬ maker, or a good new violin. Stradivarius violins are point, fugue and ail theoretical branches; for these 26.04 inches, and a weight of 160 lbs. used, the sound and becomes a veritable paradise for moths and mice service. What is your name?’ terest to every piano owner. increasing in value constantly. A leading American studies will make him a better violinist. It is getting to given by tlie string when plucked will be tlie same as when the instrument is let go for a long time without “ ‘Joseph Haydn.’ violin dealer told roe the other day that he had sold a be well understood, at the present day, that the success¬ that of ‘Middle C’ on a piano tuned to International being opened up for tlie attention it requires. “ ‘Surely, I remember the name. You are now engaged Charging a Just Price famous Stradivarius to a rich American amateur for ful violin artist must be a good musician as well as a pitch (A-435). “Mice will proceed in a business-like way to strip $40,000, This as far as I know is a record price for a to me. Go and dress yourself like a professor. Do not the action so as to furnish the materials for the com¬ virtuoso.” let me see you any more in this trim. You cut a‘pitiful Tlie first statement is from a well-known piano manu¬ “The weighting of the string in tlie Monochord is Stead, “Should the one studying for a virtuoso career do any facturer, A. G. Gulbranson, who says in part: what might be termed giving it the ‘tension’ required' fortable home they will make in tlie piano, and playing figure. Get a new coat, a wig and buckles, a collar and on the instrument will not disturb them—in fact they The Cremona Secret orchestral work? Do you think that this detracts from “Manufacturers, dealers and the public should have to bring it up to a certain pitch. Ill tlie piano this prin¬ red heels to your shoes; and I particularly desire that rather seem to enjoy it. his individuality and temperament, as claimed?” a very vital interest in piano tuning. J f all three could ciple is copied by using a built-up rock maple pin-block “The secret of the supreme excellence of the violins your shoes may be high, in order that your stature may “And while moths may be slower than mice in getting “Such a claim is nonsense. A certain amount of play¬ he aroused to even a normal and proper interest, there into which tuning pins are driven after being carefully of Cremona is not exactly known. I should say the correspond to your intelligence. You understand me ? down to actual business, they nevertheless do the job ing in an orchestra where good works are studied is an would be no ‘tuning problem.’ bored for. Tile tuning pin might be said to correspond cause of this excellence is age, the peculiar excellence Go your way, and everything will be given you.’” very thoroughly in time. of the Cremona varnish, and the supreme skill with advantage to the student, if anything. I myself did a “It would help the entire music industry if pianos were to tlie weight used on the Monochord and the string great deal of orchestral work as violinist, both in my tuned as often as they should be. It would help the mu¬ passes through a hole, or eye, in the pin and is given which a great artist like Stradivarius made his violins.” Tuning—A Form of Insurance “What is your opinion of the tests between Cremona student days and also later as a professional violinist. sic appreciation of the Nation. several turns around it; the opposite or ‘fixed’ end of violins, and new Violins, in a darkened theater where Ysaye, who has had much success as a solo violinist, How Von Weber Looked “One of tlie first things to be encouraged by all of the string is held by a hitch-pin in the heavy iron frame. “A piano costs some hundreds of dollars, and the the violins were played one after another, the audience formerly played in orchestra as concertmeister for us, is the charg'ng of prices for tuning that will enable “The average piano contains about 225 strings, and if services of a competent tuner at a few dollars a year voting which violin had the best tone, the result being quite a long time; and I could name a large number of By Victor West the men engaged in the profession to make a respectable we assume the average tension on each string to be 160 is surely a good investment—in fact it is an insurance that in many instances the majority of votes were in others who never found that orchestra playing injured income and make it an object for them to stay in it. pounds, then by multiplying those numbers together against the early collapse of the instrument. their solo work.” favor of the new violins?” Carl Maria von Weber, composer of “Der Frey- The competent piano tuner must necessarily apply him¬ (225 x 160) we arrive at the astonishing total of 36,000 “The conscientious piano manufacturer—ever jealous “I think these tests are swindles, and do not mean The Elgar Concerto schiitz” and founder of the romantic movement in Ger¬ self conscientiously to his work, and he should have rea¬ pounds, or 18 tons! of his reputation—turns out an instrument which is a anything. There is a great deal in how a violin is “Has any good violin concerto appeared in recent years man music, was a remarkable man but seems to have son to be proud of his ability and the profession in “The automobile, after its daily quota of work, stands joy and a delight, but lie cannot compel tlie owner to played. The player if he chooses can make an inferior worthy of public performance by the virtuoso?” been modest iti dress. The following account of him at which lie is engaged. He should be assured of a per¬ in the garage relieved of all wear and tear, but the put out the necessary money to have the piano kept in violin sound better than a superior one." “Only one that I can recall—the Elgar Violin Con¬ the time he first appeared as Kapellmeister at Dresden manent and attractive opportunity in his chosen field. piano in the home must struggle day and night, year its almost perfect original condition. After some months “Of late years we have had many ‘attachments’ which certo, by the English composer. This is a really fine (1816) is written by his son and quoted by Esther Sing¬ “Merchants should realize that the employment of a after year, to carry its enormous burden. The average of neglect a sensitive-eared person may visit the home in are built into the violin with the hope of ‘improving’ the and important work and contains some very effective leton in The Orchestra and Its fylusic. competent service man is one of the best things for their modern piano is so well constructed that when the load which the piano is installed and, on hearing, a ‘piece’ tone, as well as improved sound posts, bass-bars, bridges, passages. It will repay the study of any serious violinist.” “There are still living many old members of the business. In the first place, piano tunings and repairs is evenly distributed—that is, when tlie piano is kept in played, will actually shudder and think: ‘Oh, what a double bass-bars, two, three or four sound posts set in “A well-known violinist recently advocated holding the Dresden Orchestra who can remember the appearance by such a mail will be handled in a way that will reflect tune—there will'be no ill effects; but when the instru¬ horrid instrument.’ Or perhaps being one of the out¬ Credit on the house sending him out. different parts of the violin, in place of one and so on. hair of the bow flat on the strings at all tiroes, instead of von Weber on this memorable occasion. He stood ment is let get badly out of tune the strain becomes spoken kind will frankly advise tlie owner to send for a “In the second place, it will help sell more pianos, for Are any of these of any value?” of the stick being turned away from, the player so that before them, a little, narrow-chested man, with long greater in some parts than in others,‘often resulting in good tuner immediately and have tile original beautiful this reason : What the tuner says about a piano has a “I use none of them, and do not know a single one of only the edge of the hair is used when playing ex¬ arms and a thin pale face, from which his eyes gleamed irreparable damage. harmonies restored. great deal of weight. People respect his judgment. He any value. Many of the inventors of these improve¬ tremely soft passages, as almost all teachers advise.” forth in lightning flashes through his spectacles. When “Production of tone is accomplished by the piano is a practical man, they feel, and unbiased, not being ments and appliances come to me to get me to use them “I do not advise having hair flat on the strings at he was pleased a smile, which was positively enchant¬ Give the Child a Chance manufacturer with an elaborately equipped factory and and to give them endorsements and testimonials. They all times, although the violinist in question may get engaged in the selliny of pianos. ing, pldyed over his otherwise serious mouth. When “The belief that any kind of a piano will do for a huge staff of expert artisans, but the restoration of even offer large sums for sueh endorsements. I uni¬ good results through having a very fine control of the “When there is a proper appreciation of tuning on the affected by the occurrence of the moment, he bent his child to practice on is erroneous. If the instrument is harmony rests with one individual—the skilled and. formly refuse to give them, because I do not believe in bow. If the player turns the stick away from him to head gently sideways with an air of peculiar tenderness part of the trade and public, more competent, intelligent conscientious piano tuner. the improvements. You see my Stradivarius laying on in need of regulation, or is badly out of repair, many of a reasonable extent, he will have the advantage of being and earnestness. He wore a blue frock-coat with metal men will be attracted to tlie profession. And there is the table over there. It is exactly the same as when jt the notes will not respond without a hard blow, and the able to use only a portion of the hair in soft passages, buttons, tight pantaloons and Hessian boots with tassels. no doubt in my mind but that this condition will prove Some Useful “Don’ts” left the hand of the great Italian luthier, with the single little one, becoming exasperated, at last will form the or the entire width of the hair when more pressure is A scrupulously dean white cravat with embroidered to be a distinct and noticeable factor in the sale of exception of the chin-rest which, however, is simply a “Don't keep a piano continually against a wall. Leave applied.” ends, in which was stuck a handsome diamond pin, more pianos. habit of thumping all of the notes, and tlie chances for device for holding the instrument and has nothing to do “How long should a pupil be kept in the first posi- such a child becoming a finished performer are nil while a snacc of six inches or more so that the air can with the tone. Look carefully at the violin. You will encircled his neck. Over all he carried a tawny col¬ "One of tlie fundamental policies of a firm’s business circulate. ored cloak with several capes, a broad round hat on such conditions continue. see a normal bridge, sound-post and bass-har, made in “No exact rule can be laid down, as every pupil is a is to have at all times a service department that will “Don’t place the instrument near a stove, hot air his head. Nothing in his whole attire indicated any “Such an instrument will likely be badly out of tune the same shape and of the same material as they were law unto himself, and no two pupils progress at the not be surpassed in efficiency by any other ‘department. register or radiator. artistic pretension or affectation; and in the streets, or as well, and the delicate, God-given aural apparatus will made in the day of Stradivarius, and without any new¬ same rate, A pupil should attack the higher positions The owner says it has been one of tlie biggest factors in in a room, he might have been easily overlooked. Once “Don’t keep a window or door open near tlie instru¬ fangled improvements or attachments.” when in the judgment of the teacher he is ready for the growth of the business and that there is no other become hopelessly calloused on account of its continued noticed, however, von Weber was sure to charm and ment on damp or rainy days. “What strings do you prefer?” branch of it that he considers of greater importance. association with discordant sounds. captivate by his air of intellectual refinement and “Don’t keep the piano closed all summer; give it “What about the vibrato?” elegance of maimer." “The public’s interest in piano tuning is warranted by plenty of good dry air on sunny days. If it is an up¬ The Best Strings “There is nothing more overdone than the vibrato. reason of the facts that frequent tuning preserves the right piano turn back the top and remove the bottom “I prefer all the strings to be of Italian gut, with the As I have said in my book on violin playing, ‘In any instrument itself, makes it a pleasure for one to play it door (under the key-bottom). This will not interfere G string wrapped with silver wire, of course. I do tiqt case remember that only the most sparing use of the and gives greater enjoyment to all listeners. It is also with the playing. see any special advantage in the Aluminum D string, vibrato is desirable. The too generous, use of the device important that children hear pianos in tune, so that they “Don’t turn the heat on too suddenly in the room although many use it, I do not like the steel E strings defeats the purpose for which you use it,’ The excessive Edward Bok Fair Treatment may form a correct idea of good music. where the piano is when the cold weather arrives. It which have come into such enormous popularity of late, vibrato is a habit for which I have.no tolerance; and 7 lie most noted of present-da v journal¬ “Concert pianists have their pianos tuned and regu¬ is well, in this climate, to put an uncovered sealer or although I am not unmindful of the advantages they I always fight against it when I observe it in my pupils The worker is known by his two of water in tile bottom of an upright piano to keep ists who, since his retirement, has' given his lated before each performance; music teachers four to possess through the ease with which they are tuned, and —though often, I must admit, without success. As a it from drying out too quickly, but DON’T leave any from the fact that they seldom break. The steel E time to the promotion of Peace and Educa¬ six times a year. Great pianists do not pay tuners big tools. The professional teacher rule I forbid my students using the vibrato at all on water in the instrument after about the end of March seems cold, metallic and unsympathetic to me, and I notes which are not sustained, and I earnestly advise tion, including music in very large measure. salaries and expenses to travel around with them and should see to it that his piano "Don’t keep the keys covered in daylight except when do not think its tone is at all comparable to that of the them not to abuse it, even in the case of sustained notes tunc and keep in adjustment their pianos every day, dusting, etc. Ivory in its original state is yellow and is Italian gut E string, for solo playing. I am aware, which succeed each other in a phrase.” ETUDE ^ mprCSsivc "ianncr «« ‘he April is kept in the finest possible con¬ without very good reason. That reason is that the daily- put through a bleaching process which whitens it. If however, of the fact that a large proportion of the pres¬ In his book, "My Long Life in Music,” Prof. Auer tuned piano sounds better. So our insistence that every dition. There is nothing that kept in tlie dark, it will not only go back to its original ent day concert violinists use the- steel E string.” has given an amusing account of when he played for "How / Came to Love Music." piano should lie tuned and regulated every six months color, but is apt to get many shades darker. “I notice that your pupils hold the head of the violin the great violinist, Vieuxtemps, when a boy, and the makes quite so bad an impres¬ to get the most out of it is certainly a most moderate “Don’t forget that a neglected piano will not stay in very high when playing.” unfortunate results which followed too much use of the sion upon a pupil applying for “Yes, I have emphasized this manner of holding the vibrato and glissando. and reasonable one.” tune with one tuning; arrang? to have it tuned soon again. violin very much in my teaching. Anyone can see that ", - ..' arranged l>\ In the United States, the National Association of lessons as a poor instrument in if the violin is held low, with the back pressing against Piano Tuners, under its enthusiastic president, Charles “Don’t forget that there is a lot of dampness in the "While music is worth all H costs, its value as a bad condition. the shoulder and chest of the player, it cuts off the developer of character is its greatest asset, as all real Orehcst^’ C°ndUCt0r °f tUe Pk Deutschmann, and the Tuners’ Journal have done a home in summer, and dryness (from the furnace) in winter—each condition having a different influence on vibrations of a considerable part of the back of the teachers of children find by exper'eace.” great work in raising the standards of tlie piano and tlie piano, which, for those reasons, should be tuned at piano tuners. least twice a year.” MARCH 1925 rage 161 THE ETUDE THE ETUDE Page 160 MA.HCII 1025 Music Student’s Mania for Speed Exaggeration Curbing the A Famous London Physician on the By HENIOT LEVY Healing Power of Music By Francesco Berger, Hon. R.A.M., F.G.S.M. Sir Robert Armstrong-Jones, M.D., Gresham Pro¬ denounce which, not columns, but pages of this journal Europe and in America, appearing as soloist with several of the largest Exaggeration is a very insidious vice—but it is a vice, Mr. Heniot Levy was born in Warsaw, Poland, in 1879. Ills father fessor of Physic, does not exactly “throw physic to the would hardly suffice. . orchestras. Mr. Levy has composed extensively in serious forms. For dogs” but he does manifest an interest in music as a re¬ nevertheless. Those who are guilty of it are generally, Who is not familiar with the exaggerated mannerism was a zvcll-known pedagog. He studied with Raif, Barth and Max but not always, unconscious of their propensity, for it many years Mr. Levy has been associated with the American Conservatory lief for many of the ills of life. In the London Musical of the violinist, especially if of the gentler sex? Does Bruch at the Royal High School of Music in Berlin, graduating in 1897. has become their second nature. It differs from other at Chicago. THE ETUDE is continually endeavoring to present new ideas News and Herald he writes: she not sway from right to left, and from left to right, He made his debut as a pianist with the Philharmonic Orchestra in Berlin pernicious indulgences. The drunkard, for instance, “As a ‘healer,’ music can stir the mind and excite the in slow movements or in bravura passages, balancing her¬ during the following year, which he follozvcd with numerous tours in of new writers.—Editor’s Note. knows that he is intoxicating himself, and sets about it emotions either directly or indirectly; the former, when self on each elegantly-shod foot in alternation? Does she intentionally. The liar, too, is aware of his untruthfulness, vibrations of sound reach the drum of the ear and are perhaps a few visits to a clinic, would expect to go to not elevate the “nut” of her violin to the level of her eye¬ During many summers past, the writer has watched often far quicker and much greater than in many of the carried along the auditory nerve to the brain, where their and sins with the object of deceiving. But many persons the great metropolitan centers of medicine here and brows in “expressive” moments? Does she not watch numerous ambitious students who have attended master other professions. rhythmic combinations flow in a continuous stream giv¬ who habitually exaggerate would shrink with dismay if abroad and be able to comprehend the meaning of com¬ over the edge of' her instrument to the left, and fix her classes. One could not help being impressed with the ing rise to pleasure, happiness, satisfaction, joy—or the their exaggeration were pointed out to them. plicated treatments or difficult operations. gaze upon some spot in the carpet, as though testing for pitiful lack of preparation and understanding upon the Life Without Idealism -Death reverse; the latter, through associative memory links, as Exaggeration in All Arts The waste that comes from the Mania, for Speed in water, whenever she has to play notes marked -'>> > or part of many students. The real preliminary qualifica¬ “But,” says the young man, “one cannot live by ideal¬ when the funeral dirge gives rise, by previous associa¬ Exaggeration obtains in speech, in manner, in appear¬ rrv , on the G string? And is not the undemonstrative music study is terrific. The student rushes ahead and tions to make such a course worth while seemed to ism. I must have practical results.” Can one really tions, to lamentation and gloom; or the martial air to ance and fashion, in books, in acting, in playing and accomplishes only enough to learn at some later date cellist a rara avis when he does not slip, or slide, or glide, be lamentably absent. live without idealism? How empty, shallow, meaning¬ conquest and victory; or the oratorio to the sacred story. singing—in all the Arts. And it is not a new thing. that bis knowledge is faulty and that he must begin over or give us his vibrato ad lib.? It is no reflection upon any of the illustrious world less, would be our inner life without the precious glow Conversely, an emotion finds its outward expression and Shakespeare warns the players against it in “Hamlet, Some of our greatest artists, greater in many ways, again. This happens thousands and thousands of times pedagogs, who have been heading the different master of artistic enthusiasm. The love of art ennobles man¬ relief in concrete musical combinations, such as the dis¬ and there is reason to believe it was rampant in the here in America. Attempts to economize time in music have occasionally permitted exaggerations to carry them classes, to note that the results in many cases are not all kind and compensates for the lack of material tinguished genius of the great composers has originated; classical days of old. To-day we meet it flourishing with study so often results in compelling the student to off their feet. commensurate with the great sacrifices made by the advancement. Many a man who is considered a failure a physical outlet in music being thus provided for pent- the vigor of a new growth in much of the music that study twice as long. Sarasate’s Break-Neck Pace students in order to take advantage of the instruction of in this world’s goods may, through his art affiliations, up emotions, subtle thoughts, and strong feelings. As disturbs us, from performers, from composers, from Take the matter of scales, for instance. What teacher So superb a violinist as Sarasate took the Finale in these celebrated teachers. How could it be otherwise? have lived a far happier and far more useful life than we know, life is rich in proportion to the fullness of its conductors. has not seen pupils racing up and down the keyboard, Advanced work demands long' periods of preliminary the millionaire who has played with money all his days emotional activities, it is noble and useful In so far as Perhaps, in individual cases, it is the outcome of some Mendelssohn’s Concerto at such a break-neck pace that like dogs in an alley, accomplishing nothing but the de¬ training of a high character. these are under control, and it is delightful in proportion such mental process as this: sooner than conform to the it sounded like a steeplechase between soloist and orches¬ as children play with checkers. struction of time ? Playing scales, both hands in parallel Many books have been written upon pedagogical sub¬ Of all the professions, Art requires the greatest perse¬ to their balance and direction. oft-told, to the oft-sung, to the oft-played, I will strike tra. And that other great artist, Rosenthal, had a news¬ motion is, in most instances, a very wasteful procedure. paper warfare over the rapid pace he thought fit to adopt jects; The mere reading of such bocks by those in¬ verance. Persistence, based upon sufficient confidence in out a new line for myself by over-doing everything, and Why? While playing upwards the difficulties are in the Music Relieves Strain in a piece by Mozart, when he played it at a Philharmonic sufficiently trained to comprehend them does not help the one’s own ability, is the thing which counts. The Amer¬ out-doing everybody. What is common-place I hold passing under of the thumb and are in the. right hand. “Thus music has the power not only to bring about student. The mind, like the body, must assimilate ican student seems to require more encouragement from to be more objectionable than what is eccentric. And if Concert in London The left hand is comparatively eary and covers up the a relaxation from the stress, cares, and strain of life, It was in Mendelssohn’s time that Tempi in general what is presented to it, in order to be benefitted. Beef¬ h.is teacher than the European student of the same grade, I succeed in being extremely original, even to the point shortcomings of the right. In playing downward, it is but also of affording a diversion to its occupations, and commenced to be so notably hastened, ' ll pin presto steak and Pate dc Fois Gras, may be excellent food; but because he depends upon outside things to help him of eccentricity or absurdity, I may arrive at being the left hand which has the difficult underpass of the therefore of conferring moral and social benefits upon possibile,” or its English equivalent, “As fast as possible,” they are not for babies. In the student’s mad race for ad¬ credited with possessing a measure of feu sacrc, and rather than upon his own powers. thumb. Here the right hand veils the difficulties and its votaries. It can regulate, order, and discipline the was not known before his day. But ever since, our vancement, American musical education has suffered be¬ The good teacher in America works much harder possibly may be hailed as a genius. the unevenness of the left. emotions, and this to an extraordinary degree, whilst it “Andantes” have become “Allegretto” and our “Alle¬ cause such students almost invariably attempt to digest with his pupil than does his colleague in Europe. The We all know the tale of the little girl who informed Playing scales is not merely digital exercise. It must affords a refined and intellectual pastime. It is acces¬ gro” has changed to “Presto.” difficult musical food long before they are prepared for it. teacher in America knows that the student demands more her mother that there were three thousand dogs quarrel¬ be coupled with most minute ear training. The student sible to the humblest, it dispenses blessings to the toil- And conductors! To over-emphasize, to “bring out” Such students gain little by sitting in classes and writ¬ results during a prescribed period of study. The Ameri¬ ing at the corner of their street. That was certainly an must listen every second for an absolutely smooth ef¬ worn and the fatigued as well as to the mentally afflicted minor po:nts, whicl\ ought to be subordinate, until they ing at dictation certain principles the meaning of which can student is impatient. He cannot' see why he should exaggeration, for there were but three dogs. But it is fect. This is not possible when both hands play to¬ _to whom it can be a gentle minister of consolation. overpower the principal one; to hurry, to slacken, to give is sealed to them. These same principles, to the properly not do three years’ work in one. He cannot, it seems, not the point of exaggeration I am complaining of. To gether at the first. Scales should therefore be practiced It can knit closer the family life, even as it has already to an “a tempo” the irregular character of a “cadenza;” prepared advanced student, may be priceless in value. understand that oak trees do not grow overnight like her infant mind, thousands stood for numbers, and a few a long time with each hand separately. done in the gramophone and the ‘listener-in’; it can draw hundred more or less did not matter, so long as she to take every possible liberty with the score, as though mushrooms. together the different elements in the social scale, and the composer were a negligible quantity and the conduc¬ Brainless Fingers described a multitude. American students race abroad with the idea of Cleansing the Technic even at school dull teaching can often be made accept¬ But what can be urged in defence of the use of the, tor the principal factor in the performance—these are but Generally speaking, many pupils seem to play solely getting superior instruction in a short time. A trip in able to the pupils by singing and music. word “awful” which we hear so constantly employed to¬ some of his exaggerations. To which must be added the with the fingers. The most important factor in the de¬ Europe is always broadening; but, in so far as study The following suggestions for the practice of scales “Its effect on groups or masses of people is often day? To be awfully clever, or awfully pretty, or awfully affectation of protruding shirt-cuff from under extra¬ velopment of artistic piano playing is the sense of hear¬ goes, the trip may be wasted unless the student's recep¬ as the starting point in doing away with a faulty marvellous: witness, for instance, the sinking of the rich. How absurd it is, and how utterly untrue. And so short coat-sleeves, the uplifted baton with “tremolaudo” ing—not the fingers. One can train the fingers of a high tivity is trained and advanced to a degree so that he technic is given in detail, as I believe that it is the only troop-ship ‘Birkenhead’ with all on board going down, is the modern use of the word “sweet." It was awfully shake in mid-air, the bending at the knees to indicate grade moron or even of an idiot, to a remarkable degree may assimilate with greater rapidity. No medical real cleansing process through which a faulty technic yet every person calm and resigned to his fate, whilst the sweet of you to call and inquire whether our cat had diminuendo, the gradual return to erect position which of proficiency; but that will never make a real artist student, with only a few weeks’ perusal of anatomy and can be renovated. Technical work should not com¬ band was playing; witness the forced march of a regi¬ returned. How sweet of you to pass the mustard just as stands for crescendo, the grinding of the baton on the pianist. The student with trained fingers and mence with the senseless repetition of so and so ment going into action with unflinching courage and with I was wanting some. So sweet of Dorothy to return the left arm to induce increased energy, and the ostentatious a trained ear, and a mind experienced in the many yards of scales, but through a well-graded an undaunted common purpose after listening to the sovereign she had borrowed of me within the month. laying aside of baton for a brief spell, as much as to say : finest music can, it is true, gain immensely series of preparatory finger exercises. It is strains of its own band; as also the young soldier under assumed that the student has become familiar Musical Exaggeration “They don’t need ME just now, but I’m within hail, through a concentrated, intensive course of fire in the trenches, singing war ditties, yet full of deter¬ around the comer, when they get to the difficult bits.” piano study; but it is a great mistake to think with all the keys and has learned the fingering mination, being cheered by ‘It's a long way to Tipperary,’ Foremost among musical exaggerators are soloists, All these “merry pranks” and many more, arc the es¬ that a few weeks under a master will be really of all the scales. ‘Keep the home-fires burning,’ ‘Pack up your troubles,’ whether vocal or instrumental. Their performances re¬ tablished prerogative of the popular conductor. Some- beneficial without this preliminary training. First of all, develop the two-finger groups ‘It’s a long, long trail,’ and ‘Goodbye, Isabel’; also the semble certain pictures, that are full of glaring reds, and by means of the well-known two-finger exer¬ assailing blues, and sickening yellows, and fierce blacks. forgotten A introduced them, and, ever since the public remarkable effect upon a concourse of people of ‘Rule cises. Dr. William Mason saw enough in this And, besides this over-coloring, they add the extra vice expects B and C to do likewise, and would probably think Get-Rich-Quick Students Britannia,’ ‘March of the Men of Harlech,’ ‘John to devote the entire book I of his Touch and of frequent rubato, against which I have protested in less highly of them if they left their bag of tricks at Thousands of students seem to proceed upon Brown’s Body,’ ‘The Marseillaise,’ ‘Brabanqonne,’ ‘Car¬ Technic Scries to these groups of fingers: 12 other places. The greatest pianists of the past, our Liszts, home1. These exaggerations approach very nearly to the “Get-Rich-Quick” plan. They demand prog¬ magnole,’ and ‘Hen Wlad fy Nhadau.’ 23 34 45. Chopins, Rubinsteins, Thalbergs, Clara Schumanns and charlatanism, and will not disappear from our concert- ress, hut are unwilling to pay the only currency Follow up the two-finger exercises with this Even Animals Helped others, never made the frame of their instrument vibrate, platforms until the millennium arrives, when orchestral which will buy it—Time and Work. Not until conductors will conduct out of sight of the audience exercise for three fingers: 123 234 34 5. “Even animals are cheered by music: horses are en¬ as some living ones do to-day. Nor did they alternate the student realizes this can we expect a ray of I will spare the reader any enumeration of vocalists’ The combination of the three-finger exercises couraged by the cheery songs of the ploughman, and sledge-hammer blows with the • sheep-bell tinkle of hope as to a remedy .of the deplorable condition. exaggerations. They are too numerous and too obvious can be further developed by the introduction of they enjoy the sounds of their own tinkling bells. Dogs “una corda,” which, with many, is the only form of The student must realize that the study of for detailed notice. mordents while one finger is being held, lead¬ enjoy music, and even the rattlesnake will become pianissimo they seem capable of producing. music or the study of an instrument cannot be One has heard Chopin’s “Berceuse” rattled off as fast rushed. .He must approach it with the same ing up to the double mordent to be followed charmed by music and will keep time by a graceful mo¬ Exaggeration Badge of Mediocrity by a group of nine notes, then twelve, and tion of its head, which is held up on a part of its body and as loud as though it were a gallop, not a slumber-song. serious intent as that with which the student To preserve the just medium, especially when under finally, a trill exercise. After this commence rigidly erected. Wild deer have been known to stand One has heard the second subject in the Finale of would seek the degree of M.D. or Ph.D. Col¬ the excitement of public appearance, is, of course, a diffi¬ with the four-finger exercises, letting the thumb and listen to music, and mice have also been known to Beethoven’s “Sonata Pathetique” maltreated, distorted,, leges of standing do not grant degrees unless cult task for us all. To be expressive without being follow after the fourth finger. In this study do the same thing. racked by unevenly valued quavers, Into something re¬ they have the absolute assurance that the stu¬ maudlin, eloquent without verbosity, and original with¬ lavs the essential foundation for the study of “No remedy can restore and refresh the emotional life sembling the spasmodic breathing of a man who has run dent has done, a i rescribed amount of work the scales: 12341432, 23412143, 341 2 of man as music can; and it is our duty to see that those upstairs too quickly. One has heard Mendelssohn’s out eccentricity, is given to very few, but constitute the of a high charactir and has spent years in 3 2 1 4, 4 1 2 3 4 3 2 1. Now we follow this with who have spent their lives in teaching the art and in “Spring Song” converted by excessive speed into a Czerny test of the true Artist. Exaggeration is the badge of doing it. a five-finger exercise with varying accents. The providing pleasure for the public, should be enabled Exercise, and his “Duetto” planed out like a gravel-path mediocrity. It is the workhouse in which the mercenary The Time-Worn Excuses accent'to fall on 1, 3 and 5, then alternating on to enjoy adequate pensions in their old age and that their under a garden-roller. But the worst of all exaggerations and the? incompetent take refuge. The legitimate artist 2 and 4. declining days should be those of peace." is the abominable abuse of the Pedal, to expose and knows its fatal allurement, and avoids it accordingly. In music the comparatively short time that is allotted to the preparation for the work that Proceed to play these exercises through all is supposed to give the student the basis for keys chromatically. All of the preceding exer¬ earning a living is nothing short of appalling. cises are to be similarly transposed. The pre¬ The usual excuses given are: paratory exercises for broken chords should What Our Readers Want Lack of Funds. precede those of the scales. They are more Lack of Time. difficult of execution than the scales, but once Lack of opportunity for continuous study. overcome, should facilitate the playing of them It is most interesting to read in letters from “Etude” friends what article, what ideas, what pieces have helped them most. ' American students as a whoie seem to be considerably. This is a great aid to us in catering to their future needs. We have a feeling that our readers want first of all fresh ideas given exhaustive courses of study in everything Why Wrists Remain Undeveloped else but music. One of the reasons why com¬ whether they come from some unknown writer or whether they are like the wonderful articles which will appear shortly in paratively few American young men are inter¬ There is much lamentation by those who can¬ not realize why their wrists remain undeveloped. “The Etude” embodying the latest thoughts of such outstanding personalities as Mr. Owen Wister, Mine. Marie Leschetizky ested in studying music is not a lack of talent, but a lack of idealism that should impel them They cannot play octaves, there is no power of Mr. Edward Bok, Mme. Marie Jeritza, Hon. Henry Van Dyke, Mr. Leo Ornstein, Mr. Charles M. Schwab, and scores of others to study music just as hard as the doctor studies resistance, and other wails. Tremolo exercises performed daily- prove of immense value to representing the finest and most helpful contemporary thought on music and music study. medicine or the lawyer studies law. Properly prepared for, the financial returns in music are those whose endurance is undeveloped. The THE ETUDE THE ETUDE MARCH 1925 Page 163 Page 162 MARCH 1925 hold. The system must benefit everyone; the results Since those of Liszt and Chopin, nothing has equalled cause of the exhaustion, as experienced by many after being in ratio to the talent of the player. It is rather Godowsky’s contribution to the instrument. The poly¬ Scientific Hand and Finger Placement, and Other a few minutes of these exercises, is due to the fact that a big statement for .the teacher who says he is opposed phony of his style, which after all serves only as a the two muscles in the forearm, usually little used, are to interfering with the individuality of the pupil, consid¬ brought into play. These muscles are the same as those vehicle for his contrapuntal thoughts, is as remarkable ering that individuality is something that belongs to the Essentials to Artistic Success etftployed in winding a clock. How fatiguing an opera¬ as it is unique. The mastery of his technic so developed out-of-the-ordinary-class only. Meeting individuality so tion this is, is known to everyone who has ever tried it. is proof of the constant growth to which the piano is By MRS. NOAH BRANDT rarely one must consider such cases as geniuses; but The muscles are known as suporpnators and pronators; destined. Bach’s Sonatas and Suites for Violin and alas, how many are there? For that reason it would In practicing fast forms, keep close to the keyboard, Scientific piano playing covers every phase of the art. and to them.is due the inability of many to endure the ’Cello were with few exceptions known only to the musi¬ It is of utmost importance to the student with high strain of the Chopin Etude in A Minor, Op. 25, No. 11. seem the duty of the teacher who is capable of develop¬ ideals and aspirations for musical success to analyze wrist free and unconstrained, using all the different Rhythm, phrasing, dynamics and pedaling accompany cally elite. Godowsky’s transcriptions of these, his latest, A moment’s reflection now must lead the student to ing the taste of students to lead them on step by step scientifically each difficulty as it presents itself, as noth¬ rhythms. The continuous octave studies given below all the technical and tonal preparation, even at the out¬ enhance the genius of these works through the medium the realization that all his attention has been focused until they show themselves able to rely upon their own ing is so complicated as to defy this method of pro¬ are of my own invention,- and may be Used from the set. To play scientifically, a student must be musically so far upon legato practice. In consequence, a very of the piano, stamping them as worthy to be placed upon judgment, in which case they shall have earned their cedure. Difficulties accumulate only owing to crude, foundation to finish, to which many of a similar nature inclined, and the deeper his musical perception, the important part of the technical equipment has been the pinnacle of piano literature. hap-hazard methods; wfiereas scientific analysis is based may be added. When completed, the hand is enabled to higher will be his ideals and his devotion to the pre¬ neglected. I would suggest the following remedy: musical spurs! move in any desirable direction, ascending and descend¬ oft fact, not conjecture, and is a demonstrable principle. liminaries. Without a very delicate ear and intelligence The entire set of exercises thus far given should be Concentrated Hearing 'The forthcoming article should be carefully studied, as ing; lightness, rhythmical perfection and speed being accompanied by musical temperament, he will fail to practiced staccato, with the wrist as well as with the Great stress in one’s musical education should be a mere perusal cannot convey its purpose to any of its dependent upon the methods in use, as the wri^t alone Musical “Bed Rock” appreciate the significance of tonal purity and all the fingers. A flexible wrist will always react favorably directed toward the concentrated hearing and widening executes these passages. To play them with the fore¬ upon the condition of the fingers. necessary essentials to artistic success. of one’s musical knowledge. By this I mean not only In his comprehensive Music and Musicians (published As hands vary in size, shape and flexibility, and fin¬ arm will mean failure from the outset. The octave Study Constant friction exists between the adherents of the field of piano literature, but also that of the Violin, by Henry Holt & Company), Albert Lavignac, Pro¬ gers also differ in length, shape and equality, every given below is to be performed continuously, as it is a A study of Bach's Inventions, Preludes and Fugues technical exercises and those who prefer to draw their test of wrist endurance, and must be played chromati¬ the Song, Chamber Music, and particularly that of or¬ fessor of Harmony in the Paris Conservatoire, presents phase and condition requires deep thought, judgment is a splendid preparation for higher artistic work, as technical material from the difficult passages of the and experience in their placement. cally throughout the octave, ascending and descending. chestral works. Those pupils whose geographic location a safe compass to the young musical aspirant. they train the fingers instantly to subordinate the tone, repertory. The question is so individual that it would Small hands are invariably placed inside, close to the The hand must be placed according to the foregoing be difficult to answer it generally. For certain advanced prevents them from attending orchestral concerts should “One of the shoals most dangerous is the premature and vice versa. They also assist in the performance of black keys, and this is also true for hands of medium directions, the smaller inside, close to the black keys, students, particularly those whose fingers have not study of the great works of the modern ultra-romantic" a simple melody (most difficult of all accomplishments), not fail to avail themselves of the excellent records size, as economy of space is essential. Large hands, as the transition from white to black must not be been neglected, it may be advisable. to feed upon the as each finger must be capable of a different gradation issued by one of the most prominent companies. Should school (Berlioz, Wagner), a study towards which the however, require greater freedom; especially if they noticeable; and the ear must be cultivated to discern material the literature affords them. The others, the musical knowledge of the listener permit the perusal young student is attracted as the, moth to the fatal candle. cover eleven notes or more. In playing chromatically the faintest inequality. of tone. Cultivate the performances of a Nocturne, who have not enjoyed the advantages of regularity in of the miniature scores, the advantages derived would These works must be known and admired, without doubt; they would require greater latitude, covering a larger A trained, agile thumb, and a wrist that will bend in Prelude, or simple themes, and always give them pre¬ finger training, need Spartan rations of technical dis¬ be greatly increased. Similar opportunities are offered but by premature study I mean that which is made before space, gauging the placement according to the. size of any desirable direction, will result if the conditions for cedence when playing for real musicians. It will in¬ cipline. The ungrateful task of the teacher is to show through high class piano-reproduction master records. the student has obtained a thorough knowledge of the the hand and equality of the fingers. However, place¬ the foundation are exact. (Note: Watch the equality stantly proclaim your gifts, as a beautiful melody per¬ the pupil the heights, but to the pupil belongs the un¬ It is for the phrasing in particular that the hearing of works and the principles of the classic school. ment must be enforced in every instance, as virtuosity of the thumb, as it must be in unison with the fifth formed to satisfy the most exacting taste requires Self- disputed right to scale them. In my “Ten Concert these records could be of inestimable value. The read¬ is inconceivable when shifting in and out, and greatly finger, and the legato unimpaired.) Etudes” I have tried to embody the various technical ing alone of text books on phrasing, no matter how “Before he has done this, the neophyte is not in a con¬ expression, initiative and originality of conception. deters artistic success. problems which my observation has led me to believe remarkable the treatise, cannot replace actual hearing, dition to comprehend that which intuition already leads Pyrotechnical display, cultivated to its highest extent, Uneven fingers are in a special class, and the most are paramount in the student’s development. provided one understands how to listen. There is not him to admire. Ignorant of the old forms, which he has alone can never carry conviction, and will never hold perplexing problem to the uninitiated. If the first and a master whose phrasing is so utterly misconstrued as never thought of analyzing, he comes to regard as exempt the close attention of an audience. Musical Cripples fifth fingers are short, and the second, third and fourth has been that of Chopin. First, we have the innumerable from all plan, form, or logical structure, the works—which too long in proportion, special placing will accomplish Another difficult phase of piano playing (unless dis¬ I would like now to add a word to the musically editions with their individual phrasing; second, the un¬ without being able to grasp their principles of construc¬ good results; but inequality in the middle is a serious cerned scientifically) is rotation, the most abused and undeveloped. The tendency of the uninitiated to occupy limited liberties which serve many as a vehicle for their tion, not knowing even that they have any—he proposes to detriment, especially if the middle (third) finger is too least understood by the student. Playing in circles, up themselves with the modern and ultra-modern litera¬ so-called individuality and which have their origin in the take for his models, making disorder, henceforth, his long. For scale and arpeggio passages the over-long ture, to the neglect of the classics, is destined to react entirely misunderstood and greatly abused tempo rubato. and down movements, and other equally ridiculous con¬ own easy law. Having begun in this way, he will never harmfully upon their undeveloped sense for the beauty Most teachers and students should hesitate before tam¬ third finger, out of proportion to the remaining ones, tortions and exaggerations, prove how utterly at sea of the Masters, whose educational influence is indis¬ become aware that these new forms, which are so seduc¬ pering with the sacredness of the text as left by the would preclude the possibility of equality. As OVer- Continue throughout the octave, ascending and de¬ the student is, as curves and circles are merely guides pensable. Why is the study of Bach and Beethoven of tive to him, are only transformations of earlier forms.” large hands require condensing (almost impossible in masters. scending. No interruption is permissible, as it is an as to the method of procedure and direction of the such importance? Apart from the depth of meaning most instances), a special keyboard made to order to The very best advice one could give would be to endurance test. Always use the fifth finger on white hands. As when an edifice is completed no trace of the their messages bring to us, the needed discipline the fit every requirement is essential. compel the pupil, before thinking of reading Chopin and the fourth finger on black keys. Never use the foundation is visible, so is it when the rotary movements painstaking reading develops, is something without The hand best adapted for artistic success is medium individually, to discipline himself in doing first of all third finger in these octave studies. which musicianship is not attainable! They teach one For Pupils Slow in Reading Notes sized, with fingers to correspond, and spatulate shaped, are comprehended; as grace, lightness, dexterity and (and this is not meant for Chopin alone) what the text Given below are half a dozen exercises on white to see, and while seeing to observe. with thickly cushioned tips. If it covers an octave from ease (unaccompanied by any of the aforementioned demands. There will be plenty of time, after the student keys only. As the wrist development will allow of By L. T. G. the thumb to the index, and from ten to eleven notes mannerisms) will alone be in evidence. Making a Life Study of Beethoven has reached a point of artistic maturity, to deviate from greater speed and endurance daily, begin by playing both from the first to fifth fingers, with a long thumb, it is The rotary movement is especially imperative when The less the student has had of this schooling, the what seems to him now to be the beaten path. staccato and legato, very slowly. As descending pas¬ ideal. A hand of this character falls naturally in the more formidable will be the attempt to overcome this Quite in line is the anecdote told by Josef Hofmann, Pupils who are slow in reading their notes can to sages are more difficult, and intervals of skips must to covering large distances, as given below in passages correct position, and the shorter fingers insure a quicker handicap. Erroneous is it for the student not to realize who, during a lesson with the master, Anton Rubinstein, assisted in the following way. The pupils sit in front of played with accuracy and correct attack, slow practice taken from the Chopin B-Flat Minor Scherso. spring, responding instantly to every demand. As my that Beethoven represent’s a life’s study which should was stopped upon one occasion with the following the piano in a row. Cards are prepared similar to the one at first is essential. Ex. 3 Scherzo, No. 2 Chopin own hand answers this description in almost every detail, be progressively developed. It is fatal to begin the remark: shown below. One card at a time' is placed on the piano, At a casual glance, these exercises may seem simple; I can speak with authority on this subject. study of Beethoven with such sonatas as Op. 53 or 57, “My boy, all the liberties you would think of taking and the pupils take turns in telling what the note is- but attempt great speed from the wrist, never failing to say nothing of such monumental works as Op. 109, interpretatively, will to timely when you get to be as “Treble clef G,” “Bass clef C,” etc.; afterwards going It is here advisable to explain why the curve of the to get the right direction, and it requires a student ad¬ lit), and 111. The study of the sonatas should be di¬ old as I am now. For the time being, be content to to the keyboard and playing the key it represents. If the finger tips is so essential, and its importance in the culti¬ vanced to the last stages; therefore, use your ingenuity vided into three periods. The first consists of Op. 2, adhere to what the text indicates!” pupil fails to answer correctly, he must go to the fool <•, vation of a resonant, pure tone, perfectly equalized. and prepare for virtuosity. with special emphasis on No. 3 of the same opus. This The guidance of the proper teacher will surely en¬ the class, the pupil who first notices the mistake scoring Thickly cushioned, velvety finger tips (spatulate is to be followed by Op. 7, then Op. 27 and Op. 31, lighten the student sufficiently as to the difference a point. For every note answered correctly the pupil shaped) are undoubtedly the most desirable,as they hold Rz.2 'Continuous Octave Studies particularly the E flat and D minor sonatas. In the between the advantages of the metronome and its de¬ scores a point. The one receiving the most points wins. the key to bottom without effort; and the touch is free same period I would suggest sonatas such as Op. 53, structive influence, when used to exces-s, upon the rhythm. from the harshness so prevalent when these conditions 57, 90 and 101. For the final period I would add Op. I can strongly recommend the comparatively unknown do not prevail. firfpfn In the foregoing example, the first measure in the 109, 110, 111, to be crowned by the Hammer clavier study of “Agogic” by Prof. Hugo Riemann, dealing with The quality of tone, however, is not wholly dependent left hand covers an augmented twelfth, with large Sonata, Op. 106. the elasticity of rhythm. The use of the metronome for upon the finger tips, but largely upon the power behind stretches between the fingers, and the second an inter¬ Much the same error is being made in the study of the steadiness of purely technical work is to to recom¬ the tips. The impulse comes from the triceps. muscle, val of a major thirteenth. As they are measures in a which conveys the weight to the tips with each pulsa¬ a single prelude and fugue of the “Well Tempered mended, but decidedly not for emotional parts, if one passage working toward a climax, ritardandos are not tion; otherwise the tone would be characterless, devoid Gavichord,” of Bach, without preceding this important does not wish to deaden one’s sense of beauty and vision to be considered; therefore, if the wrist (as is supposed work by the same gradual preparation. The two and of perception. of quality and resonance. at so advanced a Stage of piano playing) is prepared, three-part Inventions, succeeded by the French Suites, Pedalling is a subject deserving of the most pains¬ Conic-shaped fingers often produce a much harsher of which I would select Nos. 5 and 6 in their entirety. taking attention, and should not, as is often the case, be tone and disagreeable quality; but this condition is the only necessary requirement is a scientific study of These in turn should be followed by the English Suites, left to the impulse of the moment. The conscientious The cards are made of smooth white paper cardboard, almost entirely eliminated by a judicious use of relax¬ the rotary movement. We shall now consider certain of which Nos. 2 and 3 of the first took, and the first student, carefully working out a composition without the six by eight inches in size. The lines of the staff are ation and weight. rules to aid the student: of the second book represent material that must have its use of the pedal, must realize that the same process of half an inch apart. The above illustration is made one- When applied to the conic-shaped or bony-hard finger 1. Do not stretch or stiffen the fingers. place in the curriculum of serious study. After this careful study should to accorded both pedal and fingers eighth of actual size. Forty-two cards arc used, one tips, persistence and correct guidance ameliorates all 2. Move the fingers in conjunction with the wrist. well-grounded preparation, the study of the “Well Tem¬ after the two factors have been combined. This ele¬ half treble, one-half bass. The notes represented should harshness, and a beautiful tone can be acquired. An 3. Guide the hand by the shortest possible route pered Clavichord” should be undertaken. The study of offensive tone is always the result of striking, not mentary remark is intended only for those to whom the extend from the third line below the staff to third line toward the desired point. Partitas, though neglected, should have its place along technic of pedalling was not properly broached. The weighting the keys. A misuse of the wrist also results above. It takes a little trouble to prepare the cards, but 4. In these foregoing passages, a special outward with the afore mentioned works of Bach. syncopation of the pedal (using it on the after beats) is once made they can be used over and over. in a hard tone, as a high, stiff wrist (which compels Mendelssohn, although nowadays neglected, is of difficult to many. The following advice could to adopted the use of the forearm) precludes the possibility of any¬ rotary movement, differing from the Others, is necessary much greater import than the majority of teachers are with advantage: Use the pedal alone without playing, thing but noise and pounding. owing to the two white keys (octave of e in the first apt to acknowledge. And yet, I do not know of a better counting from one to ten, changing the pedal immedi¬ Results are inevitable in scientific technical and tonal measure, octave of / in the second measure). preparation for Chopin and Schumann than that which ately after each numeral. Do this at first slowly, then Why They Burned Chopin’s Piano study, and convincing evidence is visible at the left side Here the placing of the hand must conform to the lies in the loving care one could bestow upon the master’s increase the speed gradually. Now try the first of the of the wrist and top of the forearm; as their huge demand of the passages, and be subject to a rigid Miss Julia Schellin", a well-known musical cd. much neglected “Songs Without Words,” “Serious “Songs Without Words” by Mendelssohn. Sing the development eliminates fatigue and allows of freedom, analysis. Variations,” “Prelude and Fugue in E Minor” and the melody, changing the pedal after each beat. Play now cat or, sister of Prof. Felix Schelling, of the Un lightness, dexterity and beautiful resonant tonal quality. Hours of aimless practice will be useless in achieving completely forgotten “Capriccio Op. 5.” Still fresh in the right hand alone, pedalling as before. After that versify of Pennsylvania, and of F.rnest Schellin A flabby arm becomes easily fatigued and must be the result in this instance, unless the rotary movement is my mind are the words of Busoni, who dwelt at length both hands should to tried in conjunction With the pedal. the noted piano virtuoso, has been making p. developed muscularly according to the foregoing prin¬ |lr ■■llXLf f rff1 upon the indisputable value of Weber’s scintillating This simple advice has been found helpful in a number grnnages in Europe seeking for further inform ciples. carried out successfully; as 'the slightest rhythmical impediment will be noticeable, and will mar the beauty piano passages as a stepping-stone to technical brilliancy. of cases where the syncopation of the pedal was difficult tion upon Chopin, Among other incidents in ti Studies of every conceivable character, from the wrist, It is very difficult to control the speed and direction, Other works helpful in developing brilliancy are Hen- of solution. at all angles and differing heights, are a part of the of the performance. r,g1f. lJe !s one lM the Balaeric Islands, whet as the mind and ear must be alert and trained to obey, selt’s “Etudes;” Moszowski’s works, because of their ex¬ Standardization is the crying need of true progress. daily practice, until the student is so advanced that Another passage, easily accomplished by the same L no pins piano was ruthlessly destroyed for re as well as thfe fingers and wrist. Therefore the above cellent “ klaviersatz after which the more difficult The argument advanced as to the insufficient considera¬ octave and chord passages may be taken from solos and sons winch Miss Schelling describes in her rotna exercises are an invaluable aid to virtuosity in octave methods, is taken from the Toccata and Fugue in D etudes of Liszt are in order. tion for the individual treatment of the pupil does not applied. playing. Minor (Bach). he article to appear in THE ETUDE shortly. Page 134 MARCH 1925 THE ETUDE THE ETUDE MARCH 1925 Page 165 What Practice Really Is

By E. Constance Ward What It Means to “Put Over” a Popular Song

using varied qualities of touch and rhythm. This will The ways of practicing are legion, and every student be found to control the nerves and to be a good prepara¬ By FRANK II. GREY has his or her own idea of how to attain the result tion for more rapid playing. All scales and arpeggios desired. Some succeed, others fall short; perhaps a few general hints may be acceptable. Practicing, defined, is should be practiced starting from either end, also [Mr. Frank H. Grey was born in Boston, four years, of W. R. Spalding and Frederick comic opera, having conducted many Broadway the exercising of every faculty and muscle essential to crescendo and dccrcsccndo. Mass., November 19, 1883. He was a pupil of Converse. He has written operas, overtures, successes, including “Blossom Time.” Special Beware of stickiness in your touch. All the muscles in the satisfactory performance of the work in hand. Frederick Shackly in Piano and Organ, R. Hunt¬ piano pieces, songs and other compositions, over attention should be given to Mr. Grey’s remarks use should feel quite free, no tightness anywhere, only What we all want to discover, is how to obtain the. best ington Woodman in Organ, Charles Dennee in one hundred and fifty of which have been pub¬ upoti Song Sharks. The dangerous nuisance is a firm control. When commencing a new piece or study, it results with the greatest economy of energy.. In order to Piano, and at Harvard, where he remained for lished. Since 1909 he has been a conductor of continued menace.—Editor’s Note.] progress it is necessary that we be able to criticise our¬ is a good plan first to go care^ly through it visually, feeling in your mind the kind ofTreatment it will require selves and our performance; it is the quality of practice The immense interest recently shown in attacking the technically. Then begin to play in a tempo sufficiently Don’t Expose Your Ignorance in a Manuscript famous and he is reported to have made over $5,000,000 which counts and not the quantity. If a student is work¬ so-called “song shark” swindle, which it is said has slow to avoid making any mistakes in notation, hut keep¬ Consider the aspect of a manuscript arriving in the from them. Another famous vaudeville comedian, who is ing under a teacher, each lesson will test the progress, mulcted unsuspecting novices (who desire to write music ing, strict time, and trying to put in the kind of touch publisher’s office. Let us suppose that you are sending a almost illiterate as a musician, has become fabulously and hints will be given as to methods of study for further or who have some form of doggerel which they want set required straight away. Accents should lie noted. It short story to the editor of Century, Harper’s or Scrib¬ wealthy. But such composers, with such genius, are as In the foregoing passage, the attack from the wrist preparation, which should be carefully remembered and to music and published) of millions and millions of is dull and monotonous practice to attend only to notation ner’s. Unless you imagine the man to be an out-and-out rare as Beethoven or Chopin. They always combine, and the exact curve from the bass to the tenor must conscientiously carried out. Do not let the clock' decide dollars, leads one to suppose that anything written upon in the first instance. Put in as much as possible; but do fool, you must know that a sloppy, dirty, unintelligible mark you, with some skilled musician and arranger, to again be exactly analyzed, as this is the only positive the end of your practice time, but rather ask yourself if “what it means to put over a popular song,” will be manuscript would prejudice him against you. Le.t us make piano parts and orchestrations. Their melodic road to habitual accuracy. If the methods in use are you know or can do anything which you did not know not sacrifice correctness. If mistakes are made, reduce received with delight by thousands. or could not do at the start. If No is the answer, then the speed. After one reading like this of the portion further suppose that he should go so far as to read the sense seems to be instinctive. Their knowledge of what hap-hazard, insecure and nervous, unreliable playing There are. in America probably two hundred publishers the public will buy is uncanny. will be the result. Therefore, watch your attack, gauge go on till you can say Yes decidedly. Never stop till marked for study, pick out all the most difficult hits for first page and discover not only grammatical mistakes, of popular songs and some two score of other publishers In all of the instances we know, these composers have your distances, use your eyes as well as your ears, as some progress has been made however small. Otherwise, separate attention, until the whole can 1« played equally but also poor construction and bad handling of ideas. He of higher class works. These two classes are for the cast about in their youth a great deal and have seen life they are necessary when covering distances with great the whole time has been wasted. well; then gradually increase the tempo. would become disgusted at once. He might discover some most part quite definitely divided; yet the so-called high- in all its phases. It is not to be expected that the little rapidity. Never approach your notes, in the endeavor Concentrate fully on your work, and commit as few Tests in sight reading should always be attempted at slight traces of literary 'gifts; and if he did he might class publishers have no objection whatever to dis¬ inexperienced country rhymster or musician, who has to play them correctly, as they'fall from above with errors as possible, train yourself to watch for faults; and correct speed, and the time kept strictly, even sacrificing covering that they may have a “song hit” crop up in not looked very much farther than her front gate, can one natural stroke from the wrist, moving in curves so never pass one knowingly. Aim always for a high notation; and never go back to correct yourself. This is their catalogs. The popular publishers, on the other have the big human grasp that such men have. She may quickly from lower to upper as to be scarcely discern¬ standard. All practice should commence slowly, and excellent practice, as all ensemble players find out. hand, deliberately seek song hits. aspire for years, but she must feel and know in' order ible. To approach and pick up notes is to invite dis¬ gradually work up to speed required. Pianists should try to get into ensemble playing at times, to catch the heart-beat of the great world. aster, as a trained hand falls from any height, covering We must also feel fit physically, or we cannot exercise as well as students of stringed instruments. Vocalists The Song Shark our powers to advantage. Conscientious practice produces distances from one end of the keyboard to the other can always join a chorus as a change from solo work. Apart from these two classes, there is the “song shark,” high nervous strain, and should not be continued if a Writing a Good Melody without a single false note. Nothing is ever really per¬ A portion of every practice time should be devoted to who is not a publisher, and who expects the composer or feeling of fatigue comes on. Stop for awhile and rest, fect unless it is scientific and demonstrable. memory work and revision of old pieces. author to pay him for publishing music—often unedited— How, then, shall one learn to write a good melody. or do something entirety different; then resume when First, one must tknow thousands and thousands of melo¬ When a difficulty, therefore, presents itself, never Remember that the mind has quite as much to do as and with many species of outrageous promises of great you feel refreshed. dies. One must instinctively see that the melody rises despair, as there is invariably a way. Faulty mechanism the fingers and other physical organs in practicing and fortunes which are never fulfilled and which they never is responsible and the solution lies in studying direction, Do not always practice your various items of study in must not relax its control, or disaster will follow. Always intend to fulfill. naturally by steps to a most impressive climax. One the same order; it is more interesting and keeps us out gauging distances, finger and hand placement, and mus¬ do your best; a little well done is worth more than a lot Anyone who is ensnared by a “song shark,” that is, a must write and write and write until the facility comes. of a groove to vary the order. It is good to make always cular development. You have then laid a foundation only half done. Cultivate patience and perseverance and publishing house of no repute, deserves the. same One must have a feeling for rhythm. One must learn a point of playing at least one scale and one arpeggio in for sound success, if included in this line of develop¬ do not get anxious about results. Keep smiling and sympathy as the man who has been black-jacked by a to know what is a good “melodic curve,” as Victor very slow tempo, listening carefully to each tone as it ment you have invariably devoted even greater attention you will find your work full of .i bandit, or robbed by a crooked oil deal. Herbert put it. Take his “Kiss Me Again.” See how is produced, trying for absolute evenness of tone, and to rhythm, dynamics, pedaling, phrasing and musical all who love it It is with the view of opening the eyes of these victims each sentence has its natural reply and yet how each interpretation. of song sharks to the right method of merchandising a sentence varies from the former and ingratiates itself Last, and of great importance is your attendance at song as well as to the iniquity of these wolves in sheeps’ upon one’s ears—a knowledge of form that can be ob¬ tained from such a book as that of P. W. Orem, “Musi¬ concerts of every description, not least in importance Analysis Without Harmony clothing, that this article is written. These song sharks being chamber music, as playing with other instruments would steal a penny from a dead man’s eyes, so lacking cal Composition.” The same tests that have been applied to Victor Herbert’s famous song apply to the best melo¬ is essential to musicianship, and listening is an infallible are they in the principles of humanity and common aid to maturity. By Edith Josephine Benson decency. dies of Handel, Beethoven, Tschaikowsky, Elgar and Wagner. J UU.-S WU ue raugnt 10 a cnucl ot any Self Test Questions on Mrs. Brandt’s Article 1 , j . ls ‘“c cnora ne already knows when the C is $300,000 Worth of Trash What happens when a popular song is accepted by age by planning instruction so that it uses what the child the popular publisher? First it is tried out with a 1. What difference is made in the placement of small placed an octave higher; thus, F-A-C. Second inversions Many of these song sharks are now confining their already knows. A small amount of analysis of a piece or vaudeville or movie singer. If he likes it and is willing and large hands on the piano? are explained similarly. Seventh chords arc explained musical activities to prisons where they are incarcerated. study can be assigned at each piano lesson, the analysis to sing it, a manuscript orchestration is made and a 2. IVhat hand is best adapted to artistic achievement? y a mg to the triad a third, the seventh tone above One New York firm doing an objectionable business becoming as much a part of the lesson as the practice. few orchestra leaders are asked to try it and to ex¬ 3. On what does tire quality of tone mostly depend? the root Any chord can add a seventh, but the chord actually secured the. services of a song writer of some Recently a five-year-old pupil who c'ould play a few press their opinions. The dealer is approached with a 4. Of what use are rotary movements of the hands on the dominant, called the dominant seventh, is the reputation and traded upon his name. It is said to have broken chords in one octave analyzed a measure which few copies and asked to pass upon its merits; then after and arms m playing? most common. had some 6000 “customers” (better named “suckers”), consisted of g-b-d in both clefs and found a scale a favorable report has been returned from all these 5. Give four valuable rules for students to follow. passage. The older pupil who plays only a few major To indirate the root of any chord, only the name may be who paid to have their drivel set to music and published. The cost ranged between $30.00 and $60.00, or let us say sources, the publisher is willing to begin a campaign of scales can be taught the meaning of dominant and sub- sevemh h ^ added for '"versions, and 7 'for exploitation, through the medium of certain popular, dominant and is then prepared to see that a composition seventh chords; as C, C 1st, C 2nd, Gj or V7. When each an average of $45.00. This means that these people got Learning the Staff FRANK H. GREY variety, trade and first-class musical publications. Then progresses from the tonic to the dominant or sub-domi¬ kevhnarnri^S1**<|S ^un’ ^lc PuPil should experiment at the away with nearly $300,000.00 before the Post Office keyboard with the new chord on different tones The authorities put them out of business. Not one of the the composer is entering upon the first stages of suc¬ nant key. The relative minor mode may be taught with the cess and the realization of popularity. Remember, how¬ songs was ever known to be successful. advise you to see a literary advisor and to have your By Harold M. Smith explanation that the scale begins on the third letter below ever, that only a few of the thousands and thousands tte Supil mUa'dfimdrklthe C!'°rdS ‘° bc a"alyzed’ and later The secret of the “success” of such swindlers it that it story revamped into presentable shape. the key-note, but the letter is sharped or flatted as in the ptition slml , ' 6'? “I0"6' C«"Pl«c chords in root of manuscripts ever get even printed. seems impossible to convince the average person that he The music publisher is even less charitable. How much Rarely does a teacher find a pupil who cannot grasp major scale, and the seventh is raised as in sharp scales tones then in * taug1t first, then chords with omitted But I know that no good manuscript fails of worthy These raised notes belong to the key, like sharps in the rones, then inversions has not the divine spark of genius, which is found in about better it is to wait until you have either acquired a the staff in its relation to the keyboard, yet sooner or consideration from a reputable, publishing house. So, one in a million persons. Everybody thinks he is a knowledge of Harmony and Composition, and good mu¬ signature. The raised - sixth, the diminished seventh brS>e«anctyord,mel0hy'tl?eJPUpil may look for bits of scale, Mr. Young Composer, why seek the aid of the song later he will meet one who fails to respond to ordinary latent master; and the advertising of the fraud publishers sical chirography, or have had some competent arranger explained as the seventh chprd on the seventh tone and but h^ve some ♦ mC,°dicS that arc funded on chords shark and pay for the delusion of having your name treatment. The writer once had a pupil who persisted in is enough to convince one that the writing of a popular pass judgment upon the manuscript and possibly re¬ the progressions of parallel major and minor keys’ and The w. u0neS °n adjaccnt degrees, in print. If half a dozen reputable houses turn your ignoring the skips between two successive lines or spaces, relative major and minor keys may- follow. song is no more difficult than blowing his nose. written it. see changes'"of T dVhc work described is ready to song down, when they are literally “breaking their necks” in spite of repeated explanations. The following reading It will surprise the reader to learn that many of the The pupil who plays arpeggios in the fundamental posi¬ signature.6 * ^ that OCCl,r without change of to get salable works, how can you, with your inexperi¬ exercise was devised and it proved successful in clearing What Do the Legitimate Publishers Want? great composers of the day, who are masters of composi¬ tion recognizes root positions easily. Only these explana¬ ence and limited capital, afford to take a chance in the mental fog. tions are necessary for chords that have one tone omitted In the first place, legitimate publishers do not tion, are. nevertheless, such bad music penmen that they ,m “W*. tal 'hey an he backing your unknown manuscript with a swindler. want lyrics or verse, unaccompanied by musical settings. invariably have their own manuscripts carefully prepared No. 1 , ton<; om,tted from a chord in one staff may be found in horizontally EvenTvo are. esPcc,all>’ useful in reading the other staff; or it may be on the second half of the The writers of poems may expect to have them fall into by professional copyists, before they submit them. Even intervals with 2 3 etc F S1*‘yca.r-°Id Pupils can mark The Cost of the Launching ’fat °r. 011 ^e following beat. Even if a pupil has not the waste-paper basket or come back by the next mail, Richard Wagner, Verdi and Rossini did this. Friml, The cost of launching a popular hit may be from played inversions m his scale practice, he can understand augmented, and ’dimnUhJi *P ana"1ons of n'aior- ,ninor' if return postage, is enclosed. Herbert, de Koven and others had copyists, known as complicated to rem™fli^ wit! ?ls a"d chords arc ,0° The music publisher is a music publisher, pure and “shadows,” to do this kind of work, to insure a good-manu¬ $1000 to $20,000, and sometimes more. Often this is a The' pupil was first directed to read straight through remember without harmony lessons. complete loss to the publisher, who has to be a gambler simple. It is the music, the melody and setting, that script. It saves tile publisher time and effort. If these in the public taste. The public is always the final as written, (diatonically) observing the black notes counts, not so much the words. The high-class music outstanding men employ a copyist, how much more arbiter. If it were not so, how can we account for the which separate the lines. Next he was required to play Teaching the Scale to a New Pupil publisher knows, for instance, many classic instances of necessary is it for the tyro. fact that songs like “By the Waters of Minnetonka” the white notes only, then the black notes only. As a this, the most valuable being Heine’s “Thou Art So took years before they finally became great successes? final variation, he was instructed to play in the follow¬ By A. Lane Allan Like a Flower,” of the hundred or so settings of which Melody! Melody 1 Melody 1 ing succession of black and white notes : White, black • only those of Rubinstein and Liszt have survived. There A tremendously popular song of the present time Again, what do the song publishers want? Melody, languished for several years on the publisher’s shelves. black, white; white, black; white, black; black,’white; How do you teach the scale? Do you begin-with r? ,t. , have been numerous settings of “The Rosary,” but Ethel- melody, melody. This applies both to the popular and Finally, the publisher, at the earnest request of the com¬ white, black, white. The order may be varied for further Why not try beginning with A? ' ^ jcflcs come along. It makes an on ti bert Nevin’s setting is the only one that has world-wide to the high-class publishers. The high-class publisher poser, purchased the composition for a stated small = , , saying me alph popularity. exercise, according to the needs of the student. expects a completed, well-arranged manuscript. It has amount. Two years from that time, this song started s G, and then repeating A, B, C again It lm Therefore, do not send any of your poems to a music happened frequently among the popular publishers that c,zressesH a new puoil more than the r.n t?t? c- « „ „ much rto r*s’syrttssbe mastered that someth,- arn.cd- There is so to sell and made such a fortune for the publisher that a new pupil more than the C-D-E-F-G-A-B-C -- lucii somet publisher. He is not interested. Get in touch with a rep¬ some person, wonderfully gifted in making melodies, has, he sold it for a king’s ransom and retired to the Cali¬ “The advanced student, in the end, must develop his method. You will find they remember the names of the \as a sort of hookon ib-eh ^L?a,ready ' utable composer. First address him, care of his pub- by means of collaboration with some well-known musician fornia coast, to enjoy the rest' of his life. The writer own technic, according to the structure of his hand, and keys much more easily if you do this a few times during Make a new pmfif feetTh'^- Ilang other details. ‘lisher, and ascertain whether he is interested. Do not and arranger, achieved great “hits.” knows that it was only a few years ago that this same I might add, according to his own mentality.” the first lesson or two. s Do not mystify or eonf u-'S a" simP,e and natural, waste time and postage by sending him unsolicited verses, One instance, of sensational character is that of a song was hawked about by salesmen to the Ten Cent Of course, explain that the scale itself begins on C- details. Build up a by a multiplicity of as he is not responsible for their return. When you do —Frederic Lamond. little story. The eh m ’ COns,stcnt’ easily understood composer who only a few years ago was a “singing store systems, who wouldn’t buy 50 copies at the rate but you will tell them an easy way to remember how send verse, always enclose a stamped, self-addressed waiter” on the Bowery in New York. He could make of 6% cents each. It is now selling in great amounts you are careful to do thisCmCmbCrS *° bettCI‘ if envelope. clever lyrics and good tunes. These have become world at the rate of 22% cents each to the trade. Page 166 MARCH 1925 The Etude Cross Word Puzzles THE ETUDE MARCH 1925 Page 167 How High-Class Publishers Work Pedal Pointers The higli-class publisher does not "plug'’ a song a does the popular publisher. He is inclined to depend By S. M. N. 1 Pirates on the Musical High C’s more upon the artist singing the song in public. He Z 3 4- circularizes the first-class teachers, and when the song The proper use of the “Damper Pedal’ is of enormous 1 g§ shows signs of great popularity, he will begin to inter¬ importance, and the observance of the following rules Being an Extract from a Recent highly Entertaining Work est the orchestras and the manufacturers of Talking will in time lead to artistic pedaling: gip Machine Records. When the song reaches this stage it (a) Never use the same pedal for different harmonies. m By SIGMUND SPAETH is “made.” Its returns are likely to be much more (b) Do not use the pedal at the end of a phrase, unless m m ■ lasting than those of the popular songs. there is some special reason for it. 5 6 7 8 The Nevin, dc Kovcn, and MacDowell estates are re¬ (c) Use the pedal for the long melody notes. Use [The following extract from Dr. Spaeth’s “The Common Sense ployed by some popular publishers in appropriating the music of the ceiving Jarge incomes and probably will continue to re¬ “syncopated pedal”—that is to say, depress the pedal of Music”—copyright 1924 by Boni and Liveright—is reprinted masters or by closely imitating immortal tunes. Once the editor of after taking the note. if ceive them for years, while the popular song hit rarefy p herewith by permission of the publishers. The author, in his very THE ETUDE called upon a well-known popular publisher and lasts more than six months. (d) All foundation notes of chords require separate p ■ mm pedaling. entertaining and informative work upon music, directed to the gen¬ asked him zc’hat he called a “Hit.” "It’s easy,” was his reply. "Take The Publisher Copyrights Songs (e) The use of the pedal is very important in climaxes. eral public rather than to the professional musician, covers many any famous classic. Jiggle it up a little. Get peppy words; and (f) Many players acquire the incorrect habit of putting ■ In sending your song to a reputable composer, you the foot down with the accented beat; others are too 1 ■ interesting subjects. One chapter is devoted to the methods em¬ there you have it.”] are safe from piracy; as the reputation of the publisher violent, putting the foot down heavily and lifting it too is more valuable to him than your time. Don’t bother high. With ordinary pianos a half depth is enough for ■ ■ SIGMUND SPAETH 9 1 1 to to copyright your tune. The common law will protect the use of the pedal; and a silent lift—not high enough §§ you from theft. The publisher always copyrights the to lose contact of the foot with the pedal—is generally 1 Putting Jazz to Work show, and Mr. Tierney also saw the point. They decided Ricordis won their point, and the matter was settled songs, but the copyright is not complete until he sends sufficient to dampen accurately and can be done delicately II up /a itf To say that our popular composers have discovered that this fellow Chopin probably had some more good with damages quoted as high as $25,000, while Avalon two printed copies to Washington, to the Congressional enough to avoid all unnecessary noise. Most pupils prac¬ J i§ the classics and adapted them to their own use is no tunes up his sleeve, and they went systematically abruptly disappeared from the market. library. tice too fast and do not listen to their own playing. Hi m longer news. It is now admitted that practically every through his piano pieces to find out. In the middle B 16 The parallel between the two melodies is interesting. The Radio, concerning which so much has been The following is a good exercise for slow practice: 13 14- 15 >7 18 popular hit of the day is based upon some really fine part of the Minute Waltz they found the melody they m Mario Cavaradossi, hero of Puccini’s opera, sings his written, may help or it may injure a popular song. Up “Damper pedal alone” music of the past, the invention of a great composer, wanted. By putting it into fox-trot time, they secured to a certain point, it seems to do it good, but there is Count four. Release pedal at “one,” put it down at gpi the chorus of Castle of Dreams, the hit of Irene, and big aria in the third act, just before they shoot him. 19 20 or perhaps an immortal folk-song. apparently a point of saturation. The public gets tired “two,” keep it down until exactly “one” of the next note for note Chopin’s music. (Opera composers generally manage to give their tenors of a tune it hears too much, no matter how good the measure. ■ Credit Where Credit is Due and sopranos their best music just before they kill them tune. If the publisher could restrict the use of the song Next count three. Then count two. Care must be There was a time, when popular song-writers were Ex.2 Minute Waltz (Middle) off.) The real melody of the aria starts in minor key: at that point it would be ideal, but the publisher can taken to keep the pedal down the complete time of the The Etude inaugurates a scries of cross-word puzzles just entering the paradise of genius, and discovering not and the radio does not discriminate as to this abuse. second, third, and fourth beats, and to let it up the “full” dealing almost exclusively with musical terms. No prizes how easy it was to pluck the fruit from the trees of yjiJ j N |J No. 5 E Lucevan le Stelle time of the first beat; also to see that its use causes.no are offered. The answer to No. 1 will be published next knowledge, that they took pains to draw attention to the month. This puzzle is by Beatrice Purrington. source of their melodic inspiration. Do you remember years ago That Mesmerizing Mendelssohn Tune, which of A Golden Slowness Across 1—sL— course was the familiar Spring Song in a slight rag-time -t-JH 1. Metal tongues used in organs to produce sound. This does not sound much like Avalon, but turn it into By E. F. Marks disguise? It was perhaps the first song of its kind to . j-J |. ■I-J -11 .J ■ . t J , 3. Symbol for a marked, emphatic style (abbr. >. major and see what you get: 1 *-“-f- i J |- achieve marked popularity, and it led the way for a S. A famous German composer. number of others, each glorifying some classic, Rubin¬ Castle of Dreams , ! My Pupil is “running away with himself.” What i.J ■ ! i-J- +*-J +-£—J—i 9. A curved line over two notes of the same pitch to stein’s Melody in F, the Wedding March from Lohen¬ shall I do? Ah! he has struck a snag in deeper water—a ■^Lh. 4MI ll ■■■ difficult passage in' his piece. At any rate my pupil is show they are to lie played as one. grin, and its companion from the pen of Mendelssohn, imp going much slower. Now is the opportune time to get in The next exercises are to be practiced very slowly, and 10. Salutation to the Virgin. Schubert’s Moment Musical (how many classic dancers, my admonition for carefulness. with equal accuracy and care of pedal and hand The 13. A picturesque poem. armed with double flutes, have skipped to its melody?), Now put this into fox-trot time, with simplified result m each case should be an exact legato, without 16. Another name for A Kind. Rachmaninoff’s Prelude, and what not. You may ,my mind. an aPothegm of Sevcik. either disconnecting or overlapping the tones. harmony, and it is only a step to Avalon itself: immediately I find the quotation and read it to my too . 19. A Christmas hymn. remember also My Cousin Carus, which quoted a strain 20. A smooth, flowing melody. aggressive pupil: “The foundation of all good work is to No.l from Pagliacci inseparably associated with the great No. 7 Same in Fox Trot Time This was a flagrant plagiarism, if you will, but it cer¬ practice slowly.” Then he is advised that not only is Down slow practice requisite, but also adherence to a certain tainly brought Chopin into the American home. They do it Better Now tempo which will enable him to deliver a piece without an 1. A Russian composer-pianist. The thing became a habit after that. There were 2. A mark to show the time of a i observable change of movement in the difficult portions. is increased onc- These were early and comparatively naive efforts. whole cycles of songs based upon the same original Sometimes one melody is not enough to create a half its value. Also he is admonished that in those parts which are easy To-day they have their parallel in Blossom Time, an melody, and when a phrase had once proved its popu¬ popular song. That riot of Graco-Americanism, “Yes, and well-known he must learn to restrain and control 3. Maryland Association of Organists (abbr ). entire operetta based on the life and compositions of larity, it was likely to be used again and again. 4. A short song. we have no Bananas,” contains three melodic germs. Its Franz Schubert. The Song of Love, which is the waltz Beethoven’s little Minuet in G (played on the violin tempoCI lty °f eXeCUti°n and hold them t0 the desired opening strain is a shock. If you have ever listened hit of this highly successful musical comedy, makes quite as much as on the piano) was one of the general 7 rumUS'C magazine (°r a Study). to Handel’s Messiah, the oratorio that is sung every “To me slow practice is the basis of technical perfec¬ 7. Church tunes or poems of praise and adoration, clever use of the chief melody in the first movement of sources of inspiration. The characteristic portions of tion, and I can give no better advice to students than to a. A stringed instrument. Schubert’s Unfinished Symphony. It is a really good this tune are in the opening phrase and its answer: Christmas in Carnegie Hall, and even more often else¬ take this for a golden rule.” Thus continues the quota¬ 11. Tutti in English. tune, and the whole success of Blossom Time has been where, you may remember the solemn moment when the tion ; and such advice, coming from one of the greatest 12. Arensky’s initials. a legitimately musical phenomenon. The fact that Schu¬ No. 3 Beethoven’s Minuet chorus rises (and the audience rises too, by a fixed masters, should influence both students and performers. 14. Note of the scale. bert himself is the hero of the piece, may be considered tradition) for the famous “Hallelujah Chorus.” The Similar thoughts should ever be in the mind, when stu¬ 15. Pronoun in old style. as giving due credit to the composer, who certainly is first four notes uttered by the mixed voices are intended dents begin the tasks allotted them by their teachers • for 17. Conjunction. to-day a more vital figure for the American public than to convey the word "Hallelujah.” 18. Note of the chromatic scale. he was before Blossom Time appeared. slow practice requires thought and care and undoubtedly Hereafter they will inevitably suggest their modern leads to correct delivery and intelligent interpretation, We have had also in the not very distant past the Blue offspring, “Yes, we have no,” and jazzinine listeners will as it allows time for the subject matter to “sink in” Deportment at the Piano Danube Blues from Good Morning, Dearie, a fox-trot deeply. Likewise, performers should remember to play Set Your Mark High rendering of the immortal Strauss waltz, and the Song unconsciously add their mental “bananas.” There is no escaping the exact parallel. their pieces at a convenient rate of speed in which they By Russell Gilbert of India, a literal jazz transcription of the appealing will be. sure to correctly deliver the musical message By Victor West Oriental melody of Rimsky-Korsakoff. The very name The first was quite definitely imitated in a popular Notice how slowly and deliberately some of our best of that composer would frighten many people away war-song, Rose of No Man’s Land, and the second may 1. Always sit erect at the piano, but rigid. Do n orators deliver their lectures; and we players, who find is app0licableWtottCfnnPrlmarily for sin*crs. the followil from his music, but after they have danced to the have suggested the chorus of Apple Blossom Time in ourselves constantly hastening, let us learn a lesson from Song of India, even Snegourotschka becomes a possibility. 2. Do not lay your head on one shoulder as if yo„ Normandy, of an earlier vintage. There was also a such artists with words. And this recalls a certain rendi¬ froSt 0V tntS, °f TS 1,1 3,1 11 One of the first great popular hits to make a quiet were apologizing for your music. Neither should you ters beinsr th„/ u an,0"e’ ky Francis Walker, the le song about the ukuleles calling, which did attain great tion of Mendelssohn’s “Spring Song,” by one of the and unobtrusive raid upon the classics was I’m Always popularity, although it used the entire melody of the back home whiie a in ita But this is only the beginning. The Bohemian Girl world’s greatest pianists, in which it was taken in a much noteSt U f°rWard lke a chlcken every time you mi- a Chasing Rainbows, that frankly quixotic song that Minuet. contains a fine melody, “I Dreamt that I Dwelt in Marble slower tempo than had been heard from other artists spread itself over the country just as the World War 3. Many players stretch their necks every few Halls.” Its middle section is literally transcribed in The effect produced was that it was truly a song, a song denL':fsir;ecsto tei1 an singers and **• drew to a close. It was Harrison Fisher, the illustrator, No.4 Rose of No Mans Land minutes as though they had swallowed some of the r merely singers ^hNf’.T mUSt "0t 1>e conlent to 1 the corresponding portion of “Yes, we have no,” etc. about Spring, and not a representation of the brightness wrong notes. sary it is to he m, ■ •lf t ,cy w°uld but see how nccc: a great lover of Chopin’s music, who brought the tune and gaiety of Springtime, which is the usual interpreta¬ to the attention of Harry Carroll, of Tinpan Alley. He Next comes (by way of “An Old-Fashioned Garden”) 4. It is bad form, although popular, to cross your that last tem rC,a"S’ scholars- artists. With singe, tion given this piece. Bach, Beethoven, and even Chopin played for the rag-time connoisseur a piano record of legs at the piano. Only children under seven are per word ‘pro cssi^P °mcC l° ’>C ™rtdy a anonym for tl with his noted rubato, recommended that an approximate Chopin’s Faiitasie Impromptu and pointed out the nutted to sit upon one leg. They frequently fall from sional? and t , " S"mco,,c asks’ ‘Arc 7™ a profci adherence to tempo be maintained; and these composers the piano bench. rom beauty of the slow melody in the middle. Mr. Carroll Apple Blossom Time were not noted for their hurry. “is it tiStST, rr■,0h’ >•-*! - -artisi tation in some . 7 lo sce concealment1 or affet saw the point and produced I’m Always Chasing Rain¬ Finally, strive to gain accuracy and thoroughness bows with an almost literal transcription of Chopin’s through slowness and careful vigilance during the prep¬ a modest on^lto st" *!! you. their aim - tune for his chorus. ffimli-n—,=Peife- Surely a larger aim ^ C,'Urck or 'n drawing-room aration ; and the ultimate result will prove a real success. oT;«7di'ro,h"' “ * pr've“,he hono one with a reallvream 'rd;ashamed 1°tb'ng to be ashamed of, ai I’m Always Chasing Rainbows When Avalon appeared, however, it was discovered (All these tones duplicated in Chopin’s 6. In turning music pages do not wet your fin«& the task he sets fol himseff is Iikc,y to exce that the tenor aria, “E Lucevan le Stelle,” from La Ex.l Fantasia Impromptu) Tosca, had been completely appropriated, and Puccini’s Fannie Bloomfield Zeisler is content to be thor¬ You but lose a heat and soil the paper. Do not tear said to me long ago- ' ^y I*65* and wisest ment publishers, Ricordi & Co., brought suit.* There was a oughly feminine. “I have never heard any great pian¬ off an edge of the corner every time you turn the ‘ e • never reach it, rather tu SO".’ Set your mark I,igh 31 heyond it.’” lan Place it low and never ! heated debate, in which Archer Gibson, the private ist play the Chopin Berceuse as expressively as you do,” and do not let the small snips of paper fall between die ffitj-jjJJir r irr"5i jj a complete phrase from that good old American song, keys, as they may rattle. tlle organist of Charles M. Schwab, was called as a witness, said a musician to her. “Of course not,” replied Mme. “Aunt Dinah’s Quilting Party,” also known by the 7. Count aloud, but do not beat time with your foot and tried to argue that Avalon might just as easily be Bloomfield Zeisler. “You have only heard it played by 1 he words to that song-hit were written by a certain words of its chorus, “I was seeing Nellie Home,” and J?to any change of " a,waysys he“ readyrcat|y to‘o confom< traced to thirty or forty different classics. But the men, and none of them have ever been mothers.” jaz. 11 1 g00d form t0 swa* from side to side a la Joe McCarthy, who was later engaged to do the lyrics for at the end the Hallelujah of Handel once more resounds hes the rfiffi~.it..difficulty1 0f.m thep0 art‘he aartistrr,'St maym,-n- asJUme- Hereii tne art of accompanying.” the musical comedy Irene. He passed on the tip to Harry •lii-ccn II.v Puccini won another suit In defense of his triumphantly, an everlasting reminder of our uncon¬ Tierney, who was responsible for the music to that “Butterfly,” anil incidentally sold the entire jazz rights of —Josef Adlek. “Tosca" to an American publisher. sciously good taste. Page 169 Page 168 MARCH 1925 THE ETUDE THE ETUDE MARCH 1925 Sensible Tests in Elementary Ear Training How to Become Perfect in Time-Keeping By Leonora Sill Ashton By EDWIN HyILL PIERCE secutive notes very rapidly and see if he can tell the At the very earliest opportunity (which means the number accurately. Strike two notes together, and have All cannot hope to rival the rapidity and power of other’s performance. This is especially true when we One must learn also to distinguish it from two other Yes, We' Have Ho Bananas first lesson) the pupil must be shown how to begin to a Tausig- or a Rosenthal, the beautiful tone and the come to more advanced styles of playing, introducing rhythms which are totally different from it and from concentrate his sense of hearing so as to produce ana¬ him tell you how many tones are sounding; then three; then a four-note chord. personal magnetism of a Rubinstein or a Paderewski, holds, ritards, accelerandos and so on. We are taking each other, but which present somewhat the same appear¬ lytical results. or the pearly perfection of Reineckc’s touch; but there for granted, of course, that each player is giving a ance to a careless eye: “Listening is quite as important a part of one’s musi¬ The moment the pupil becomes confused in his effort to hear, go back to the simplest exercise again. is one quality of good musicianship in which it is correct performance of his part, and that such small “Honesty is (he Best Policy” cal equipment as playing.” Yet, while the fingers are really within the bounds of possibility to become per¬ deviations as are made from the regular rate of speed drilled and the eyes are trained to read melodies, har¬ As the days go by begin on the intervals. Show the _ ° Once more, in all sincerity: Don’t worry about your fect. This being the case, it is almost disgraceful to are intentional and musically intelligent. If the other monies and rhythms, the ears, in many cases, are left pupil how the major scale is formed, and then have him musical taste. Just stop being- a hypocrite and say rest contented with anything short of perfection in player is guilty of an absolute error in his time-keeping, -y ijj1 jjT'1 LiJ-L jJ Tjjfj § | unthought of. Because of this indifference and neglect build them all up by himself. (The minor scales, of honestly what you like and what you don’t. Eventually time-keeping. it will be proper to point it out to him tactfully and in regard to one of the most important elements of course, would come later.) Then teach him to listen for The first of these is known as the “Scotch snap,” and you may find a reason for your choice. All music-teachers, except possibly some who are courteously, as it would not be well to make your own music study, the art of reading with one’s ears is an the intervals—one a lesson would be my method, although can be best taught from a good teacher’s example: the There are people who are ashamed of liking so good too superficial and incompetent to deserve the name time actually incorrect in order to accommodate another's unknown quantity to many musical people. this, like everything else, depends upon the child, and second is nothing more than a group of plain eighth-notes an American tune as Turkey in the Straw, also known of teacher, give proper instruction as to the relative error—although even this may be properly done if the Is it too much to hope that the coming generation you will find that many boys and girls have very quick grouped in two’s, with the phrasing much exaggerated. as Zip Coon. There is an irresistible dance-rhythm in values of the different notes and rests—the whole, half, mistake should happen inadvertently in a public per¬ of children shall be taught how to listen? This is done and acute hearing. Let these intervals be learned thor¬ In cases where the rhythmic structure of a measure that piece, and it has established its immortality in quarter, eighth and so on, as well as their lengthening formance, rather than to stop and make a bad break. simply by concentrating the hearing upon special sounds. oughly, however. If a child falters over one, give it to appears rather intricate, the first thing to do is to look every barn of the country. David Guion, a young by dot or double dot. So we shall assume knowledge (Professional accompanists have time and again been A wise father once had his little son to walk down him in every key, making him sing it and listen to it it over carefully and see exactly where the beats fall. Texas composer, made a concert arrangement of of this part of the subject and pass on to the matter of obliged to do this very thing for singers, who are, bar¬ the street with him and to pause at a store window, try¬ until he is a sure of it as of the first three letters of the We give two such examples, with the location of beats Turkey in the Straw, and now many of the great ring some honorable exceptions, as a class the most care¬ ing to take in with his eye every object it contained. alphabet. properly marked. The second of these shows a rather pianists have it in their repertoire. There is nothing The Beat less and unconscientious of any sort of musicians.) the matter with that tune, nor with the man who likes it. Follow this idea at the first music lesson. Ask your “Accuracy,” the by-word of the music teacher, holds unusual feature, and for that reason is apt to be mis¬ pupil to keep perfectly still for the space of a few no more important place than in the matter of ear The human mind has almost no faculty of judging leading. The group generally has its first note right on The True Secret of Time-Keeping moments, listening intently to every sound within his training. Do not leave the ear uncertain or hesitating accurately and directly either absolute or relative lengths the beat (as in A) ; but it may in some cases be placed hearing. Then have him to tell you the different sounds for one instant. It should lie trained to foi us in exactly so that the second note of the group comes on the beat, Why Double Sharps and Flats? of time. Hence, when one is told that a half-note, for Goethe, in one of his epigrams, says: “Fie who no that have come to him. the same way as the eye docs instinctively. That the instance, is equal to two quarter-notes, although that longer makes mistakes might as well order his funeral,” as in B. In the room where the lesson is given there would two—the eye and the car—arc very closely connected appears a very reasonable statement in - the light of which means that there is no person living who is free By s. m. c. probably be the ticking of a clock, perhaps the breathing and akin to each other is evidenced by the following test: arithmetic, it means next to nothing unless tile length from errors. This applies to time-keeping as well as of a dog by the fire, the crackling of burning logs, the At a certain institution for blind children, Mr. Thomas of the notes can be referred to an already-established to everything else; but there is a certain way to keep stir of the flames. Distant sounds might come from “I can’t understand why we should have double sharps Tapper found seventy per cent, with absolute pitch. One feeling of regular rhythmic beats. Fortunately, the feel¬ small inadvertent errors from being too serious in their other rooms in the house, voices from the street and child said to him, “The fire engine shrieks in A; the ing for regularly recurring beats is natural to the human effects. If one is trying to keep time merely by giving and flats in music; it seems to me there are difficulties Another peculiar case is that where a note comes at the enough without needlessly increasing them.” the sound of passing vehicles, whistles, bells, street gate squeaks in E.” In a case like this it would scent mind and body;' though in some individuals it will be a whole note its proper length, a half note its proper music. Any number of sounds may be crowded into very end of a beat, following a rest of irregular length. “Your objection shows that you know nothing, or very as if the accuracy of the eye had gone into the ear. found imperfectly developed and needing to be culti¬ lcngth, a sixteenth note its proper speed, and so on, the little, about the grammar of music. What would your that moment, and if you can train your pupil to enumer¬ But there is no reason why both should not be equally vated. Such persons will generally be found to get slightest error will throw him permanently out of gear Ex-4 r t t i r i teacher say if you were to spell cow with a k instead of ate them, even if he misses some at the first trial, you correct in a normal child. out of step in dancing or even in walking with others. with the other player, unless he should be so fortunate the customary c? You would undoubtedly go to the foot at least have begun to teach him to use his faculty of It is only that so many teachers have neglected this An excellent preparatory training in such cases, is to as to make another mistake of just the opposite kind hearing and of differentiating various sounds. T* ’i-j-ii !* WJ j 1 of the class, although the letters are similar in sound. training that the faculty lies dormant in so many people. set them to counting aloud the beats of the 'metronome, which throws him in again; but if one is counting The proper procedure in this case, is not to try to This is like enharmonic tones in music, they sound alike; Try this several times, and then, without delay, begin The important thing is to begin it at the very outset in groups of “one, two, three, four;” “one, two, three;” steady time, feeling the regular rhythmic pulse of the as, for example, e# and f, or b# and c; but it would be work at the piano. Strike one key loudly and then softly, of the child’s musical education. Teach him to listen. and “one, two.” Next they should be taught to count measure and that regular ’ rhythmic pulse is the same refer this sixteenth-note mentally to the first beat, of which it really forms a part, but to think of it as some¬ entirely wrong to confuse them in writing. Remember explaining the difference in quantity of tone. Then Of course, you will have to keep this all in a very these groups aloud, independently, with the same per¬ that the other players are feeling, any slight error in strike a bass note, followed by a treble one, and let thing coming just before the second beat. The important that the degrees of the staff represent musical sounds simple state of explanation. But, as time goes on, take fect mechanical regularity; and lastly, they should learn time will be immediately, almost automatically, cor¬ him understand the difference in pitch. In every ex¬ to count aloud while the teacher plays. For this pur¬ thing is to get the second beat exactly on time in such a which are designated by the first seven letters of the up easy examples of rhythm. As. soon as there has been rected. ample have the pupil sing the tones, for this is one of pose, the teacher should use music having a strongly- case. alphabet. The diatonic scale, moreover, is a family of sufficient drill in notation, introduce a little dictation at If the measure, as he has played it, does not quite tones whose relations are fixed by rules and principles, the surest ways to build up a firm and keen sense of each lesson. marked unbroken rhythm, such as a march or a simple fill the proper number of beats, he will hold back long representing a definite key or tonality. The seven letters musical hearing—of imprinting the sound upon the con- waltz not containing many syncopations. Beating time enough to begin the next measure squarely on the first Compound Time sciousness. with the hand is also helpful. Lastly, the teacher may beat. If, on the contrary, it seems to have superfluous of the alphabet must be used in order in writing the opportunities to further this special branch of dcvclop- In simple time, the quarter note is the most common scale, which forms the basis of all melody writing. It Another good test is to play scales or arpeggios in try an occasional ritardando or accelerando, instructing material, he will jump ahead to the right beat. Of ment. Let not one of these pass by unheeded. Thus unit for the beat, though the eighth note or the half-note would not do, for instance, to write the f$ scale: f)f, gjf, contrary motion and ask the pupil what each hand is the pupil to follow these in the counting. . When he is course, in either case, there has been a slight mistake jou will be laying a foundation of pleasure md benefit is occasionally used, as in %, % or % time. In any of doing. Also use major and minor chords very early able to do this correctly, the preliminary training may in his execution; but it is far better to overlook this aS, b, cjf, d#, f, IS, since you would be duplicating the these cases, the note which represents the time-unit, will, in the training. J lor your pupil in years to come, and also will be help¬ he considered practically finished. But practice should temporarily than to break down and stop the perform¬ letter f in your scale, while the letter e would be en¬ when lengthened one-half its value by a dot following, tirely omitted. Other examples would be to play four or five con¬ ing him to attain one of the greatest assets of a musical be given in many different degrees of speed, in order ance. When the piece is finished, look back at the education—a trained and accurate car. extend into and half through the next beat. “Double sharps and double flats are employed for the not to give the impression that “the beat” is a certain place where the defect was evident and give it careful same reason. When the tone has already been sharped uniform speed in all sorts of music. analysis and study, so that the blemish will not occur or flatted in the signature, it can be raised or lowered next time. Should such a mistake occur during a place by the use of a double sharp or double flat, respectively. Dvorak’s Poverty in Youth Ensemble Playing where the other player has a rest, do not on any ac¬ Take the melodic minor scale of gjf, which has a sig¬ count allow yourself to stop and try the passage over A really fine solo performer should have as correct nature of five sharps. Since this scale requires the rais¬ again while the other player waits. That is the most But in compound time, %, %, 1%, the dotted note is a sense of time-keeping as an orchestral or ensemble ing of the sixth and seventh tones ascending, the seventh itself the unit of rhythm and must be so reckoned. Thus player. Practically, the very best way to acquire such objectionable thing you can possibly do, in ensemble (ff), which is already sharp, requires the use of a double II ,oADOt\V S-'mCS, a very picturesque account of playing, as it makes it impossible for the other player % time has two beats, % has three beats, has four the difficulties Dvorak had m securing a living and -i the material problems of food and lodging that pressed certainty is by constant playing in duets, or better still, sharp to raise it an additional half step. to know just where to start in after his rest. beats. This occasions a complexity of rests and other him for a solution. He had learned next to nothing when opportunity offers, trios, or other larger com¬ musical education, in his Studies in Modern Music features which make it a little confusing to the eye some¬ binations. It is not necessary to wait for the acquire¬ Enharmonic Forms Dvorak was of course born in a' small village and had cLCt0'TS!tl0n; ''I was totall>’ unacquainted with the times to pick out the proper places for the beats; but little childhood training. ment of advanced technic before beginning such train¬ Various Subdivisions of the Beat Theoretically, we might have' scales beginning on them- assic\ ,c lad 110 books, and no money to buy that is just what must be done, to secure correct perform- ing, as there is a great supply of suitable material for gS, dS, a*, e# and bS, with eight, nine, ten, eleven and “At Prague ” says Hadow, “he entered the Organ heen mvT the teachinS of his school seems to have Practically all we have said thus far has reference to all grades. twelve sharps, respectively, all involving the use of School (founded some thirty years before by a society "■iven ,£? y conecntrated upon organ technic, and to have making the right beat come at the right time; but the double sharps. Likewise, scales commencing on fb, bbb, for the encouragement of ecclesiastical music), and ° <.r ? or 110 assistance in wider fields of study, Czerny’s Practical Method for Playing in Correct Time, Op. 824, is excellent for beginning. The first beat itself is often divided into various forms of ebb, abb and dbb, with eight, nine, ten, eleven and twelve f rom 1857 to 1860, worked his way through a period of joined Cr *?. ?btain *he bare means of livelihood he ten exercises are grade I in the Primo, after which the rhythmic groups. While all of these may be analyzed flats in order, all involving the use of double flats. diligent and laborious studentship. The difficulties that went ahn I”13 ! i>and °f somc twenty performers, and beset him were even greater than those that traditionally difficulty advances gradually through grades II and III. arithmetically, it is necessary from a practical point of Since, however, keys having more than six sharps, or six the cafesUa.J‘th .‘hem’ carninS a meagre pittance at In very low compound time, it is allowable, and often obstruct the path of genius. At first, no doubt h;= The Sc condo is about grade III throughout, and may view to be familiar with their feeling, so that one in¬ flats, are more or less complicated in notation, it is cus¬ plaved thp , d, rcstaurants of the city. On Sundays he correct, to count out the whole 6, 9 or 12 as if they were father was able to make him a small monthly allow¬ be played either by the teacher or by another pupil of stinctively executes them in their proper form, and to tomary to use the simpler enharmonic forms, as b (five two eneave'0 3 31 3 privatc chapel.and between his separate beats, but in more rapid time this should never sharps), instead of cb (seven flats), and db (five flats), ance; but even this slender income had soon to be with suitable grade. I have several times found it possible recognize their total time-value without stopping to rlther for mtS’ LCOntrived to amass a revenue oi be done, unless as a temporary make-shift to be soon instead of c# (seven sharps). There are very few pieces drawn, and the boy, at sixteen years of age was left and of excellent results, to have these studies practiced reckon it up. For instance, just as one recognizes a written in .the key of c# major. to maintain himself by an art of which he knew little BuMnTJte of" n’T shiI,in*s a ™"'b as duets by two pupil in the same famiiy. There are abandoned. The same is true of or % time, which work with , . discouragements, he continued his several more modern works which may be used for quarter-note (J) as one beat (in common time), so “It would be possible to write notes representing the more than the rudiments, in a city which „i 1 6 properly should have two half-notes (not four quarter- uated aTtUnbat",gcenthusiasra, aik in 1860, grad- interesting variety, but none, probably, which excels one recognizes each or any of the following groups as scale of c major employing only three letters, but this wholly barren of opportunities. And it was not onf notes) to the measure, though beginners are sometimes year.” rgan School as second prizeman of his this in good practical grading for beginners. Once the equivalent of one beat in that kind of time would be an orthographic joke, or a puzzle. Correct allowed to count it as %. spelling and grammar are as important in music as in arrived at higher grades, and skilled in the elements of language. A course in elementary harmony would un¬ the art of ensemble playing, there is an endless field for Baton! Baton! Where's the Baton? pleasure and mutual improvement in the large number j] J73 jtj nn jtj r n n. Counting Long Rests doubtedly be the surest means of clearing up your and so forth. difficulties.” of pieces published in duet form, as well as in accom¬ Sometimes in duet or other concerted music it happens panying violinists, singers and other soloists. The rhythm is one which often is a stumbling that one of the players has a rest several measures long; block to young players. They are apt either to make it and it is very easy to get confused and fail to come in at “One must remember that the people interested in An amusing, but to Grieg, annoying, incident in a Count the Other Player’s Time the right time unless one adopts a certain system of Parisian concert hall is related in a letter dated TW k too much like plain eighth-notes (not snappy enough), revolutionary music are a comparatively small group. counting. Suppose you have a six-measure rest in three- 14, 1889,” says Henry T. Finck in GriZ and Hi, ductor’s platform erc.!vaitinff a moment, I left the con- The mass of people are devoted to what may be termed One of the commonest failings in early efforts at duet or to make a break between the sixteenth note and the four time—count thus: —“one, two, three; two, two, ‘Tt would perhaps not have occurred could Grieg have about as lone- ^"!ay’ ,tle brute brought a slid- standard music. I think that composers of this contem¬ playing, is due to the tendency to assume a certain ab¬ next eighth. The fact is that its notation is a little mis¬ three; three, two, three; four, two three; five, two, three; foreseen that it ,s possible to conduct an orchestra Z reed. I did what mysc f’ bat fortunately as thin as s porary kind of music are too much concerned with how stract rate of speed, which may be fairly correct in itself, leading to the eye. Its real effect, when properly played, six, two, three.” fectly well without a baton, as Wassily Safnnnff u mien, and in snite^f W°Uld have done—with a furiou: but which does not synchronize perfectly with that of the the thing is done and too little with how they do it. should be more like this: But it may be that the last measure before this indi¬ shown. ‘The effect of the concert was peculiar and a ^ the servant I brok f X'gorous Protests on the part oi other player. This is not a mistake made solely by the What is wanted is somebody great enough to use fine cated six-measure rest ends with a rest or rests, or that m every way,’ he writes to Beyer, ff was kffidl ^ corner, and thm °” a Piece, threw the rest into a careless or ignorant, but is often in evidence with the Ex. I music. It is the matter, not the manner, that counts.” the first measure afterward commences with a rest or ceived, but when the time came for conducting or' attention for the a “rncd to the platform and rapped most intelligent and conscientious. One must learn to —H. C. Colles. rests: in such a case be sure that you reckon these chestra no baton was to be found. Servants are Tdims feel and to count the time as it actually exists in the will not find mention^” °Ver,urc- This ePisode y°U rests also, counting them in the usual manner, as they are it as a piece Tf ' ,n. any criticism, so you can have P'ece of private information.”* Page 170 MARCH 1925 THE ETUDE THE ETUDE MARCH 1925 Page 171 rest which is made «P °f a certain Short Excursions in Art number of full measures. One must keep wide awake and clear-headed, above all things. The Teachers’ Round Table By W. Francis Gates f(tl ex "] stll ‘ i r' "t rlj a^at 1 N 11 Conducted by PROF. CLARENCE G. HAMILTON, M.A. pageb. for music study may be made a bugbear or a pleasure, In speech it is the manner as well as the matter that M. L. D. becomes emotionally one-sided. A person always hilari¬ according as it is presented. Let the teacher make play¬ persuades the listener. So, to a certain extent, of the After they have learned fairly well to play the plain ous is as tiresome as one always lugubrious. The word counterpoint came originally from the Latin ing a joy rather than a disagreeable task; let her empha¬ singer. He carries a message in the text. He can scales with the hands together through at least one and phrase punctum contra punctum, meaning note against size the meaning and beauty of the music; let her asso¬ interest his hearers by his music; but if the face as two octaves, vary the manner of practice for each les¬ ITTLE Ruth was playing her exercise, counting aloud note. It is the science that deals with melodies that arc ciate every step with attractive and familiar ideas; and The speed of music is somewhat in proportion to well as the voice does not carry the message, he fails son. The order may be changed from time to time. For vehemently, according to precept, yet, unconsciously add¬ the child will sit up and take notice. Appeal constantly the depth or breadth of the idea it expresses. Majesty to convince his hearers. sung by two or more voices at the same time and that instance, give the sharp scales for one week and the flat ing another beat to each count, as though it were written : to the child’s fund of imagination. Let his study or of emotion is expressed by deliberateness, not by speed. contrast with one another in rhythm and pitch-outline. scales for the next; then let the scales be studied In piece, however slight, express a game of tag, a Christmas Superficiality frequently is covered by velocity. Counterpoint has sometimes been called the horizontal chromatic order: C, Db, D, and so forth; then give all Says Delsartc, "The soul which stops to contemplate frolic, a skating party, a sail on the lake. Connect his science in music, . in distinction from harmony, which those which begin on white keys one week—in the order its wings will never rise." Apply that r ■ music. The music thus with things that he likes, and he will look What we produce in the way of composition, and deals with chords and their relations, and hence is called C, D, E, F, G, A, B—and similarly those that begin artist whose thought is only of his perfection of technic forward to his music lesson with real enthusiasm. what we reproduce in performance, are but an index cannot rise far above the keyboard. the vertical science of music. . on the black keys the next week. of what is in our minds. It is as if the shutters that There are many ways for giving variety and Interest Sonatas and Imagination enclose the mind were lifted for a few moments and The hypocrite in religious and social life is paralleled Thoroughness in Study to the manner of practicing. For instance, combine parallel and contrary motion, as in this diagram: the public were given a glimpse of its artistic furnish¬ by the person who uses affectation in the arts. An 1. Shall I insist on the students counting time ings. affected personality or performances is ineffectual, even aloud when they are playing? 2. Is it proper to insist that a certain measure lie . To her the bars seemed like walls or partitions which displeasing. played with correct notes, even if it is repeated 100 required a particular effort to surmount. Needless to say Art life consists of two features, the bringing of times nr more? what is divine to the limits of man’s appreciation and 3. What is the best means for memorizing? the result was faulty rhythm. This is a very common It is well for the musician to remember that his Mrs. T. J. D. mistake with little folks who have not been taught to carrying up of the human mind until it can appreciate audience wishes to hear, not him, but his music. Per¬ recognize phrases as a whole. They see nothing but notes a little of the divine. sonal abnegation is necessary to all performances that 1. Every pupil should understand and be able to count and bars and never stop to think what the music really would reach a high plane of art. the time of each composition that he is studying; and, means. Excessive mechanical skill does not make the artist. It if he is at all lax or uncertain in his rhythm, he should By paying too much attention to measures and bar- is simply the machinery through which art may be ex¬ Even the little pieces of the second and third year of be required to count aloud until he has mastered It. To understand the classics—especially Haydn, Mozart lines the idea of phrasing becomes obscured, and the player pressed, if one has the heart and brain of an artist. piano study may lie played artistically. The music for But, whenever it is feasible, I should substitute a more and Beethoven—one must remember that their music never gets the thought expressed in the music, nor arrives these years should be so chosen that it easily is within attractive method for the dull onc-two-thrce-four, which at correct interpfetation. The great artist goes beyond the individual means of is intended to appeal to the intellect fully as much as the technical powers of the player. Then attention is calculated, if pushed too far, to stupefy any real musi¬ to the imagination. Nice balance of phrases, symmetri¬ Not until the young pupil overcomes the habit of playing expression. Once he thought of this and that detail— may be given to the possible beauties of the pieces, cal feeling. Teach the pupil to think beats—possibly by cal arrangements of sections, and especially the logical by measures in a machine-like way will he get the meaning this pause, that tone quantity. But these become second which, when brought out, label the work as artistically tapping slightly with the foot, or by nodding tbe head on treatment of themes, were prime considerations with of the composer and render the music intelligntly. nature; he thinks only of the end, not of the means done. the accents. Above all, be sure that he analyzes and under¬ these composers; and it is these factors which should stands any complicated rhythms in a new lesson before engage our attention when practicing or listening to Index Your Musical Library he tackles it alone. Here the hands begin together (at the left), proceed The Twenty-Four Violins of the King up together for an octave, then separate for an octave their works. In Beethoven’s Op. 13, for instance, observe 2. Accuracy is a grand thing, but it is possible to at¬ how the interest is centered about the “generative By Rena I. Carver tain it at too great a cost. I should say that if so many and approach, then ascend again, and finally descend together to the starting point. Or, each of these items theme” consisting of three upward scale notes (C D By A. S. Wynn repetitions are necessary the piece must be too hard for Eb) : a progression which, sometimes on different de¬ It started in a small way, by the indexing of various the pupil. Rather use an ounce of prevention than the may cover two octaves. Again, scales may be played in canon form, with one grees of the scale, appears throughout the first move¬ articles bearing upon research work in connection with In these days of headliner dance-orchestras at the hundred or more ounces of cure which you propose! hand continually two notes ahead of the other; or they ment, immediately in the Introduction, and afterwards certain teaching problems. great hotels and movie-houses, it may be interesting to that had been known up to that time. They represented 3. I believe that memory work should be required of may be played in thirds, sixths, or tenths. Especially involved in the first subject: This led to a systematic indexing of current and back know of one that outshone them all in the days when the greatest heights to which brilliancy and sonority every pupil, certainly of children; since the proper kind could attain. valuable is practice in different rhythms, such as these: issues of music magazines as well as literature and books the Stradivari violin was as novel as the saxophone- of memorizing furnishes the best possible path to accu¬ pertaining to music, under such headings as Technic, and one that was the forerunner, also, of the modern , ,The Twenty-four Violins played at the Court en- racy and finesse in playing. A scheme which I have Interpretation, Theory, Harmony, Notation, and Musi¬ found very successful is as follows: Symphony Orchestra, that known as “The Twenty-four ainments; they played in the churches; they played Ca) $ I ebc. cal Instruments. By this method information desired Violins of the King.” Concerning this orchestra “ , ihe fdens; they played on the' lawns; Let the pupil practice each measure or short phrase in for the pupil’s attention could be found readily when Esther Singleton in her book. The Orchestra a,id It’s and they played for the King and his Court to dance, succession by playing it first carefully from the notes, needed. and the second subject: Music, writes in part as follows- then from memory, at first on top of the keys without It is now card-indexed and cross-indexed sometimes wh™ ?i!S° f/equently took Patt in the Court Ballets, c&) % -TJ3 jT3 rf\ f “When Louis XIV ascended the throne, the Twentv- worn i,- CJ dresse<1 i‘> peculiar costumes with masques sounding them, and afterwards out loud. Measures and Ex. 2 under five or six headings, but always card-indexed for four Violins became the finest and most celebrated phrases may then gradually be combined, until the pas¬ Practice with the metronome is also to be recom¬ a, Pa? be,f°re' 50 ,hat they gave the ludicrous title, for general subject and author. It is valuable for Orchestra in Europe. In the superb palaces of vS sage or piece is thoroughly memorized. Accustom the mended, in which case the pupil may play 1, 2, 3 or 4 Pl^ed in%i .?laymg bchind ll»«r backs. They the average pupil and for the argumentative student and sallies, and Marly, Louis XIV blazed with all the glory pupil to systematic work of this kind, and memorizing notes to a heat, practicing one octave in quarter-notes, saves much precious lesson time for a memorandum is salons of v’E mded and **Pestry-hung galleries and Also in the final rondo, we hear the motive in its that is possible to mortals. Magnificent furniture will soon become a part of his regular practice routine. two octaves in eighth-notes, three octaves in triplet eighth- made and the subject hunted up by the student outside the Kb°g. Sa,"eS a"d Mar,y and at the banquets of notes and four octaves in sixteenths. original notes at the outset: magnificent paintings, gardens, fountains, costumes’ of lesson and practice periods. The student likes this A “Jazzy” Pupil unbiased method and feels more independent, since he is magnificent ladies, magnificent gentlemen, magnificent ‘/Ithough they were called the Twenty-Four Vio- feasts and magnificent operas, plays and concerts! The I am teaching a young lady who has finished the Forced Music Study thus enabled to form his own opinion. The’search inci- wero v,-ofW ° ? Vlobn fami|y was represented. There second half of the Standard Graded Connie. She is Should a child be made to study music, if he or she dentally leads to added interest. Twenty-four Violins surpassed everything of the kind studying the School o) Mechanism, by Duvernoy (Op. is driven to it? and the T’ a*,t0S’ tenors> Masses and double-bass viols; 120), and etudes by Burgmuller. M. L. D. and they played in four-part or five-par, harmony.” Please tell me how 1o grade her. She does not It is by following out such constructive features like exercises and is fond of "Jazz." Also name some It is very' unfortunate if a child, has to he forced Liszt’s Religious Trend pieces and studies that I can give her. How can I through the sonata that we come to appreciate the intel¬ in this manner, since he is liable to acquire a positive Sparks from the Musical Anvil lectual subtleties which it contains. By R. A. di Dio But Beethoven went farther and introduced a note Your pupil is evidently in Grade III. of genuine emotion that savors of the succeeding ro¬ In his “Memories of a Musical Life,” Dr. William Flashes from Active Musical Minds I know no better way of exciting interest than to give An Opportunity for manticists. His appeal to the imagination, however, is Mason asserts, “Deep beneath the surface there was in bright and attractive music, and to teach it with an en¬ mainly on general grounds, such as joy, gladness and “Achievement in music, while measured by individ Liszt’s organization,a religious trend which manifested thusiasm that will inspire the pupil. Make her see the Practical Teachers the like, without the application of these moods to ua talent, bears the closest relation to the sum of ^ itself openly now and then, and there were occasions meaning of each phrase, and how the phrases are built definite scenes or events. Apropos of your question, I upon which his; contrition displayed itself to an inor¬ y 01 t lc dynamic,PUlSC 38 side.”—E‘hat * —dwin Hughes. up into a symmetrical whole. Also, fire her imagination THE ETUDE offers its readers the es¬ recently played the Sonata Pathetiquc to my class of dinate degree. Joachim Raff, long his intimate friend fives.”—-Harold^Batoic Peri°d ^ the ind^ by suggesting, or having her suggest, little stories to go piano students, asking their opinion as to what ideas it and associate, told me that these periods were sometimes timable services of the Professor of Piano¬ .with the music. suggested. One student declared that the insertion of of considerable duration, and while they lasted he would forte Playing at Wellcsley College, Clarence • ‘™e f*cetfve nervous scns*bility Of the modem musi¬ die and It^han °FC<,,W M,C Rc^{Thc JesC is melo- For pieces, try Tschaikowsky’s The Skylark; von any definite program would ruiii the piece for her. seek solitude, and, frequently going to church, would of its own ,y nation shou'd have the character cian is for the most part traceable to the fact that he Wilm’s Snowflake Mazurka, Op. 8, No. 2; Poldini’s G. Hamilton, In doing so, however, we must Another found in the first movement the picture of a throw himself upon the flagstones before a portrait of the of sincerity, thc music is not the fn,it Night Patrol. confine the inquiries that come to those storm at sea, with the thunder, at first decidedly in evi¬ /Madonna and remain for hours. farartoo too Irttilittle.nS °—WaldemarrywerVeS °Ve cSchnIjk.mUCh and his *8rnerve. es are Italhn- r i -m ta ian ’ Mf>' feeling and sentiment Perhaps you can occasionally insert a piece of the dence, finally dying away in the distance. To another “Rubinstein also told me that upon one occasion he which are of general interest to all readers d’etre (reason mT- ody' S,),,S is always the raison strictly classic order by giving it in place of a study. the first movement portrayed the ravages of war, the had been a witness of such an act on the part of Liszt. “With the very complex music of to-day, an internre (.reason of being) of musical drama.” Try, for instance, Mozart’s little Sonata in C, No. 1. of THE ETUDE. We cannot expect Prof. One afternoon at dusk they were walking together in the second the contrast of peace, and the third the storm and ter is a very important factor. The composer ' I —Umberto Giordano. This may be given in small doses, as though it were a stress of ordinary human life. cathedral at Cologne, and quite suddenly Rubinstein Hamilton to 'answer questions relating to work. The interpreter re-creates it and breathef?-/ collection of etudes, and so learned piecemeal. Similarly missed Liszt who had disappeared in a mysterious way the metronomic markings of special pieces May we not conclude, then, that in studying a classic into it and makes it a living, pulsating, vibrating being!” you may use Beethoven’s Sonata, Op. 49, Aro. 2, and his He searched for quite a while through the many secluded meaning^of th.'ng P.'ano p,ay,nK « to set forth the we should center our attention chiefly on its purely albumleaf, Fur Elisc; Haydn’s Sonata in G major. No. 1, or personal questions for the sole benefit of nooks and corners of the immense building, and finally Leopold Stokowski. the outset mil C0”,pos,t,on- To do this one must, at musical and constructive features; and that imagina¬ and selections from Schumann’s Op. 68. found Liszt kneeling before a pric-dicu, so deeply en¬ one' reader. We invite inquiries likely to tive ideas connected with it should be of only a very to C '“IT'1” Pir "Wlwmlr. I. i. necessary If she thus handles intimately the better class of music grossed that Rubinstein had not the heart to disturb him I hesitate to use the much misunderstood word ruhntn broaden the general knowledge of the impor¬ general nature? For if we attempt to impose upon it but it is nevertheless true that beautiful piano n ! ' every phrase th 'V^S’ 1>brases’ Pcri°ds, and so on. In and is made to see its beauties, perhaps she will in time a definite program, we are in danger of obscuring those and so left the building alone.” tant art and science of pianoforte teaching. must be as completely suffused with a flexible and ever? Learn where th; “ “ P°int of strcss- a Httlc climax. come to appreciate the reason why “jazz” should not be very inherent beauties which the piece was designed to e this comes and bring it out.” the most important goal of the piano student. express. —Gertrude Peppercorn. THE ETUDE Page 17 i MARCH 1925 MARCH 1925 Page 173 JOYS OF A COMPOSER THE ETUDE CHOPIN, THE MAN OF TWILIGHT Most of us who attempt the difficult art “Chopin once said of himself that he ZINGARESCA of musical composition might reasonably was in this world like the E string of a In true gipsy style,full of life and vigor. Grade 4. GEORG EGGELING,Op.218 remember the confession of Samuel violin on a contra-bass,” says Oscar Vivace m.m. J= 144 Bie in "A History of the Pianoforte and The Musical Scrap Book Pepys: “Was all day in my chamber Pianoforte Playing.” "Ilis finely strung composing some ayres, God forgive me!" nature sought retirement, and fate had Anything and Everything, as Long as it is Instructive According to Ernest Austin, however, the art is not without its pleasures. Mr, given him precisely that longing for rest and Interesting and harmony which of necessity made the Austin, a noted English composer, writing contra-bass of this world excessively pain¬ in the London Musical Opinion, not only S. ful to him. He ran restlessly from one Conducted by A. GARBETT confesses his joy but also gives some good abode to another, till he found in the technical advice: Place Vendome the best for dying in; he “One of the most exulting experiences became more and more retiring, called for of a composer,” he tells us, "is surely the peaceful pearl-gray carpets, and gave full first performance of an orchestral work. ABOUT SONG-ACCOMPANIMENTS play to all his decorative emotions, which To hear the sounds but dimly imagined are the external proof of a harmonic From The Consort of Music; A Study sages in which the accompaniment i: al- on paper issued in the varied tone-colors soul. °f Interpretation and Ensemble, we learn lowed any individuality or phrasing of his of the orchestra is almost like visiting a "The art of his life'iic was uidriven iven into iso- ^r°m J- A. Fuller-Maitland that “It is 0W11. and tbe same holds good of a very fairyland of one’s own conception. When a seclusi°n within the sacred (1™cult to say at what moment in the Iarg0 number of songs evcn down to mod- lad I used to compose a great deal of recesses of his musical poems; and he llstory of the SonS> the accompaniment .- r nPWf> wmtP manv ballads in chamber music, chiefly for wind-instru¬ knew well how so to level his life to the be§an ‘o have points of musical interest ei • Loewe w.ote many ballads m ments, and I was privileged to hear these external observer, that the biographers— as distinct from the singer's part. In w bicb the connecting theme of the who.e first tried over by a group of the finest apart from his one great passion—had Bach> whose separate songs are of course *s occasionally brought into the accom- wind-players in London . never so uneventful a life to record. on,y with a figured bass, only one other paniment, and Beethoven in the Licdcr- “Young students of composition might The well-known description of an even- treatment of the accompaniment occurs, kreis—An die feme Gelicbte—puts ex- bear in mind the great advantage to be ing with the master, which Liszt gives in that in which there is a regular obbligato quisite bits of ritornello into each of the obtained by being in contact with wind- his fanciful but yet so true biography of ^or tbc. instrument, making up a duet for • songs and binds them together with the players. The wind-section of the orchestra the master, is so rich in character that tlle vo*ce- % the time of Haydn and theme of the first resumed at the close; is sheer romance! Each instrument is a reality itself can hardly have been better. Mozart the value of the accompaniment this resumption is begun by the piano, thing apart, a joy in tone-color that de¬ A melting twilight in the room, the dark as a separate means of expression is al- which heralds the change (three bars be- mands specific knowledge and experience corners seeming to produce themselves in¬ ready perceived, and in the ‘Canzonets’ of fore the three-four time) with little imita- if it is properly employed. Every mis- . to infinity, the furniture covered with white the former there are numberless cases of tions of the voice-part and a flourish take in scoring is glaringly revealed on a hangings, no candle except by the piano it.s use in this way, (tven with occasional which though soft must yet be fully wind-instrument, every known and calcu¬ and by the fireside. We distinguish Heine, Pictorial suggestion--- ass in My Mother Bids alive. In Schubert there are plenty of lated effect is delicious. I made trios for Meyerbeer, the tenor Nourrit, Hiller, Dela- ™c . " ’ My Hair," where the words instances of all kinds of treatment of croix, the unemotional Minkiewicz, the while others dance and play’ inspire a flute, horn and piano, and clarinet, horn accompaniment from the simplest arpeg¬ and piano, and more exquisite combina¬ gray-haired Niemcewicz, and George Sand skittish figure in the accompani- gio figures to the most elaborate and even with propped .arm leaning back in a chair, "lent.. In the songs of Zumsteeg, technically difficult accompaniment; but tions I do not know. At the trials of these The people stand around Chopin in the who is generally regarded as the pioneer in nearly all cases the figure of the accom- trios, I learned more than any treatise on twilight and hardly know whence these °f the art-ballad in Germany, the ritor- paniment must be mostly kept in the back- composition could teach me. And the magic tones had come. "clh;.or what. were called ‘symphonies’ by ground, and individuality reserved for the players never failed to advise me on any •-- English musicians, contain all the pas'- ritornelli.” point I had failed in. When I learned "Truly in Schubert there i the luxury of tone existing on tbe lower spark.”—Beethoven. notes of the flute, the value of arpeggios VON BU LOW’S MANNERISMS on the bassoon, the horror of very high notes on the clarinet, and endless other “CHOPSTICKS” A LA RUSSE Wilhelm Ganz, a German musician and casm. He was very sensitive ahnnt his matters, I realized that the hardest part Many pianists are familiar with the ™ -nrit “« •»< bum ,.d rLTS.tit of the orchestra to master is the wood¬ composite Paraphrases to be confused with Rudolph Ganz, the ’ wnen ne wind.” theme of “Chopsticks” by a number'of Pianist’.has some interesting pages in his wrL flnrl “““f at Berlln’ he celebrated composers. In “My Musical ff”10"" °{ a Musician, ™luding the ^ister wheth ^ . Life,” Rimsky-Korsakoff gives the fol- f ,g notes on Von Bulow, the great leister, whether he couldnt come to his The only safe course for the average lowing account of the origin of this curi- pia”lst and masterful conductor of Wag- aid> saying: ‘Must I, with my anti-Mur- pupil is to practice regularly or not at all.” ous work: “Late in the spring Borodin nCr S .'V°,rks Bayreuth‘ “Jt was ” he Phy stature, lead on Madame Clara No- and Cui and I engaged in a joint com- T'S’ a ‘“"“‘I™ before the Sreat pianist vello, or cannot a better cavalier be raked position of a peculiar nature. Lyadoff Tf.nS, VOaT B"low was properly appre- up?' Murphy was a well-known Irish also joined us. Here is what it was. ,.lated ln London, f°r People, instead of giant of the period Lablachf. was the greatest operatic Some years before, Borodin, in fun, had to h,s Playing seemed only to “A young English pupil of von Bill™ basso of his day—literally the greatest; composed a most charming and odd polka nohce hls mannerisms. He was, as a fact, told me a characteristic storv of i, tor he charmed his audiences long after on the following theme:” (The writer short-sightqd, and when he played he Biilow always impressed upm hL^ ie grew so stout that he was obliged to then quotes “Chopsticks.”) t0°k f h!f spectacles and moved his head importance of the se ous TL ? sit m a chair in the middle of the stage “Repeated over and over again, this f°Ut ^ finely; but this was sical form and structure HappenLT all through the scene in which he took motive was intended, so to speak, for one a" affectation, it came naturally to come into the room one dav h^h fi.0 Part. Ella, in his “Musical Sketches,” unable to play the piano, while- the- ac- h,m- «eHe was always entranced in the mu- „„nitpupil playing Mendelssohn’s’7 7 , ,y> he heardu/- his , "-T' gives an amusing anecdote of this gav companiment called for a real pianist. and really couId not see his audience out Words. Biilow remarked M Neapolitan. As I recall it, I was the first to conceive * 4,1 "f°U Spectaclcs; bu‘ gestures sohn! Das ist eine KrTS^ffir?■ Lablache,” he says, “who commenced the idea of writing, jointly with Borodin, 7 Ppaent grimaces used to amuse gend!’” Which might be trarflVa' a series of variations and pieces with bem‘ ' ' .‘ Bu ™ was a little man, “Mendelssohn!- Ttaff a HUMranfIa‘ed: his career as a contrabassist, was a most this theme constant and unchanging. I thln and wlry’ and fu» of wit and sar- ease!” 3 chlldrens dis- accomplished musician. Fond of litera¬ induced Cui and Lyadoff to join in the ' ____ te and the sister arts, and a man of work. I recollect that at first Borodin D_D, cu e observation, his fund of anecdotes, showed hostility to the idea, preferring BERLIOZ FIRST MUSICAL EXPERIENCE o racily told, was inexhaustible. It is to publish his polka by itself, but soon In the Gilbert and Sullivan opera, choir burst Wtl, • , . reiated that a stranger once visited La- he joined us. In passing, I remember lolanthe, there is a song about the House hvmn At th ,"lt0 tbe Eucharistic T7 !" London, and with extreme polite- Cui’s astonishment when I brought him of Lords, in which it is said that this au- l- ' T 6 S0Und of those fresh young I ahl a! CC ds lcrms for a singing lesson, the fugue on B-A-C-H (B flat-A-C-B) g“st body in the Napoleonic age voices 1 was overwhelmed with ai sudden- ™r„reP,itd’ 'TW° The which I had composed with the accompani- “....throughout the war rush of mysti : passionate emotion. A urn 8 , Kn P aCed 0,1 tIle tablc a bank" ment of the above motive. Without_ disclos- m. Did nothing~ in particular_ ’ world °f heaven of which T hi, b]ar,and madc an appointment to see La- mg the secret, I played the fugue on B-A- And did it very well.” heard so much; and strange nrn f ? arrivinn- 'Cf T* eV™n*‘ Th* >atter, on C-H minus the motive. Cui naturally did Berlioz, the most iconoclastic and for power of true expression and H ° °f ™e nn ? at | appointed address, was an- not warm to my composition. Then I many years one of the most prolific of influence of real feeling T f a mag'Cal niacm fi a,K ,ntroduced by the valet in a asked him to play the tune; at the same French composers, confesses to having years afterwards that /h , °Ut ten wher: e,U S,aIOn’ brilIiantly lighted up, time, I, myself, struck up the fugue. emulated this aristocratic example in the geniouslv ma • . " 1 the melody so in- were „SCVeral 'adicS in sPIendid dr«ses By the time we had to leave town for days of his youth. In his inimitable auto- fntroduced intn d -SaCred words and were presented to him, and an animated the summer, we had accumulated many biography he thus describes his first com- Nina’* n * r, gl0us ceremony was and Ln,1;0" enIsucd' At b«t embarrassed pieces onn this motive. I had even too many munion: .. ° Cuand lc bien aime revieu and .mpattent, Lablache enquired to whom of. them and later excluded some from our ..“Kneeling in the midst of a multitude of rfm/ (When my Belova Awakens)^ rZl was my first musical experience ini not wanf/'Mc 3 S,"‘g'ng Icsson- ‘We do collection. . . . The Paraphrases so de- white-robed maidens, I was rudely awak- this manner 17""“*' house css°n. said the lady of the Ughted Lis'' that h. addad i sboS ^ ‘ versati ** y 'v‘sbcd to enjoy your con- scription of his own on the same_ motive precedence of all those fair young girls, conscience ! - versatio,,. you are so droll.’ and wrote us a flattering letter about and go ud to the altar first Tt.XT A. ma;’ iviy mtner, I inav„ . do’ said^I ^Mreg°nIy tWO things 1 cou,tI them; this V. V. Stassof published in due this act of discourtesy, I went up to re- replied^Go Wh'Ch tht.WOrthy ma"' always turn S Lablache ‘to get angry and re. course. eeive the sacrament. As I did so, the I ^ Copyright 1925 by Theo.PresserCo. # From here go backtothe beginning andplay to /V/?e,lhen play/Wo. International Copyright secured over the ^ne'’ °r t0 ^CCp ^ anc* ^au^1 '“'1 years.” SShS- nr“ A"

ROBINSON CRUSOE Poor old Robinson Crusoe! Poor old Robinson Crusoe! He made him a coat of an old nanny-goat, I wonder how he could do so. With a Ring-a-ting-ting and a ring-a-ting-tang, Poor old Robinson Crusoe!

Copyright 1925 by Theo. Presser Co. (The sea) International Copyright secured Copyright 1925 by Theo. Presser Co. British Copyright Page 176 MARCH 1925 thsetvds ALL ON A SUMMER’S DAY JPYL CHARLES ANCLIFFE

A song-like composition (with secondary voices to be brought out), rising to a strong climax. Grade 4. Andante con espress. M.M. J=72 \'~T~ \ 1 ,ffcon mesto ^_- ^ ^ & * p 4-

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D. S. % ~ # ' 4 s ' S <9 i i _ V • • '«== 1 ' . ’ * ^ THE UGLY DWARF * * * A companion piece to the Giant’s Garden (bvthe same author), to he. found on another nacre * ottp r„rrvr.

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D. S. THE ETUJ)£ Page 182 MARCH 1925 JHE etude STRUTTING OUT IRENE MARSCHAND RITTER In contemporary dance style,characteristic and full of rhythmic go. Cleverly harmonized. Grade 4.

British Copyright secured MARCH I'aye l< THE ETUDE

Page 184 MARCH 1925 SWAYING TO AND FRO GEORGE F. HAMER In this arpeggio and “cross-hand” study piece, we find both the short alternations of the hands, and crossings of same duration. All must be man aged very evenly. Grade 3.

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More than Chopin had in his studio you can have in yours

THE studioof Chopin is always thought nades, fantasies; piano arrangements of recording of a favorite composition and of as a shrine of music. On numerous symphonies and operas; hymns, ballads, ask to hear it played. A note to the occasions other great musicians — Liszt marches — even modern dance music address below will bring a booklet describ¬ and Mendelssohn—met there and played played by men who are teaching the ing the Ampico, its hundreds of artists, from their own compositions. world what syncopation at its best can be. and its inexhaustible library of music. Now you can have in your own studio The Ampico is limited to a few makes The piano you now own will entitle more great music and more great mush of pianos—selected for their pre-eminent you to an allowance in the purchase of dans than Chopin had in his. quality, and for the flawless construction an Ampico. This fact and convenient terms of payment place the joys of Ampico For instead of two or three great artists, that is the product of generations of fine ownership within your reach at once. you may hear hundreds. You may hear craftsmanship. They are: the Chickering, the music that was known in Chopin’s the Mason fe? Hamlin, the Knabe, the Foot-power models, $795. Electric models, $985 to $5000. With freight added. day—plus the masterpieces that have Fischer, the Haines Bros., the Marshall 6? Wendell, the Franklin, and in Canada been written in the years between his Uprights and grands. the Willis also. Note that the Chickering, generation and ours. And you can.com' the Mason & Hamlin, and the Knabe are Music from the Ampico Library mand these riches whenever you like and three of the four great pianos in general GODOWSKY as often as you choose. Ballade No. J—Chopin use on the American concert stage. The Lorelei—Liszt LH6VINNE The secret of this new golden age of Jeux d’Eau—Ravel MOISEIWITSCH music lies in a miraculous invention called When you play by hand Humoresque—Dvorak ORNSTEIN the Ampico. Concealed within the case The Ampico is intact for playing by hand, Prelude C M or—Rac RACHMANINOFF of a fine piano, the Ampico makes the for the instrument is not altered in even strings of that instrument sing trader the Etude G Sharp Minor— Chopin ROSENTHAL the slightest structural detail. When an Barcarolle—Rubinstein RUBINSTEIN touch of such artists asLhevinne,Ornstein, artist’s recording is not being played, the Marche Militaire—Schubert SCHNITZER Rachmaninoff— and hundreds more who Ampico mechanism touches neither the Liebestraum—Liszt BLOOMFIELD ZEISLER make up today’s aristocracy of music. strings nor the keys. Or for Dancing Beautiful music played on Hear the Ampico Musical Comedy Favorites, No. 1 DELCAMP N obody Loves You Like I Do LOPEZ a beautiful instrument To make sure of hearing the Ampico Through the Ampico, you command all soon go to a store where any of the pianos THE AMPICO CORPORATION types of music — sonatas, nocturnes, sere' mentioned above are sold, select an Ampico 437 Fifth Avenue, New York City

% ALL of tht PIANO British Copyright secured THE ETUDE THE ETUDE MARCH 1925 Page 187 Page 186 MARCH 1925 ^ 9 Radio’s Superlativ Thrill is embodied in this new musical instrument —the Brunswick Radiola

A phonograph and a radio, scientifically combining the reproductive mastery of the Brunswick Phonograph with the Radiola of the Radio Corporation of America, thus offering the supreme in a phonograph with the greatest achievements in radio—in one instrument.

HERE is an instrument that is liter¬ The superlative in radio, the supreme tion has been subsidized to do for radio ally changing the lives of people in a phonograph in one! what it did for phonographic music. — a musical achievement admittedly At a simple turn of a lever, it is the Thus the Brunswick Radiola marks the without parallel. most remarkable of radios. At another best that men know in radio; the best Starting with the outstanding wonders turn, it is the supreme in a phonograph that’s known in musical reproduction. of radio, it multiplies them. —the instrument for which virtually Note particularly that it is a scientifically every great artist of the New Hall of Educationally, in homes where there combined unit — not a so-called “com¬ Fame now records exclusively. are children, it offers a wonderful new bination” radio and phonograph. world of musical appreciation. Nothing in music—music in the mak¬ ing, music of the air, the favorite rec¬ The loud speaker unit, the loop anten¬ Mechanically, it is so far past the ex¬ ords your heart calls to hear now and nae, batteries and all the integral parts perimental stage that one may acquire again—are thus beyond your reach. are built into the instrument itself. it with positive assurance of lasting You change no parts to operate it. Due to the synchronizing of the Radiola satisfaction through the years to come. loud speaker wijh the Brunswick all¬ Not a makeshift ‘Brunswick Radiola No. 360 It combines the thrills of radio’s most wood tone amplifier and two-purpose but a scientific UNIT remarkable achievements — the receiv¬ horn, it attains a beauty of tone, a rich ing devices of the Radio Corporation of It is in nowise a makeshift—simply a musical quality — and a clarity that is America—with the internationally ac¬ radio receiving device in a phonograph almost unbelievable. The Brunswick Radiola claimed musical and tonal qualities of cabinet—but the ultimate result of ex¬ the Brunswick Phonograph. It is a haustive laboratory work by acoustical Prices as low as $190 Super-Heterodyne radio, a phonograph in one . . . yet, not and musical experts of the Radio Cor¬ Some styles embody the Radiola Super- a “combination” in the sense that you —some remarkable features: poration of America and of Brunswick. Heterodyne, others the Radiola Re- know it. 1 Requires no outside antenna — no The Brunswick Method of Reproduc- genoflex, others the Radiola No. 3 and ground wires. You can move it No. 3A. All are obtainable on surpris¬ from room to room—plays wherever ingly liberal terms of payment. you place it. For a demonstration, call on any Bruns¬ ‘Remember-Brunswick now offers the choice of two 2 Amazing selectivity permitting you supreme musical instruments: the Brunswick Phono¬ wick dealer. to “cut out” what you don’t wrant to graph and the Brunswick Radiola, which is a phono¬ hear and pick out instantly what you graph and a radio in one. Embodied in cabinets ‘Brunswick Radiola No. 160 do. Consider whal? this means in expressing the ultimate in fine craftsmanship. THE BRUNSWICK-BALKE-COLLENDER CO. big centers. Manufacturers" Established 1845 ‘Brunswick Radiola No. 60 General Offices: CHICAGO Branches in all principal cities ^ Combines the superlative in radio with the superlative in phonographic reproduction — a phonograph and a radio in one.

PHONOGRAPHS • RECORDS RADIOLAS THE ETUDE Page 188 MARCH 1925 Mothers! Teacher si Ensemble Piano Music With children hearing so much Which Will Delight an Audience hilarious popular music how can a keen sense of beauty in sound be FOUR HANDS developed unless the true forms (Two Players at One Piano) f*F Qf mus{c are heard frequently in Albert Gehring.Mazurka Pomposa.Grade 4-5 $1.25 schools and homes ? \V. C. E. Seeboeck.. .Minuet a VAntico.Grade 4 .75 W. C. E. Seeboeck...Screnata Napolitana ...... Grade 3)4-4 1.00 BLANCHE FOX STEENMAN John Francis Gilder..The Acrobat .Grade 3-3)4 .75 has made a valuable offering to all interested in Maurice Arnold.The Old Castle.Grade 3 .75 developing the musical appreciation of young Charlotte E. Davis.. .False in A Flat.Grade 3)4-4 1.00 folk in the volume Frances Terry.Witches’ Flight.....Grade 3 1.25 Note.—We have many attractive pieces in grades 1 and 2 also. SIX HANDS Gems of Melody and Rhythm (Three Players at One Piano) For the Pianoforte W. Caven Barron.. .I.ullalo (An Irish Lullaby) . .Grade 4 $1.00 Mentor Crosse.Melody .Grade 3 1.00 AN idea of this volume may be had in a glance at the contents ~ Chas. Drumheller_Merry Bells of Morning.Grade 4 1.25 given below. These excellent numbers are accompanied by Maurice Arnold.The Fortune Teller.Grade 3 .75 interpretative hints for suggesting to the juvenile mind how Mathilde Bilbro.... .Dancing in the- Sunshine. . . .Grade 3 .60 one number has the rhythm of Skipping, another of a Sce-Saw, and still others that suggest a Statelv Procession, Rocking, Hammering, TWO PIANOS—Four Hands Waves, On Tiptoe, Peace at F ' " (Two Players at Two Pianos As a result of specializing in publications for two pianos—four hands—it is our pleasure to offer you an unusually interesting list of arrangements of standard classics by Grieg, Mendelssohn, Chopin, Mozart and others—NEVER BEFORE OBTAINABLE. In addi¬ tion, we offer original works by American writeTs. There follows a choice few—selected from a large list. Edward Grieg...... March of the Dwarfs.Grade 3)4 $2.00 Norwegian Dance, Op. 35 #2 Grade 3 1.50 Butterfly .Grade 4 .75 Sunshine Song.Grade 3)4 1.50 Fcer Gynt Suite.Grade 4 2.50 Ethelbert Nevin.(From “A Day in Venice” suite) 1— Dawn ...Grade 3)4 1.00 2— Gondoliers.Grade 3)4 1.50 3— Venetian Love Song..’.. .Grade 3)4 1.00 A—Goodnight . Grade 3)4 1.25 Felix Mendelssohn.. (From “Midsummer Night’s Dream”) 1— Elfin Dance ... . .Grade 3)4 2.50 2— Nocturne .. .■.. .Grade 4 2.00 3— Entrance of the Clowns. .Grade 3 .75 4— Dance of the Clowns. .. .Grade 3 1.00 5— Scherzo .Grade 4 3.00 Mrs. H. H. A. Beach. (Suite on Old Irish Melodies) Prelude.Grade 5 2.50 Old Time Peasant Dance. .. .Grade 5 2.50 The Ancient Cabin.Grade 6 2.50 Finale. Grade 6 3.50 W. C. E. Seeboeck. .Minuet a VAntico.Grade 4 1.50 Charles Gilbert Spross. False Caprice .Grade 4 2.00 Edward A. Mueller. .Farandola.Grade 3 2.00 Mathilde Bilbro.Birds of the Forest.Grade 2 .60 Summer Moonlight.Grade 2)4 .75 Frederic Chopin.Nocturne, Op. 9 #2...Grade 3)4 1.25 W. A. Mozart.Sonata in C (1st Movement) .Grade 3 1.50 Leo Delibes.Pizzicati .Grade 3)4 1.25 Xaver Scharwenjca.. .Polish Dance. .Grade 3)4 1.50 Anice Terhune^.Bridal Song .Grade 3 .75 TWO PIANOS Eight Hands (Four Players at Two Pianos) Carl W. Grimm.... .Anniversary Processional . . .Grade 3 $1.00 Alex. MacFadyen...Country Dance.Grade 3)4 1.50 Mentor Crosse.Polonaise .Grade 5 2.50 J. C. Brockenshire.. .The Elation of Triumph. .. .Grade 4 1.50 in the material it to the young and These worps will be sent for examination. They may be procured through your local dealer or direct—as you prefer. it good music to just play but at the ie time are limited in their pianistic proficiency. THE JOHN CHURCH COMPANY CINCINNATI NEW YORK LONDON theo. PRESSER CO. 109-111 W. 4th St. 318 W. 46th St. 105 Gt-Russell St. Everything in Music Publications 1712-1714 CHESTNUT ST„ PHILADELPHIA, PA. thpetude THE ETUDE MARCH 1925 Page 191 Page 190 MARCH 1925 OUR INVINCIBLE NATION

A heavy exhibition march. Splendid study in chord and octave work. Grade 5. WALTER ROLFE Tempo di Marcia, con fuoco m.m. J =108 MM

CRADLE SONG Slumber, darling,gentle dreams attend thee, Softly nestled in thy cradle bed-, Ev’ry blessing, Heaven send thee, Guardian angels hover *round thy head.

Arranged from one of Schubert’s songs: showing what may be done with the simplest of harmonies by one who knows how. Bring out the melody,

Copyright 1922 by Theo.Presser Co. % From here go back to $ and play to Fine, then play Trio. British Copyright secured the ETUDE MARCH 1925 Page 193

Page 192 MARCH 1925 ^ THE ETUDE HARVESTERS’ DANCE PASTORALE FREDK. BOSCOVITZ A joyous country dance,the “drone bass” suggesting the “bag-pipes’.’ Grade 3. Moderato m.m.J=io8

TOLD IN THE FIRELIGHT

International Copyright secured Copyright 1925 by Theo.Presser Co. THE ETUDE Page 194 MARCH 1925 IN THE FOREST OF ARDEN In the manner of an old pastoral dance. A good “picture” piece. Grade 3. CHARLES WAKEFIELD CADMAN Andante m.m. J = 108

British Copyright secured Copyright 1925 by Theo. Presser Co. \ SERENADE A smooth and flowing violin melody. The tasteful piano part is more than a mere accompaniment. NORBERT ROSCH Poco allegretto m.m. J.= 54 Violin

Copyright 1925 by Theo. Presser Co. MARCH 1925 Page 197 THE ETUDE THE ETUDE Page 196 MARCH 1925 _ ^ t-i -at III Sw. (Soft Strings 8', Lieb.8') KATHLEEN MAVOURNEEN M R, TILL THE DAWN BREAKS THROUGH II Gt. (Chimes ad lib.) , M ..i, Transcribed and paraphrased Monica Rily I Ch. (French Horn or Clar. & Flutes 8'& 4') IN. Crouch for the Organ by The title for this song was selected by the Radio audiences of KDKA, KYW, KFKX, and WBZ. Ped. (Soft 16')-III EDWIN H. LEMARE RICHARD KOUNTZ A favorite Irish Andante M.M. J - 76 vuco f it Poco lento e molto sostenutoc/ - *Spp poco melody in a delightful ^ |/^j '4 f"-\ patempo^ new transcription/

Twi - light creeps a-cross the sky Close be - hind the dy-ing day, Dawn comes steal-ing from the east As the darknightfadesa - way,

And it bringsthetime for words That on- ly friends can say; When ev - ’ry care and sor - row Way And it brings a-long the light Of a ne wand bright-er day; A day of promise and of pleas-

ri ^ JZilLw f r f T^tW ■45p"pp rit.

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atempo ^ 1 | J J 'y\TXXL3 i* ■S-^0r~ ) ^ Jr TO

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rn - e aim. - pot ■0 a tempo PHIL -i(Colcatconh tr&7 ^ F^#j r^T ftH=i j^rfcr ip i P| • -#■ F IKChimes) f , -A

Copyright 1923 by Theo.Presser Co. British Copyright secured British Copyright secured Copyright 1924 by Theo. Pjesser Co. MARCH 1925 Page 199 THE ETUDE Page 198 MARCH 1925 A DEAR LITTLE GOOSE AUGUST HALTER WORDS ANONYMOUS Alla recit. MARCH 1925 Page 201 THE etude PJJLBRANSEN X^JThe Tlegisiering Piano

We Want a Music Teacher in Every Community

—to take advantage of an opportunity that we know and broaden the scope of your work in a modern field. exists. There is also an opportunity for the vocal teacher. We want to get in touch with a number of mu¬ Many people who would not otherwise cultivate sic teachers who are not afraid to pioneer—to try their voices will do so when they can play their own something new. accompaniments on the Gulbransen. You can help the Gulbransen Dealer in your com¬ We are convinced that, with a little eSort and co¬ munity, and in turn help yourself. operation, an entirely new and fertile field for the Many Gulbransens are being sold to people whose music teacher can be opened up. interest in learning to play by hand is aroused by Your local Gulbransen dealer may be aware of the ownership of a Gulbransen Registering Piano; many opportunity, or he may not. At any rate, the way to others are being sold to people who master perfectly get action and have a point to work from, is for you the playing of the Gulbransen by roll and pedals, to get in touch with the makers of the Gulbransen but who need instruction in interpretation. Registering Piano, which instrument, as you prob¬ Both these classes of people require the ably know, has set new standards in aid of the piano teacher and musician. It is personal playing of the piano. We invite vour opportunity to increase your earnings your correspondence.

GULBRANSEN COMPANY 824 North Kedzie Avenue • CHICAGO

Send this Coupon

To know just how fine a piano Gulbransen big will quickly appreciate why the Suburban Model. production makes it possible for you to have for by actual count, is the world’s most popular piano, so litde money, ask your dealer to show you the Then try a Gulbransen Instruction Roll. Note how ?615 700 Suburban Model Gulbransen. Price, $530. Exam- helpful to you in learning. A set of four of these rolls ine this instrument for construction. Test it for tone, —simple, exclusive, complete—showing a method for control, for ease of action. Compare it for fine ve- of correct playing, is furnished without extra charge neers, excellence of finish, for good appearance. You with every genuine Gulbransen Registering Piano.

To Gulbransen Owners: The Gulbransen is too fine to neglect. Have it tuned at least ttuice a year li MARCH 1925 Page 208 THE ETUDE the etude Page 202 MARCH 1925 right, sounds to him harsh, hard and un¬ feels at home, becomes accustomed to the standards. It is difficult to make them ANOTHER year’s work in the studio has pleasing. sensation of ease and to the sound of the understand that the tone is the result of made still more evident the fact that of This is the most difficult problem in tone. He learns early, in fact his natural the functioning of a complex physical all the knotty problems of singing the one learning the art of singing. Like all other instinct tells him, that he ought to have mechanism and that, if he is to produce most difficult for the student to compre¬ The Singer’s Etude human problems it is partly psychic and an even scale. He knows that his middle a tone of fine quality, he must learn the hend is the principle of resonance. partly physical. The teacher must some¬ voice is good because it comes easily and laws of this physical mechanism and ad¬ The voice is a musical instrument, and how gain the confidence of the student so he finds that people like the sound of it. just himself to them. It is not difficult all instruments are formed by the uniting Edited for March by the well known Teacher and Critic that the latter can subordinate himself and Therefore he takes it for granted that the with the intelligent student to prove to of two principles; the tone producing prin¬ do willingly what he is told. Often it is way to gain an even scale is to carry him that by observing certain rules he ciple and the tone re-enforcing principle. KARLETON IIACKETT necessary to have a frank talk, perhaps this same tone upward without change can produce a tone with greater ease; not Everybody knows that the tone is pro¬ several of them, something to this effect: to his extreme top limit. This sounds to difficult, because nature asserts herself the duced by the play of the breath upon the the uninitiated like good sense, the dif¬ instant she gets half a chance. But it is It is the Ambition of THE ETUDE to Make This Voice Department “Why do you study with me? Theo¬ vocal cords. Almost everybody knows retically, because I am supposed to know ficulty being that nature did not construct not easy to make him realize that the that the tone thus produced must have “A Vocalist’s Magazine Complete in Itself" more about singing than you do; is it not the voice this way. result of this greater ease is a tone of free entrance into the resonating chambers In order to, carry upward this character finer quality. The skill of the teacher IVERS & POND so? Your interests and my interests are in which it gains richness of quality and of tone of the lower middle voice he finds consists largely in his capacity to per¬ carrying power. But while almost every¬ identical. If you do exactly as I say and consequently learn to make the kind that he must exert a constantly increasing suade a pupil to do what he does not body understands this law, it frequently is Knotty Problems in Voice Study of tone which I tell you is good and then pressure, must push with the breathing like to do for long enough to produce a not made clear enough to the student so apparatus and grip with the throat. This, result. This is the everlasting human PIANOS that he grasps its full meaning. when you sing for people they like it, of course, violates the first law of singing, problem. What, for want of a better term, is By Karleton Hackett this will benefit me. The people will say that the tone-producing mechanism must called “voice placing,” is establishing such ‘He sings well. Who taught him?’ This A Rich Tone would help my reputation as a teacher. function freely and without the sense of free and elastic interaction in the tone- of Singing was that the beauty of the tone yet without any clear and definite standard It comes back invariably to the ques¬ What conceivable reason could there be strain. But the moment he eases up on producing mechanism as permits the tone comes through freedom of tone pro¬ as to what it ought to be. tion of tone quality. The young student for me to labor witfi you for the sake of the tension he finds that the tone be¬ to concentrate in the resonance chambers. duction. Everybody agrees to this. Too It is impossible for the true timbre of desires, and very properly, a tone rich, full teaching you to make tones that people comes lighter and smaller, goes higher This is essential to the skill of singing; often, however, the young student gains the voice to show itself until the right and mellow, yet when all repressive ten¬ would not like to hear ? What good would into the .head and loses the depth and and, failing in this, the results are always the impression that this is a sort of plati¬ conditions of freedom in the tone-produc¬ sion has been relaxed and the tone goes it do me for people to say after they had fullness to which he has become accus¬ haphazard. At times the student will catch tude, like “Honesty is the Best Policy;” ing mechanism have been established and up into the resonance chambers where it heard you, ‘I think he is rotten; who do tomed in the lower tones. This is one of it without understanding quite how or to which, also, everybody agrees but few, the muscles have had time to knit together belongs, it sounds to him thin, small and you suppose ever taught him to sing?’ the reasons why he needs instruction; appreciating its importance, and at other alas, make it the actual rule of life. into firm texture and have developed their harsh. He cannot tell by his own ear the What kind of a reputation would I have because, left to himself, he will not permit times will miss it and realize that some¬ Beauty of tone comes through freedom vigor through exercise. Therefore, in the difference -between the true resonance and if this was the sort of result produced the tone to follow the natural law, become thing is wrong without knowing just what of tone production. But the young stu¬ beginning he has no way of telling exactly harshness. Yet this is precisely what he in my studio?” lighter in character and go higher into the nor how to remedy it. dent is apt to get things turned round. In¬ what his voice ought to sound like. So must learn to distinguish if he is ever to A little talk of this kind clears the air. head. stead of putting all his intelligence to work the more he thinks about his tone the more gain control of his voice and sing with Freedom of Action The student begins to realize that pos¬ on establishing these conditions of freedom confused he becomes and the more hesitant Ease and Freedom certainty and beauty of quality. sibly he may be mistaken as to the accuracy “Voice placing” is establishing such free¬ and elasticity in the tone-producing mech¬ he is in the use of his voice, The more It is all very confusing for the young Usually this result is gained only through of his own hearing. It is, however, a dom of action in the tone-producing mus¬ anism, he gives all his attention to trying he worries the worse he sings; and, unless student. He knows that his tone ought convincing him of the physical fact. Sing¬ cles and such concentration of the tone in for what he thinks is a good quality of he gets his mind cleared out and the delicate point’ and must be touched sym¬ to be rich and full in quality and of mel¬ ing is not a theory, but a definite fact. the resonance chambers as brings out the pathetically by the teacher if the result is tone. This is putting the cart before the proper direction given, he is headed straight low timbre; he also knows that it ought The singer does not produce theoretical best quality of the tone and makes the to be successful. For it is confusing to horse. for disaster. to be produced ' with ease and freedom. tones but actual ones; and these are pleas¬ voice a responsive instrument at the com¬ the student when his own tone sounds But we will take it for granted for the But when he tries to carry into the upper ing or otherwise, according to the natural mand of the singer. The Untrained Ear harsh and unpleasing. moment that he is a plastic and responsive range the depth and fullness of his lower quality of his voice and his skill in its How to do this in the individual case The young and untrained human ear is student. Then he will give his whole This has to be dealt with unceasingly Jones, he finds that he has to strain—and use. He must find some way in which he is work for the studio where the peculiar¬ because, at least as far as my experience the most unreliable guide the student can attention to the freedom of the tone-pro¬ he realizes that cannot be right. Yet when can produce the tones with certainty, so ities of the individual can be studied to goes, no young student likes the sound of follow. This seems at first an incompre¬ ducing mechanism, and at once he will he eases up on the pressure and permits that he knows he can sing every note in the best advantage. But there are certain his own voice when all repressive tension hensible thing. The young student thinks begin to make progress. Just as soon as the tone to go into the upper resonance the music before him. If he is afraid of general principles which can be set forth that if he knows anything he khows the has been removed and for the first time he watches the physical sensations of tone- chambers where it feels comfortable, the certain notes, fearing that he will produce by words upon the printed page for the sound of his own voice; and up to a cer¬ making, he is dealing with actual sensa¬ he hears the pure resonance in the tone. a poor quality, or go out of tune, or even benefit of serious students. tone sounds to his ear thin and hard and tain point this is true. What he does not tion concerning which there is no doubt. For all practical purposes it may be said that his voice will break (as has been The difficulty the young student finds he cannot make up his mind that it is Five Foot Colonial realize, however, is that the sound with Just what his tone sounds like he cannot that every young student has a certain known to happen), he has not mastered in comprehending this principle of res¬ right. Therefore he is all at sea. which he is familiar may not be at all the be sure, but always must ask some outsider. degree of tension in the tone-producing the art. The inevitable result will be that Daintiest of all our Grands. Smaller Grands are built, onance arises primarily from the fact that This is where the teacher comes in. He kind of tone his voice ought to produce. But what his tone feels like, this is actual mechanism which prevents the production he will sing timidly and be likely to fall nothing in his instinctive feeling for sing¬ must somehow convince the student that but at a sacrifice of tone, touch and line incompatible with If there be inelasticity, tension or rigid¬ sensation, personal to him; and as soon as of his true tone. The purpose of voice into precisely the errors he most wishes ing, or in his casual experience as a he is dealing with natural law and con¬ ity in any part of the tone-producing he observes carefully light appears. He study is to relieve this tension so that the to avoid. So it must and tae development of a dispo- personal acquaintance of the Nestle ments, they are profoundly ignorant. But purposes. concerned that, the bulk of the singing w give out the directions when announcing Established 1905 vou ? The answer is easy—both; but the sition and personality that will attract Outfit for Permanent Waving. To how shall the non-musical public be taught Most people can sing to some extent if consist of simultaneous unison and hi each hymn. 12 and 14 E. 49tli Street, New York City they try; but it may be taken as substan¬ do this costs you little effort—and to appreciate and admire the music for the mony. Some may say that this canr New methods are needed if church Just off Fifth Avenue tially true to say that for ten people who Possibly be artistic. But a moment’s cc music is to become the vital thing that it NO money. organ unless it is played for them? Yet Fill in, tear off and mail coupon today can sing a “melody” there will not be ^deration will disprove any such theoi should be; and I am convinced that more Send for the Outfit, try it, and if they seem to treat the work of the organ¬ more than one or two who can sing har¬ the simultaneous use of unison (octave will be done by the education of congrega¬ you are not absolutely satisfied with ist, when he plays strictly organ music or Mr. Ralph Kinder, Editor of THE ETUDE Organ Department mony correctly, even from music, while and harmony is one of the most freque tions than by indiscriminate abuse of its results, return it within thirty days, music not connected with the singing of not more than one per cent of an ordinary choirs, organists, Victorian hymn-tunes for the present month, zvas •born at Staleybridgc, Manchester, Eng¬ devices i„ any orchestral score fre and your deposit will be immediately the choir, as quite unworthy of their atten¬ congregation can be trusted to sing har¬ • ozart t(J Elgar, and a very similar eff< and Anglican chants. When our congre¬ land, January 27,1876. At. the age of five he moved to Bristol, Rhode refunded. The directions with the tion. There is some justification for the mony correctly “by ear,” unless, perhaps, in . ?" emPl°yed in modem choral wr gations begin to take their church music ■ Outfit are clear and simple. The use organist when he says, as we have recently Island, where he became a chorister in Trinity Church. He studied it is the bass part of some very well- g, how, then, can it be wrong in hym seriously, and come to realize that if it known chant or hymn. Consequently the is not good the fault is largely their own, of it is interesting. The results won¬ heard one, “There is no use playing a organ with the choirmaster, the Rev. W. R. Trotter, and with Hamil¬ and chant-singing? Further, it is ine Mendelssohn sonata or other decent music. singing will have to be mainly in unison, ba c. In the end, whatever directions m we shall hear less of the shortcomings of derful. Think of it! Straight, lanky ton MacDougall. Later, in London, he studied with Lemare, Dr. at any rate at first. Harmony singing The people will not listen to it. I give e given, the congregation will sing wl those who, after all, do make a real effort hair all your lifetime—yet from the should be welcomed so long as it is cor¬ that it shall be worthy of its high purpose. them what they want, light, easy stuff, Pearce and Dr. Turpin. For the past tzventy-five years he has been ey prefer, and the wise director will r very day you apply the Outfit— rect ; but “vamped” harmony, or the so- natural waves, curls and ringlets! popular melodics.” The people do want the organist of Holy Trinity Church of Philadelphia. He has played German and Italian is more ‘elegant’ than called “singing seconds,” is to be sternly The celebrated scientist, Metchni- more than that. They are willing to listen as a concert organist in nearly every state of the Union. Several of discouraged. So that those who wish to one in English, just that long also will koff, of Paris, said of the Nestle to more than that. This remark, we be¬ his organ compositions have been zddely used. sing in harmony must be provided with nglish language in their hands the unthinking public prefer the foreigner lieve, is not wholly justified by the actual music. and by the same token pay him better than Permanent Wave, “It is the greatest lie ' 'i ' ' Just so Ion2 as the I conditions. Tile melody then becomes of dominant taught that a song recital in Fre the American.”—Music News. 'discovery ever made for woman’s importance in the choice of music. A Page 209 THE ETUDE fllE ETUDE Page 208 MARCH 1925 Pointers for Organ Students --jxncL By Ralph Kinder EasterChoirMnsic CANTATAS ‘RanoMifn Question and Answer Department 1. Start the study of harmony at an 5. Has it occurred to the reader how “Our Lord Victorious”, Harry Rowe jjyieu^ fi&v much truth there is in the saying: “An Shelley. New 1925. 75 cents. early age; and study with one who knows incorrect key struck, held and released the "The Thorn-Croumed King", Holton. Conducted by Arthur dk Gujchard how to teach the application of harmony. Juvfr&t, auwuf! Getting The Most For correct way can accomplish more good It is not enough to know the various than the correct key struck, held and re¬ FOR JUNIOR CHOIRS “Light from The Tomb", Wilson. Your Piano Dollars! chords in music or how to write basses leased the incorrect way ?” In other words New 1925. 50 cents. will be answered when this has and melodies. To analyze the notes and it is the “touch” in organ playing that is r on ten days^approval if "The Etude" 5 I IN THIS WAY chords of a composition—whether hymn- of primary importance. jCf y m the New York tune or symphony—leads to a speedy 6. Do not keep your audience listening EASTER ANTHEMS i Wm ijjP\ World summa- the durability of the Our^ten most popular out of the hun- learning of the composition, to a proper to a sustained note or chord while you fix s regarding particular pieces, me it likely to be of Interest ▼jjk rizes the recent ■ Wessell, Nickel & interpretation as well as to a keener un¬ your registration or turn your page. Suc¬ iter number of ETUDE readers w cessful business men meet their appoint¬ Slenderness will derstanding and enjoyment of the compo¬ Elementary Definition* ment given ZIP ments punctually and answer their mail sition. make yon more attractive- IImo would you explain the. n \f' -,, / by the Federal 2. Attend orchestral concerts as much promptly. Successful organists have their and meaning of the clefs? - e than two in general use -*■ • j Trade Commis- as possible and learn to distinguish the registrations prepared when the time to ■ use them has arrived. Omit notes, if need Are you worried because you are overweight? | . :.G \j . | sion’s Trial tones of the various instruments. Study LORENZ PUBLISHING CO. Afraid you are losing your charm, your "staff” thi be, to meet this requirement, but never lose | G j Examiner: the character of each instrument. It is Dayton, Ohio New York Chicago, III. youthful figure? e spcal: of r taff a impossible to know the possibilities of an time. 216 W. 5th St. 70 E 45th St. 218 S. Wabash Avo Stout women are at a disadvantage. Pretty lines, at I fail to catch the meaning.—L. I sell*. Bn,ihl : l’hila., " Uncle Sam Pronounces orchestral stop in an organ until one has 7. Thirty years ago the legato touch in clothes no longer fit them, their movements heard the original instrument played or, organ playing was almost universal. To¬ PCtto Ct °nl °d The ft"licence «.e Hnn.l* Hair Remover (ZIP) O.K.” ate awkward, their attractiveness deserts nc voice only another Q. After attending a piano concert given day the up-to-the-minute concert organist them. Friends are sympathetic. even better, is able to play it one's self. name for a light bass, iot a voice in a class by a much-advertised artist, who, while play- WESSELL, NICKEL & GROSS 3. A good musician sees good in another uses the staccato or wrist touch fully as But many of these friends have a secret by itselft—B. G., Flin Mich. ' inB, threw his hands about, up and down, "Gone To Stay Gone! ” Established 1874 New York City much as the old touch. Has the modern musician and a poor musician sees good HERE IS THE WAY TO method of keeping slenderl They useMar- ‘•dose’’ and "‘open’’ score^thr^cx- he were “going through some gymnastic cxcr- only in himself. Do you think that the organ given birth to this new touch? EARN $15 to $25 a DAY mola Tablets (thousands of men and women aT/cflnuL °oPr‘scorc" musically speaking t otses quite independentjfjhe P^csjejas “The climax came,” says the New merit of a musician can be judged in this 8. The question is frequently asked: each year regain slender figures this way). —Vaughn, Providence, R. I. \Pto ash The Etude if such distracting ges- York World, “when one woman, IN YOUR SPARE TIME ‘These tablets will makeyou slenderagain, way? “Should a hymn-tune player play only the A (As all these questions are more or tures were necessary, or were they not an described as a ‘prominent Long Island notes notated?” The notes seen in a too. Try them. No exercises or diets—just a less related to each other, their answers are affectation of attitude, quite foreign t~ " society matron’ took the stand and 4. Find the teacher that imparts expert We Make You an pleasant, healthful way of becoming slender. treated as a group.- ' I-trawwonwitM’ of" the .musicJ" —so much u.3 that hymn-tune are for the voices to observe; they were a disturbing element which de¬ testified she had been afflicted with thoughts and ideas. With the aid of t cially by one who is experienced in this use of .force; in the former it is made pos¬ Today, the sight-of superfluous hair Wrv.mrnnmprzmmsm is or F clef, and it is seen in marks one as careless and untidy work. It has been said that hymn-tune sible by the manner in which two succes¬ it the following notes are G,(4th ___,trnl Aspirati- (5th line), B (spaci 0. Our home orchestra consists of myself for it is such a simple matter to de¬ players, like hymn writers, are bom, not sive notes or chords are played. .._e in the. (Mando-’Ccllo), son of 11 (1st Cornet), son stroy it—completely—with the roots. made. Doubtless there is some truth in When one begins to feel the advent of -SYNCOPATE THE CHRISTENSEN WAY" pper staff, D 1st space,c ’ E of 14 (2nd Cornet), daughter of lo (Song- second line) we 1 d ourselves in evident eon- hells, 8 oct.), daughter of 17 (Xylophone). " ZIPPED ’’-not clipped - is the this claim, yet it is just as true that one rhythm and accent in his hymn-tune play¬ trndiction with 1 e clef of this staff, which (1) We play only sacred and classical music. secret of the perfect hair line and ing, then discretion must be exercised in gives G to this 2 We have a pianist occasionally. (2) As ice the beautiful neck. When you have who is not gifted in this most important tcant sweet music, would we get better re¬ art can develop it by means of study and deciding where this accent in each meas¬ JAZZ I sults if ice change the. Xylo. for a Marimba your hair trimmed, demand a ZIP ure must come. “Stand Up, Stand Up and the Cornets for Flutes? (3) Would it. treatment back of the neck. practice. be advisable to let the 1st cornet carry both There is nothing more inspiring than a For Jesus,” is a: well-known hymn to it and a flute. I shall greatly appreciate any Make yourself more beautiful. triEnro?led0utfit IKEE Don’t delay. If you have never well-known hymn sung to a fitting tune which has been set two excellent tunes advice you may give—Constant Reader, Pan¬ "Write today for Art Year Book. ama, Nob. used ZIP, you will marvel in its by a great congregation accompanied by (4-4 time has been employed in both set¬ A. You are to be congratulated upon your magic. Fragrant, painless, harmless one who knows how to accompany. A tings.) Do not many organists seem to desire and endeavor to perform good music $CHC39LaFAWUED ART in the home. But why not real music with and easy to use at home, it is pro¬ baton is not necessary. A choir is not feel, when these four beats have been Applied Art Bldg, Room 14 .BATTLE ChEEK MICH. x real instruments, instruments that may stand nounced by experts as the scienti¬ essential. Two things, however, are vital counted evenly and properly, that every¬ your children in good stead in later life? fically correct method. (1) It is desecration to play sacred and in the proper accompaniment of the hymn- thing necessary has been done to make classical music on a xylophone; besides, it the first is an adequate organ; the both hymn and tune an inspiration to both does not load anywhere (the xylophone, the s. and c. music). rr"~" tt11 second is an 'organist who possesses the. singer and worshipper? As a matter of respect, it is “cruelty quality of rhythm. One must not con¬ fact, the inspiration from this wonderful boy of 11 play the cornet. (2) Y will ob- tain “sweet music” if you recast fuse time and rhythm. They are differ¬ hymn and these two inspiring tunes comes, orchestra—“reform it altogether,” ent terms and express different meanings. and only can come, when the tempo Good time, even time, appropriate time, is brisk and when on every first and third ; the each is, of course, essential in any and beat the accent is marked. The familiar every musical pursuit—as much so in tunes to “Love, Divine, All Loves Ex¬ hymn-tune playing as in the playing of a celling,” have two accents to each measure Wi - -y italog FREE- I Tha^coat ill march by a military band when on parade. also. Sullivan’s tune to “Onward, Chris¬ cornetist “ lUnt-s 'l“”^“'QpoysE!'cO. Incidentally in private practice one should tian Soldiers,” likewise, has two accents ous study on the viol not fear the results of an over-abundant to each measure. The tune “Hursley” Ufhee outfit use of a metronome. Such results are of frequently used to the hymn “Sun Of My great benefit in any field of music and Soul, Thou Saviour Dear,” has one accent are especially valuable in the development to each measure, the accent coming on the Easter Music Interlude, Intermezzo, Hold and Inward Parts of this most essential thing in hymn-tune first beat. would be gratefully received— Subscriber, Providence. R ' s had various signifi- : differe ■iods. Four or five NOT ONLY Kill The Hair Root r it v as applied t Ito, Soprano, Baritone i-my; ull All ego..y,, Myster-... .-...-i-. --- S| REMOVES THEO. PRESSER CO„ £$$$£**?* ^ quently containing music. It thus somewhat ! HAIR— AUSTIN ORGANS) ay be gathered that the approached the use and application of the Dr. WILLIAM C. CARL Intermezzo (Italian). Since j BUT CHECKS EC ENT contracts show many other word Interlude (Latin, inter ITSFUTURE hide, I play) has been used tc J GROWTH far west, middle west, the far south and Instructor ire, thus causing thing played—musically the cast. Morristown, N. J., is to have BiliilillMia >: Low. parts of another of Many Prominent Organists hnritonen°IlmPse-inritone.I"

Send for Catalog Agents Make Big Money ..dJ5S5SK ' for us. Write us today for our agent s THEO. PRESSER CO. Teachers of-townraBtfmers0 Ateo ^NU|I|HL» proposition. Professionals Music Publishers and Dealers hey^to^urchaBerB^uf violins 1710-1712-1714 CHESTNUT STRTET lg§ care eandT useu^Sent°free!fl|| 1 11|HHfl IISm ELITE STATIONERY CO. Philadelphia, Pa. Hs'lH1 r WM. LLWIS & LON ^^|pp|F 5023 Main Street, Smethport, Pa- Copyright, 1924. The Rudolph Wi 1 Superba TbeaterBldg,. Los Angel ef E5 South Wabash *nmm"t>niutte 2643“*' Chicago. Illinei. Please mention THE ETUDE when addressing our advertisers. THE etude MARCH 1925 Page 215 MARCH 1925- THE ETl Ensemble Playing Professional By Sid G. Hedges Directory Among the advantages of the violinist KIMBALL Oscar Saenger are the many opportunities for ensemble playing. No one ever heard of six pian¬ EASTERN ‘ * Founded 1895 by Wm. H. Sherwood ists playing together, but a combination The Instrument of eTnrDT ^£2X1™^York including half a dozen violinists can be Yesterday, Today ALuLn 1 Telephone 1080 Riverside met with in almost any town. Playing with others is enjoyable, it and Tomorrow” Summer School 1925 Summer Session beechwoodss&h stimulates and broadens interest, and it creates healthy rivalries. “True friends for Six Weeks June 29 to August 8 The violinist need not get far before combs he can begin to gain such experience. As 30 years” is the rMUIKII&lO SYSTEM. Improved Music Study for soon as he can read a hymn tune he may spontaneous tribute IN CHICAGO m D U N N 1 N U CarreTouise Dunning, 8W. 40th, N.y! look out for another fiddler of about equal attainments with whom to play. If to the Kimball from \! VESTRO authority on voicy education 2126 Lincoln Park West 1L ■ n a COMPLETE TRAINING FOR OPEC A they can also acquire a would-be ’cellist, AdolpKWeidig, who ,^ L A K R 1 E ropean Opportunities for Finished Students T A D M 1 Bake? Bldg., Phila.-Carnegie Hall, New York their joy will be complete; and the trio can play regularly together, increasing upholds the highest | p JUNE 15th to AUGUST 1st (seven weeks) proficiency bringing increasingly large s tandards in music. :- -■ * fields to explore and conquer MUSICOLOGIST.GUICHARD LECTURER, 13 lluotliigten Are., Ilo.wn, .Ileus. (SECOND SEASON) But two violinists alone may do a won¬ The. con tinuous L derful lot of work. ’ Violin duets are recognition of the HAWTHORNE "-‘“Susa... legion; and it should not be long before merit of Kimball ALL branches of the singer’s art will be the two know some at least of the exten¬ sive works of Pleyel, Mazas, Kalliwoda pianos spans the more than thirty years since Adelina Patti - taught, both privately and in classes, MOULTON and Rode. praised the“wonderfully sweet and sympathetic tone,” by Mr. Saenger and his New York staff of It is usually easy for a pair of violinists through the days of the DeReszkes, Emma Eames and others, NEW YORK “SSHSSr to find a pianist eager for some trio work. teachers. A great amount of trio music, for piano down to the present successes of Joseph Schwarz and Charles and two violins, or piano, violin and Marshall, who are daily acclaimed in operatic circles. PREnYLEAF ’cello, is available; and, with two violins and a ’cello, quartets become possible. The Kimball has stood the test of time, and today Opera Classes—Repertoire- If neither ’cellist nor pianist can be RIESBERG is in greater demand than ever before PIANO ^ TeJ^Se^iMM ^c^°olNofyMQBic and found, but only other violinists, a good Interpretation Classes— deal of stuff has been written for various THE SHERWOOD MUSIC SCHOOL * W.W. KIMBALL CO., Dept. KE combinations of violins up to eight in Catalog and dealers I 306 South Wabash Avenue, Chicago III. Teachers’ Classes TREOTOH*~SSS& number. names sent on request Gentlemen: Please mail catalog and information on instru- Qnce the student has started this sort _I ment marked X: □ lUMBALL Reproducing Pianos urnis CHARLES Correspondence Instruction, W. W. KIMBALL CO. | □ KIMBALL Grand Pianos □ KIMBALl Phonographs If 111N Musicai Theory, Harmony, Melody Writing, of ensemble playing, he will be ambitious (Established 1857) 1 □ KIMBALL Upright Pianos □ KIMBALL Player Pianos Conducted by Mr. Saenger V I.UI1 counterpoint and Musical Form. | QAlso mail floor pattern “Style 29”—free. FREE SCHOLARSHIPS Tuition for each course is Twenty Dollars, payable one-half in to form a real orchestra. Usually, when advance—STATE NORMAL SCHOOL, California, Penna. he starts to do this, he will receive many Under the following Artist Teachers I»“ offers of cornets, clarinets and trombones; PIANO VOICE VIOLIN but, at the beginning, he will be wise to VIRGIL refuse all such aid. Wind instruments, Georgia Kober Else Harthan Arendt Joska de Babary Public School Music—Expression and Dramatic in small amateur combinations, are often George Ra If Kurtz Arthur van Eweyk P. Marinus Paulsen VIRGIL troublesome. I have heard an orchestra VIOLIN STRINGS INTERESTING ETUDE BRAND Art—Harmony—Theory—Accompanying—Sight Louis Luntz Daniel Protheroe consisting chiefly of screaming clarinets ANNOUNCEMENTS WESTERN and braying cornets—but the effect was Used by the Leading Artists of the Edwin Stanley Seder Glenn Friermood Philadelphia Orchestra Reading—Ear Training—Musical Development- not happy. of Sidney Silber CELLO AMERICANS^**®: The great point, when forming an or¬ Etude “E” String, 3 lengths.. . .$0.15 net SUMMER SCHOOLS Dancing—Fencing—Languages Theodora Troendle chestra, is to get a well-balanced combina¬ Etude “A” String, 2 lengths.... .15 net ir Zack Etude “D” String, 2 lengths.15 net Will be found in this issue on pages tion. A pianist is usually necessary, or CHICAGO ggggfMS Etude “G” String, 1 length.15 net 204, 214, 215. 216, 217, 218, advisable, when numbers do not exceed Bundle Lots (30 assorted Strings) 3.75 net 219, 220 and 221 MASTER CLASSES fifteen or twenty. ‘Prices given Are- tKet-tKo Viscount Teachers’ Certificates will be conferred at CINCINNATI SS^'eSsa I append here suggestions for pleasantly In Piano, Voice and Violin. Free Piano Normal Class, Special Public School balanced orchestras. For nine members; THEO. PRESSER CO. the end of the Summer Season upon can- 1710-1712-1714 Chestnut St., Philadelphia, Pa. didates who have successfully completed Music Course, Classes in Harmony, History of Music, Accompanying, Appreciation, DETROIT SSSr.. 3 first violins, 3 second violins, 1 ’cello, 1 the prescribed course Ensemble, Choral Conducting, Dramatic Art, Dancing, Languages. Private Instruction double-bass, pianoforte. in all Subjects. For thirteen members; 5 first violins, EDDY 4 second violins, 2 ’celli, 1 double-bass, Teachers’ Certificates Awarded for Completion of Special Courses pianoforte. SUMMY’S CORNER For twenty members; S first violins, Free Scholarships One specially conducted excursion every Saturday, including visits to Ravinia Park (to KNOX 4 second violins, 1 viola, 2 ’celli, 1 double- hear the Chicago Symphony Orchestra and Ravinia Grand Opera) the Art Institute, TEACHERS! \ Mr. Saenger will award TWO FREE SCHOLARSHIPS SSSSSI bass, 1 clarinet, I bassoon, 1 horn, 1 trom¬ the Field Museum, a Boat Trip on Lake Michigan, an Automobile Trip through the TOMLINSON bone, 1 timpani, 2 flutes. individuality and cl for Exceptional Voices (One Male and One Female), information nod circular. 623-6 Fine ArtB Bldg,, CHICAGO. Chicago Parks, a visit to the studios of the famous sculptor, Lorado Taft, and otiier For forty members; 8 first violins, 7 these scholarships to include TWO PRIVATE LES¬ events of equal interest. Free Concerts by Members of the Faculty second violins, 4 violas, 4 ’celli, 3 double- 7—“TUNES FOR TOTS” WESTERN basses, 2 flutes, 2 clarinets, 2 bassoons, 2 By Juan Masters SONS WEEKLY WITH MR. SAENGER, and to further cornets, 1 trombone, 3 horns, 1 timpani, SOUTHERN Hush-A-Bye Song The Jolly Sailor Boy London Bridge Coasting the Cause of Opera in America, he will also offer a TEACHING POSITIONS 1 oboe. Sailing with Dolly Dress Parade School Is Out The-Sherwood Music School now has Twenty-Two Neighborhood Branches If there are but few players, so that a Price, each, S .25 Price, complete “Summy” Edition—No. 113—S -BO Scholarship in his Opera Class, to be given to Five Musicianly bits of writ m and near Chicago. These Branches give rise to positions for students and teachers CONVERSE COLLEGESSS: conductor can hardly be spared from i suggested by the titles. among them, the first violin may act as Different Voices—Soprano, Contralto, Tenor, Baritone who wrsh to teach and at the same time continue their own study under artist leader, standing at his desk, with his in¬ and Bass. « teachers. There are also excellent positions available in the thousand and MUSIC AND TRAVEL IN EUROPE JOYOUS MOOD By Buenta Carter more Branches 01 the School located throughout the country. Some of junior 3 WEEKS IN PARIS: Instruction by Phillip. strument. Thibaud. Matthay. et al. Everything, from the start, should be teachers for our 1925.-6 teaching season mil be engaged from the students in atUnda, CONCERTS: Wagner at Bayreuth; England, Applications for Enrollment may he made, France. Germany. Italy. Switzerland organized on business lines; and election at the■ Summer Session Fhe number of openings is so great that any talent, and all Information Regarding Terms for should be made of a leader, deputy- ambmous student or teacher with reasonable preparation may be sure of an opportun PROF. LeROY^B. CAMPBELL PUCK’S SERENADE—Gr. 3, $ .30 MINUET—Gr. 2, Tuition and Scholarship Applications ob= in our organization. r ; Warren Conservatory of Music Warren, Pa. leader, librarian, treasurer, secretary, en¬ rollment and advertising secretary, and a VALSE GRAZIOSO—Gr. 2-3. $. 30 tained by addressing the By Berenice Benson Bentley committee for the selecting of music. The SERENADE is fairy-like and graceful, teaching familiarity with YOUR LIBRARY This latter business is not easy with an Major. Very fine indeed is the MINUET, containing a touch of coni average orchestra for fairly •accomplished wealth of style in the VALSE gives a graceful number f (THE USUAL DISCOUNT TO TEACHERS) OSCAR SAENGER STUDIOS books that you have benefited by reading ? performers and comparative beginners SHERWOOD MUSIC SCHOOL andAf°°d musical library is a valuable asset 6 East 81st Street, New York may both have to be catered for. To CLAYTON F. SUMMY CO., Publishers FINE ARTS BUILDING , .Let us send you our "Descriptive Catalog think of either exclusively will be a mis¬ L LILLY, Secretary Tel. Butterfield 8573 of Musical Literature and Theoretical Works. 429 South Wabash Avenue - - Chicago, Illinois take. Even if fairly simple music is obli¬ CHICAGO, ILLINOIS THEO. PRESSER CO. 1712-1714 Chestnut St. Philadelphia. Pa. gatory there is no need to choose rubbish. Please mention THE ETUDE when addressing our advertisers. Please mention THE ETUDE v THE ETUDE MARCH 1925 Page 217. the etude SUMMER MASTER SCHOOL Summer Master School June 29 to August 8 (Six Weeks) -SUMMER FACULTY= Five Weeks, From June 25 to July 29, 1925 Herbert Witherspoon William S. Brady Richard Hageman Prof. Leopold Auer Noted Coach and Accompanist Master Violin Instructor of the World Famous Singer and Teacher Celebrated Vocal Instructor Sergei Klibansky Percy Grainger Isaac Van Grove W. Otto Miessner Internationally Famous Renowned Pianist Conductor Chicago Opera Vocal Teacher Celebrated Opera Coach Josef LHEVINNE Florence Hinkle Leon Sametini Clarence Eddy Carl Busch WORLD FAMOUS PIANO-VIRTUOSO—PRIVATE LESSONS-REPERTOIRE-TEACHERS’ CLASS America’s Foremost Soprano Renowned Violinist and Teacher Dean of American Organists Illustrious Composer and Theorist And the Regular Faculty of Over 100 Brilliant Artist-teachers TEACHERS’ CERTIFICATES AND DEGREES Teachers’ Certificates and the Degrees of Bachelor of Music, Master of Music, Doctor of Music, Bachelor of Oratory, Master of Oratory and Doctor of Oratory will be conferred at the end of each summer session upon professionals who have the required credits and pass a satisfactory examination. Complete details in Summer Catalog.

Mme. Delia Unexcelled Normal Courses in—Piano, Remarkable Courses in—Expression and VALERI Remarkable Courses in—Public School PRIVATE LESSONS Dramatic Art, Musical Theory and Com¬ Music, Lyceum and Chautauqua, Movie Violin, Vocal, Expression and repertoire classes position, Opera Coaching, Accompanying FAMOUS NEW YORK EXPERT ON TONE PRODUCTION Picture Organ, Languages Dramatic Art Professor Auer. Mr. Grainger. Mr. Witherspoon, Mr. Brady, Mr Hageman, Mr. Klibansky, Mr. Van Grove, Mme. Hinkle, Mr. Sametini and VIr. Eddy have each consented to award Free Scholarships to the students who, t Will Give Post Graduate Courses in FREE SCHOLARSHIPS ! \ift for playing or singing. Free Scholarship Application Blank on Request.

PUBLIC SCHOOL MUSIC Complete Summer or Winter Catalog on Request GEORGE H. GARTLAN Dormitory Accommodations Fall Session Opens September 14 HENIOT LEVY, SILVIO SCIONTI (Piano) JACQUES GORDON, HERBERT BUTLER (Violin) CHICAGO MUSICAL COLLEGE KARLETON HACKETT, E. WARREN K. HOWE (Vocal) 60 L Van Buren Street, (SC’SS) Chicago, III. DR. WILHELM MIDDELSCHULTE (Organ) Regular Faculty of 100 Artist-Instructors Piano—Heniot Levy, Allen Spencer, Silvio Scionti, Louise Robyn, Earl Blair, Kurt Wanieck, Mae Doelling-Schmidt, Cora Kiessel- Detroit Conservatory of Music Cincinnati (fonserbatorig °f|llusic bach, Clarence Loomis, Cleveland Bohnet, Crawford Keigwin, Adalbert Huguelet, Edna Cookingham, Marguerite Kelpsch. r 1 W/ Francis L. York, M. A., President D 1 St Elizabeth Johnson, Vice-President Voice—Karleton Hackett, E. Warren K. Howe, Charles LaBerge, Elaine De Sellem, Jennie F. W. Johnson, John T. Read, Kennard Y ear Barradell, Marie S. Zendt, Carl Songer, Louise Winter. Students May Enter NOW Finest Conservatory In the West SUMMER SESSION OF THE DEPARTMENT OF Violin—Jacques Gordon, Herbert Butler, Hans Miinzer, Walter Aschenbrenner, Kenneth Fiske, Mabel Stapleton, Stella Roberts. i of study based upon the best modern educa- es. Departments—rutuu. w ** Cello, Organ, Theory, PUBLIC SCHOOL MUSIC (Accredited) Organ—Dr. Wilhelm Middelschulte, Frank VanDusen, Edward Eigenschenk, Emily Roberts. Public School Music and Drawing, etc. Diplom and Degrees conferred, Musical Theory, Composition—Adolf Weidig, Arthur O. Andersen, John Palmer, Leo Sowerby. dvantages. Desirable boarding ac< nmodations. Catalog free Intensive six weeks’ courses giving credit toward certificates, diplomas and degrees Violoncello—Hans Hess, Theodore Ratzer, Anne Slack. Instruction in Orchestral Instruments and in organization of School Orchestras JAS. H. BELL, Sec’y, Dept 7,5035 Woodward Ave., Detroit, Mich, front Pitw Conn Public School Music—O. E. Robinson, Edna Wilder, Noble Cain. Affiliation with the University of Cincinnati provides a complete course for Public Orchestral Instruments—Members of the Chicago Symphony Orchestra. School Music Supervisors Dramatic Art—A. Louise Suess. Dancing—Louise K. Willhour. DANA’S MUSICAL INSTITUTE Ideal Home Department on the campus for students from a distance WARREN, OHIO And others of equal importance Send for Summer Announcement to BERTHA BAUR, Director The Only University of Music in the World Highland Ave., Burnet Ave., and Oak St., CINCINNATI, OHIO of Six Weeks Recitals by members of the All branches taught on the daily lesson plan :: Special Music Supervisors Course SUMMER SESSION June 29—Aug. 8 Faculty and Artist Pupils Pupils now registering for S' Srecial Low Lecture courses by eminent educators. Special courses in Public School Music. School of Theatre Organ Playing. Excellent dormi¬ Catalogue on applicati BEETHOVEN Send for handsome Cz Efo the BSOS.'"epstein Odeon Building. C nd Finney, St. Louis, Mo. tory accommodations. Summer Session Booklet mailed free upon application. CONSERVATORY One of the oldest and b< tic Schools in the United States

The American Conservatory awards Teachers' Certificates, Diplomas and Degrees by authority of the State of Illinois FREE SCHOLARSHIPS NOTICE PIANISTS Awarded by Josef Lhevinne, Delia Valeri and Jacques Gordon NEW YORK CITY PHILADELPHIA CHICAGO Wire or write at once for application blanks and detailed information Have you been studying pianoforte under one of the great masters ? If so, have they fitted you to meet the problems of your HOME TOWN ? Can you “cash in” on your investment when you go back home, or has your work been confined to the standard concert repertoire which is impractical for use with your class at home ? The “JOHN M. WILLIAMS’ SYSTEM OF FUNDAMENTAL TRAINING FOR TEACHERS OF AMERICAN CONSERVATORY PIANOFORTE” will help you solve these problems. CHICAGO’S FOREMOST SCHOOL OF MUSIC John M. Williams will conduct Normal Classes for Piano Teachers in Philadelphia March 9 to March 20; New York City, March 23 to April 3 ; Providence, R. I, April 6 to April 17 ; Chicago, April 20 to May 1 572 KIMBALL HALL . KARLETON HACKETT \ . PACIFICniiiirTZi i-trtACTCOAST IN¥TVT SPRINGCDT>TMr< ANDA Wfl SUMMERCT TAfllUW ADOLF WEIDIG !Associate Each Class will be of two weeks’ duration (daily class lessons of two hours each). Early enrollment is urged as the size of all classes will be limited. John J. Hattstaedt, President CHICAGO, ILL. HENIOT LEVY (Directors FREE:—Send ' address for keyboard chart—for correlating the keys of the pianoforte with the notes on the gri Booklet describing the Course in detail sent upon request. Address JOHN M WILLIAMS SYSTEM OF FUNDAMENTAL TRAINING FOR TEACHERS OF PIANOFORTE JUtllN 1V1. P. o. BOX Z16, TRINITY STATION, NEW YORK CITY ii TI$! ETUDE when addressing our advertisers. Please mention T a addressing our advertisers. Page 218 MARCH 1925 THE ETUDE r Bush Conservatory CHICAGO * KENNETH M. BRADLEY, President EDGAR A. NELSON, Vice-President SUMMER SCHOOL JUNE 29 TO AUGUST 1 Six Weeks—June 29 to August 8 Ten Weeks—May 25 to August 1 Through the merger of the Lyceum Arts Conservatory with the Bush Conservatory, the Bush Conservatory now presents the LARGEST AND MOST DISTINGUISHED FACULTY in any American School of Music and the allied arts

Among the faculty of 125 artists and instructors, many of whom are internationally famous, may be mentioned PIANO VOICE VIOLIN PUBLIC SCHOOL MUSIC Jan Chiapusso Charles W. Clark Richard Czerwonky Lyravine Votaw Edgar A. Nelson Boza Oumiroff Bruno Esbjorn s. Homer Cotton Mme. Julie Rive-King Emerson Abernethy Mae Graves Atkins Rowland Leach C. J. Espenshade Edgar A. Brazelton Mme. Nelli Gardini Ebba Sundstrom Helen Curtis Mme. Ella Spravka Louis Kreidler ORGAN John J. Blackmore William Phillips DRAMATIC ART, EXPRESSION Mme. Justine Wegener Edgar A. Nelson Jeanne Boyd and STAGECRAFT THEORY. AND COMPOSITION Robert Yale Smith Elsie Alexander Elias Day, Dean Robert Yale Smith Kenneth M. Bradley Harry Carlson ■ Edgar A. Brazelton Oranne Truitt Day Rowland Leach DANCING Edwin Stanley Grace Walter Cora Spicer Neal Lawrence Johns The management announces the exclusive teaching engagement of Frederic Lamond WORLD FAMOUS PIANIST Laddition to private instruction, Lamond will conduct a series of weekly MASTER REPERTOIRE CLASSES

NORMAL COURSES PUBLIC SCHOOL MUSIC CLASS PIANO METHODS Edgar A. Brazelton, Dean (Six week course) (Six week course) Of special interest to Summer students are the Lyravine Votaw, Director HelenCurtis, the well-known authority on Class Normal Courses for teachers of Piano, Void, Violin, Intensive and modern course for Supervisors Piano instruction, will conduct a six-week course and Teachers of School Music. Piano and Violin on Methods of Class Teaching of Piano. This Dramatic Art and Expression. All summer study course, which meets a recent development in credited toward Certificate, Diploma and Degrees. Class Methods. Full preliminary credits granted toward requirements for Diploma and Degree of music education, is of particular interest to Full credit is given for all previous study. Bachelor of School Music. Supervisors of Public School Music and to pri¬ vate piano teachers. INTERPRETATION CLASSES with the noted a of the faculty. ARTIST RECITALS f« to Conservatory Students FREE SCHOLARSHIPS One free Scholarship for the Summer Term is offered v the above mentioned teachers of Piano, Voice and Violin. for trials. Send for blank. * J 22- °^y llmited "umber accep ed STUDENTS’ DORMITORIES The only Conservatory- — Chicago maintaining extensive private student dormitories for Wk j attractive, meals good, prices reasonable. Big demand for rooms for summer term. For Summer Catalog, containing full informatioi address, with mention of your course of study T* Schwenker, Secretary, Bush Conservatory 839 NORTH DEARBORN STREET J CHICAGO, ILL.

n addressing onr advertisers.