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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
5-1-1934 Volume 52, Number 05 (May 1934) James Francis Cooke
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The Etude Music Magazine 4Music <4htagazine Copyright, 1934, by Theodore Presser Co. for U. S. A. and Great Britain A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT AND ALL MUSIC LOVERS Editor published by Assistant Editor der the Act of March 3, 1879. Coot. right, 1934, by Theodore Presser JAMES FRANCIS COOKE i 7 ; 2 - , 7,4 CHESTNUT STR^T^pmLADELPH1A pa. EDWARD ELLSWORTH HIPSHER Co., for U. S. A. and Great Britain. I S 1 —J. 4 -II. No. 5 PRINTED IN THE UNITED STATES OF AMERICA MAY,. 1934 Subscription Price pJ— r—^1 $2.00 a y?ar in U. S. A. and Possessions, Argentine, Bolivia, Brazil, Colombia. Costa Rica, Cuba, Dominican Republic, Ecuador* El Salvador, Guatemala, Mexico, Nica¬ ragua, Paraguay Republic of Honduras THE WORLD OF
/'T^R.ECISELY as you have a soul—that mystic something The unit of what we are proud to call American standards which, when it departs, ends your earthly being—so do of living is unquestionably the American home. Even those •*- homes have souls, without which they become dead homes. Americans whose ancestral roots reach back to those parts of Because thousands of American homes have placed their souls the European continent where there is no comprehensive equiv- in jeopardy, many wise people are beginning to realize that, if alent of the English word “home”—where most functions and this is not remedied, a grave menace to the very foundations activities are held outside of the house, at restaurants, beer of our state will be the result. gardens, parks and theaters—must realize that in our American The soul of the home has to do with those domestic forces system the larger prosperity of our industrial and agricultural and social customs which work to keep the home together as a life depends upon the home as a unit. If we abandon the unit, to bring inspiration, personal betterment, spiritual love, American home, we must abandon the American standards of higher light and genuine joy to all of the members of the home. living and character, upon which our liberal incomes and All these things must grow within the home and must be nur- national business structure have always depended. tured by every member of the home. Therefore one of the very first responsibilities of Americafi The home that is so little attractive that most of its members parenthood is that of making the home a shrine to which all its prefer to desert it a good part of the time for the cabaret, the members come with real joy and gratitude for the opportunities club, the golf course, the movie, the automobile, the dance hall which it offers. In that period when our home days started and every imaginable outside attraction, has ceased to deserve with family devotions and ended in fireside song, we as a people the name of home. It has degenerated into a mere house, giving were producing many of our most representative Americans, shelter and a place to eat and sleep, entirely lacking in those who created the sound and prosperous conditions for which we things that, we all know, must be a part of real American home became world famous. Parents in that wholesome era had no life. fear of the children becoming gunmen, racketeers, abandoned It seems hardly necessary to note that where this condition women or drunkards. The influence of the good father and the exists something is terribly wrong in our social system, some- noble mother was so strong that the danger of bad company thing which may even jeopardize the existence of our American was slight. state. More than this, the home was made a wonderful place in THE ETUDE MAY 1934 Page 273 THE ETUDE MAY 1934 Page 275 morals and conventions of the late Victorian era It is a plea The Singing Student’s Uacation which to have a genuinely good time. There were spirited gatherings of friends, interesting books, fascinating games and for the real happiness and security of millions of red-blooded charming music in which all might participate. The family young Americans, who have been set rudderless upon the open 1Bhe Educational Fanning Vitiates: School and Vtiusic RECORDS AND RADIO Four'Year'Old (Children Ma\e Good Students teacher By Peter Hugh Reed By Arthur Schwarz c.By Marie Didelot Every study associated with another study of a like nature is more vital than T IS NO uncommon experience to see moment. Rhymes were a constant delight when pursued as an isolated subject. ADIO IS a seg of shifting tides, an The United States recognizes Russia I Playmates of the Staff a stronger device than this was necessary R the busy fingers of a young child, in a to the child, and, when little jingles about Therefore all studies should be made de¬ ocean of multiple emotions, which and a recording company recognizes a A paper cut-out, took her place before she finally comprehended. One day home where there is a piano, seek to the lessons for the day could be made, it pendent upon and complementary to one ■ has altered the status of musical cul¬ Soviet composer’s symphony. We refer to beside C the following day, and the as the lesson was about to begin the child bring melodies from the long row of keys was much easier for her to remember the another. This has long been recognized ture in more ways than one. It has in¬ the recording of Szostakowicz’ First Sym¬ youthful student could identify two notes. expressed an interest in funny pictures. which confront him. If there are older facts in it. by psychologists as the most efficacious creased its tidal expanse to world-wide phony, Victor album 192, played by Sto¬ When the third paper doll appeared, named The instructor took her cue from that de¬ brothers and sisters taking piano lessons, manner of making the things studied a real proportions and at the same time threatened kowski and the Philadelphia Orchestra. When the child came for her first lesson B, a bass clef was drawn below the treble sire. A bright piece of colored paper was the four or five year old child is still more part of the person’s life and of developing, to undermine its development in more than Szostakowicz, one of the Leningrad group a treble clef had been drawn with a colored clef with which the child was already pasted on one side of the cardboard so that eager to learn to play. Even an only to the highest level, imagination and one channel. Like the sea it is both ruth¬ of Soviet composers, is a pupil of Glazou- pencil upon tvhite paper and mounted on familiar; and, in addition to learning a it could be turned back like a leaf in a child, although he may be no more than memory. less and devastating in its activity, if un¬ noff. His First Symphony, written in 1923 stiff cardboard a foot long and about eight third note, one more concept, that of the book. Paper animals and small children four years old, is many times intrigued Especially between the music teacher and restrained or injudiciously employed: for (his seventeenth year), is a vital and inches high. There was a single note on bass clef, was added. dressed in gay colors were pasted on the with the silent instrument from which it is the school teacher is this educational alli¬ at the same time that it popularizes it also arbitrary work which belies its composer’s it, Middle C. A picture of a little girl who Before any of these concepts was firmly cardboard. Then flaps were cut in the possible to bring music. The writer knows ance essential. The school teacher, far nullifies. creative adolescence. Regarding this work, looked very lonely had been pasted beneath fastened in her mind, it was necessary to piece of colored paper on the top, the upper of a little boy who kept perfect time to the note, and this rhyme was written from being indifferent, will gladly co-oper¬ New Music, a quarterly publication Olin Downes tells us that the composer’s repeat the explanations many times and in flap in the left hand corner being cut in any music he heard when he was two years about her: ate with the music teacher; and the pupil, edited by Henry Cowell, has decided to ideas “are all of the present political many ways. Even when the lessons were the shape of the treble clef and the lower old; when he was three he stood at the caught between sympathy on the one hand bring out four records a year. These discs regime, and these ideas colour his art.” about other things, there were constant one similar to the bass clef sign. When piano and attempted to play upon it; and Middle C is lonesome with no other near; and enthusiasm on the other, will reap the provide wider opportunities of hearing That the symphony avoids the exploitation references to these first lessons. Every the flap was raised the funny pictures were he was only four when he went to a music So two little children, B and D, appear. richest benefit. The music teacher first works by contemporary American com- of melody and sentiment in the accepted experience at the piano was entirely dif¬ teacher without his mother’s knowledge to of all should discover just what literature sense there is no doubt, but whether this The first lesson consisted of teaching the ferent from anything the child had experi¬ Later this four-year-old had great diffi¬ ask if the teacher would give him lessons. is read in the Grammer School, the High is to be considered revolutionary or not is child where to find the keyboard home of enced before, and only after many lessons culty in remembering E. A new scale But most music teachers believe that it School, and the College in order that the from a string quartet by Ruth Crawford a matter of personal opinion. the little lonely girl whose name was Mid¬ was it possible for her to make the neces¬ had been drawn and Middle C was to is inadvisable to instruct such young chil¬ music assigned may dovetail with the (a dirge, remarkable for its melancholic dle C. The young pupil hurried home as sary distinctions in reading and playing have a birthday party. B and D were dren. A child prodigy, yes, but an ordi¬ school reading. A few examples suffice intensity) played by the New World String Recitals in Miniature soon as the lesson was over, to ascertain there, and E, F, and G were also invited. nary child with an ordinary sense of to indicate the program as suggested. Quartet; and three songs (Cemetery, The HAT INCOMPARABLE artist, Lotte whether Middle C had a home on her In connection with identifying B it was But E was almost too much. Finally the T rhythm, no. And so they wait for a few Scott’s “Ivanhoe” is a perfect setting for Railway Train, and Mysteries) by Adolph Lehmann, contributes two delightful piano, and, when she found it did, she necessary to use several devices by which teacher went on to F and G, notes with years until the child reaches an age when The Tournament by Nevin, for there is a Weiss, the poems by Emily Dickinson. recitals in miniature on Columbia discs Nos. assured her mother that on the next day she would remember a distinction between which the child had no difficulty. The there are so many competing interests that remarkable description of the tournament 4090M and 4092M. The first disc contains two little girls were coming to play with bass and treble. The treble clef became new notes were added to the new chart, the piano lessons are apt to suffer and the in Scott’s tale. “The Legend of Sleepy An Opera of Bohemia Schumann’s An den Sonnenschein and the sad C. uptown and the bass clef downtown. But and a funny little picture of a child in a time for necessary daily practice is hard Hollow” naturally calls to mind the suite SMETANA’S “Bartered Bride” (Victor Marienwiirmchen, also Brahms’ Verge- bath-tub was pasted above E. Now the of that name by Eastwood Lane. “Hamlet” bliches Stanchen, while the second disc to find. Some teachers are afraid to ac¬ little girl had no difficulty in remembering set M193) and Strauss’ “Der Rosen- cept the challenge offered in attempting suggests Nevin’s Ophelia and Chopin’s kavalier” (Victor set M196) are two timely contains Schumann’s Ich grolle nicht and it. On another chart on which the same Nocturne, Op. 31-1 (“After Hamlet” Schubert’s Erlkonig. Those who have never this difficult task of giving lessons to the group was placed, tiny cut-out birds were and important operatic releases, both of pre-school child,. because their reputations Chopin is said to have first entitled it) ; which maintain and set forth the character heard Mme. Lehmann’s moving interpreta¬ pasted above each note. She liked the “Macbeth” suggests Grieg’s Watchman’s tions of the latter songs are particularly might suffer if they should fail. idea of the birds flying up the scale with and spirit of their respective stories in a Though in the ordinary sense these Song and MacDowell’s Hexantanz; “Paul most commendable manner. recommended to this latter recording. her, and every note she struck was that Revere” is ably assisted by Frank Lynes’ A charm of grace and manner, appropri¬ children are too young for piano lessons, bird’s songs. She liked even better the The gaiety and effervescence of Smetana’s it is possible to give them training which suite of that name. There is Abraham opera is ingratiatingly set forth by native ate to the character, will be found in Ninon picture of a little boy climbing a long Lincoln by Blake, for Lincoln’s birthday, Vallin’s singing of Manon’s aria, Je suis will enable them to forge ahead more flight of stairs, a picture which was put at singers, who enter into and maintain the rapidly when they are a few years older. and Tchaikovsky’s June for “The Vision of spirit of the score with its vivid and amus¬ encore, and the Gavotte from the cele¬ the top of the chart. Sir Launfal.” Constantin von Stern¬ brated Massenet opera (Columbia disc Teachers who are willing to attempt it are ing pictures of the Bohemian life and tem¬ the logical persons to give this guidance, Weaving Habit Patterns berg’s lesson in The Etude some years perament, in a wholly commendable man¬ 4091M). ago upon “The Elocution of Melodies” in¬ By the same process of revivification but mothers with some musical background NOW she could go up the scale; but ner. It is good to find that they never can provide it in their own homes. cluded the Bach Two-Part Invention in F permit the comedy to degenerate into accorded to the recordings of Caruso, two coming down was another matter. Major, and to the first six notes had these “caricature or broad farce,” as all too fre¬ recordings made by Luisa Tetrazzini in The notes didn’t seem the same to her. Child’s Eagerness words, “This is the month of Spring.” quently happens in the presentation of this 1908 have been given new life and vigor A She had no mental image and no habit pat¬ Pupils who have read Milton’s “L’Allegro” opera. We find the Czech language fasci¬ (Victor disc 7883). The arias chosen are AT LEAST one person, a piano teacher tern that enabled her to go up and then relish that Invention. nating; its soft syllables seem particularly from “Rigoletto” and “II Barbiere di A in St. Paul, Minnesota, has demon¬ down. The teacher returned to the first Music judiciously chosen to fit the read¬ suited to singing. • Siviglia,” both of which are sung with a strated that a young child can be taught three notes, C, D, and E. Already the ing courses in the schools will fire the “Der Rosenkavalier” set has one of the clarity and purity all too seldom heard to read music, to play up and down a child had learned the distinction between imagination of the pupil. Music teachers most ideal casts ever assembled for an nowadays. simple scale, to distinguish tempo and to colors; so, on a new chart, a blue note might with profit consult the school teacher operatic recording. The four principal Bach’s Brandenburg Concertos might play simple melodies. Two months ago stood for C, a red note for D and a yel¬ for help and in this way, perhaps, give an parts are sung by Lotte Lehmann (Mar- well be called the “Good Companions,” for she was asked to give lessons to a four low one for E. She would play a blue, a impetus to the movement of further co¬ schallin), Elisabeth Schumann (.Sophie), beyond a doubt in orchestral music they year old child, a child who had absolutely red and a yellow note and did not find it operation between these two running mates Maria Olszewcka (Octavian), and Richard are a joyous and incomparable group. no knowledge of music. Although her difficult to follow the colors down. Then of education. Mayr (Baron Ochs). In the recording of Following releases of the Fifth and Sixth, first impulse was to refuse, she finally ac¬ she fully comprehended what it was her this opera, the idea has been to present the Victor now give us the Fourth (Discs cepted the challenge, and, in giving lessons teacher had been trying to tell her. Fig¬ to this little girl, worked out a very inter¬ ures of animals and children playing all SELF-TEST QUESTIONS ON most significant passages of the score. This, 7915-16), competently performed, like the we believe, has been judiciously accom¬ others, by the Ecole Normale Chamber esting technic for the pre-school child. sorts of musical instruments were pasted MISS RAU’S ARTICLE plished. Orchestra of Paris. The fourth is an ex¬ The youngster, a professor’s child, takes upon another chart, a variation which 1. What is the difficulty in making uncon¬ Friendly Kfotes hilarating work, the finale of which is a three or four ten-minute lessons five days added a fresh enthusiasm for the music scious movements conscious? Retrieved Through Musicianship striking example of economical workman¬ a week. A holiday, such as Memorial lessons. ship. Day, does not keep her away from her A cartoon page from a Sunday paper 2. What should the motion be, in playing By Gladys M. Stein THE UNITED patrician sensibilities intervals? of Joseph Szigeti and Sir Thomas Sea Fantasy teacher’s door. was responsible for the most important When she presented herself early one step forward. All this time she had found 3. What factors make for a change of posi¬ Beecham make the recording of Mendels¬ “ T A MER,” Debussy’s dream-fantasy of Whenever a young pupil has an extra holiday morning for a lesson, the teacher, it difficult to associate the printed notes tion in the different intervals? well prepared lesson it will help both him sohn’s “Violin Concerto” (Columbia set -I—/ the sea, has always incited critical 190) a performance par excellence. Szigeti by way of making conversation, said, “Your with a place on the keyboard. Now she 4. How may technical skill be acquired in and his parents if the teacher will write differences, since in it Debussy has created is ever the musician first and the fiddler father isn’t teaching today?” The child is finding it much easier. She had sat on the practice of a passage? a short, friendly note to his mother, letting an atmosphere of vague, rhapsodic beauty, second. His superb phrasing, his avoidance a tonal transcription of a “super-mundane hastened to reply that she taught him at the floor and cut out the square pictures her know that the child is really making night. She hadn’t interpreted the ques¬ of showmanship and the elegance of his world, a region altogether of the spirit . . . from the cartoon while she waited for her good progress. This should be sent by tion quite correctly, but further explana¬ tonal quality (on the whole) are well a sea whose eternal sonorities and immutable lesson. Each picture was neatly stacked tion made it clear that every crumb of When Interest Flags suited to this work. At the same time enchantments are hidden behind veils that above another, and when it was finished So many times when the instructor is information she gathered at the piano was that he attests this work’s right to popu¬ open to few and to none who attend with¬ she was very proud of the book she had By Anna B. Royce well satisfied with a pupil’s progress the passed on to her father. . larity anew, he retrieves it from the or¬ out, it may be, a certain rapt and curious made. The teacher offered to make her When a pupil’s interest begins to flag parents are not. They expect showy re¬ dinary by the aristocracy of his playing. eagerness.” A re-recording of this work Books published for beginning pupils another book. It too consisted of squares at lesson time, a spirited, five minute pro¬ sults and cannot see the gradual improve¬ The recording is excellent. was badly needed, since the old set failed were too advanced; so this teacher mounted of colored papers but on each one there was gram of music, taking his mind off his own ment as does the teacher. on stiff cardboard lessons which she her¬ Beecham’s supremacy in rhythm is well to do adequate justice to the subtleties of a different note; Of course it was made work, acts like a charm. self worked out. Each lesson was asso¬ Praise of a carefully practiced lesson exemplified in the recording of the delight¬ colour in this rarely prismatic score. In more interesting by pasting colored pic¬ After hearing an inspiring march or a ciated with the interests of children of will make the pupil interested in preparing ful Handelian ballet music, “The Origin the new set (Victor discs 11649-50-51) tures in the corners. When the book was clever character sketch, supplemented by a more of the same kind. Children all like that age, such as animals, birds, flowers of Design” (Columbia disc 68156D). This Piero Coppolo again officiates at the orches¬ completed, she was told to look at the note short description of the music played, the approval, which reminds us of that old prov¬ music, an arrangement made by Sir and other little children. In general the HOOT, mon! the pipers are comin’ on the first page and then play it on the pupil will come back to his lesson all the tral helm, giving a performance which erb, “Sugar catches more flies than vine¬ Thomas, is made up of a BourrSe, Rondeau, equals in every way the sterling qualities plan was to take the lesson cue for the Ian Inkster, of Revelstoke, Canada, who took up the pipes at four and piano. After the first note was played, better for the brief interlude. gar.” Gigue, Musette, Battle and Finale. of the recording. day from the child’s enthusiasm at the thrilled his Scotch-Canadian friends (Continued on page 326) THE ETUDE MAY 193/p Page 281 Page 280 MAY 193//. Intensive, Profitable Summer Vacation Music Study Calendar of the outstanding works have works, readily may utilize the grnde here for tSre seeking detailed of piano beginners purchase and read such Teacher’s Manual for “Technic Tales,” M. Williams; or for class instruction, the Obviously no teacher would use all of this TT would take volumes__ vta give a teaching While works as the Teacher’s Manual (Book Five) Book One, by Louise Robyn; or “What to “Teaching Piano in Classes” manual. The material. The plan admits of the selection 1 and study guide for all the successful been selected' *10 outlineuuume these Special Sum- given r,as a“ measunng^rod"‘Tther "book m £ 1 first-. procedures in the instruction —-=c education materials that are available, mer Courses, teachers, wishing to use other plans for any other boon. of “Music Play for Every Day;” or the Teach at the Very First Lessons” by John schedule may be fitted to any starting date, of material best adapted to the needs. SECOND WEEK—July 2 to July 7 FOURTH WEEK—July 16 to July 21 SIXTH WEEK—July 30 to Aug. 4 SEVENTH WEEK—Aug. 6 to Aug. 11 EIGHTH WEEK—Aug. 13 to Aug. 18 SUBJECT FIRST WEEK—Jun FIFTH WEEK—July 23 to July 28 Lesson 1—Use the portion indicated of MUSIC PLAY FOR EVERY DAY, Lesson 9 Lesson 11 Lesson IB Lesson 15 PIANO — For the Young Beginner any one of the following books: MUSIC PLAY FOR EVERY DAY, Book 1. Playtime 5, pages 22-24. MUSIC PLAY FOR EVERY DAY, MUSIC PLAY FOR EVERY DAY, MUSIC PLAY FOR EVERY DAY, MUSIC PLAY FOR EVERY DAY, MUSIC PLAY FOR EVERY DAY. MUSIC PLAY FOR EVERY DAY. Book 1. Playtime 3, pages .12-16- Book 2. Playtime 7, pages 32-34. Book 2. Playtime 9, pages 39-44. Book 3. Playtime 11, pages 51-53. Book 3. Playtime 12, pages 57-61. Book 3. Playtime 13, pages 65-66. BEGINNER’S BOOK. Exercises 26-3L BEGINNER’S BOOK. Exercises 38-45 BEGINNER’S BOOK. Exercises 53-57. BEGINNER’S BOOK. Exercises 65-70. BEGINNER’S BOOK. Section 2, page BEGINNER’S BOOK. The Tie, page BEGINNER’S BOOK. Review Ques¬ Book 1. Playtime 1, pages 1-6. FIRST HOW-DO-YOU-DO TO FIRST HOW-DO-YOU-DO TO Named in this paragraph are other acceptable first books BEGINNER’S BOOK by Theodore STAFF AND KEYBOARD. Exer- FIRST HOW-DO-YOU-DO TO FIRST HOW-DO-YOU-DO TO 29. Exercises 75-79. tions, page 36; Dotted Notes and for young piano beginners for which space in the chart does STAFF AND KEYBOARD. Exer- STAFF AND KEYBOARD. Exer- STAFF AND KEYBOARD. Exer- FIRST HOW-DO-YOU-DO TO FIRST^HOW-DO'-YOU-DO TO Presser. Notation, pages 5-8. Exer¬ STAFF AND KEYBOARD. Exer- FIRST HOW-DO-YOU-DO TO not permit showing lesson divisions. Adventures in Music cises 1-10. STAFF AND KEYBOARD. Exer- FIRST HOW-DO-YOU-DO TO STAFF AND KEYBOARD. Exer- Land by Ella Ketterer; The Music Scrap Book (A Kinder¬ STAFF AND KEYBOARD by Dor¬ MUSIC PLAY FOR EVERY DAY, Lesson 10 garten Method) by N. Louise Wright; Tunes for Tiny Tots othy Gaynor Blake. Exercises 1-6. MUSIC PLAY FOR EVERY DAY, MUSIC PLAY FOR EVERY DAY, MUSIC PLAY FOR EVERY DAY, Lesson 12 Lesson 14 Book 1. Playtime 3, pages .17-21- Book 2. Playtime 6, pages 25-31. Book 2. Playtime 8, pages 35-38. Book 2. Playtime 10, pages 45-50. MUSIC PLAY FOR EVERY DAY, MUSIC PLAY FOR EVERY DAY, by John M. Williams; The Introduction to the Piano by John BEGINNER’S BOOK. j:xerases32- BEGINNER’S BOOK. Exercises 46-52. Lesson 2 "IRST HOW-DO-YOU-DO TO BEGINNER’S BOOK. Rests, page 23. BEGINNER’S BOOK. Exercises 71-74. Book 3. Playtime 11, pages 54-56. Book 3. Playtime 13, pages 62-64. MUsfc PLAY FOR EVERY DAY, Thompson; Bilbro's First Grade Book by Mathilde Bilbro; MUSIC PLAY FOR EVERY DAY, STAFF AND KEYBOARD. Exer- Exercises 58-64. I-IRST HOW-DO-YOU-DO TO BEGINNER’S BOOK. Exercises 80-83. BEGINNER’S BOOK. Double Notes, Book 3. Playtime 14, pages 67-69. A Method for the Piano for Little Children by Jessie L. Book 1. Playtime 2, pages 7-11. FIRST HOW-DO-YOU-DO TO STAFF AND KEYBOARD. Exer¬ FIRST HOW-DO-YOU-DO TO page 34. Exercises 91-98. BEGINNER’S BOOK. Exercises 109- BEGINNER’S BOOK. Notation, pages STAFF AND KEYBOARD. Exer- cise 31. STAFF AND KEYBOARD. Exer¬ FIRST HOW-DO-YOU-DO TO . Gaynor; John M. Williams’ Very First Piano Book; What to 9-10, Ex ' - cise 33. STAFF AND KEYBOARD. Exer¬ FIRST HOW-DO-YOU-DO TO Do First at the Piano by Helen L. Cramm; Finding by Grace cise 35. STAFF AND KEYBOARD. Exer¬ Helen Nash; Bauer-Diller-Quaile Course—Book One. cise 37. Lesson 7 Lesson 9 Lesson 15 BOOK FOR OLDER BEGINNERS, BOOK FOR OLDER BEGINNERS, BOOK FOR OLDER BEGINNERS, BOOK"FOR OLDER BEGINNERS, BOOK™ FOR OLDER BEGINNERS, BOOK FOR OLDER BEGINNERS, BOOK FOR OLDER BEGINNERS, pages 38-39. pages 45-46. STANDARD GRADED COURSE, pages 32-34. STANDARD GRADED COURSE, STANDARD GRADED COURSE, STANDARD GRADED COURSE, STANDARD GRADED COURSE, PIANO — For the Adult Beginner STANDARD GRADED COURSE, Grade 1. Exercises 49-52. Grade 1. Exercises 56-59. The Foun- Grade 1. Exercises 63-65. Grade 1. Exercises 69-72. Grade 1. Exercises 41-43. tain, Supplement 4. Lesson 14 BOOK FOR OLDER BEGINNERS, Lesson 10 The musically informed beginner of mature years is taken BOOK FOR OLDER BEGINNERS, BOOK FOR OLDER BEGINNERS, BOOK FOR OLDER BEGINNERS, BOOK™ FOR OLDER BEGINNERS, Lesson 9, pages 28-31. BOOK** FOR OLDER BEGINNERS, pages 40-41. BOOK*1 FOR OLDER BEGINNERS, pages 50-51. into consideration in Caroline Norcross’ Adult Beginner’s STANDARD GRADED COURSE, STANDARD GRADED COURSE, STANDARD GRADED COURSE, STANDARD GRADED COURSE, STANDARD GRADED COURSE, STANDARD GRADED COURSE, Grade 1. Exercises 53-55. STANDARD GRADED COURSE, Grade 1. Exercises 66-68. Jacauelin Grade 1. Exercises 73-74. Taran- Book (Suggestive Studies for Music Lovers). Grade 1. Exercises 44-48. Grade 1. Exercises 60-62. Waltz, Supplement 12. tella. Supplement 1. STANDARD GRADED COURSE, Lennon 1—Use the portion indicated of Lesson 7 Lesson 13 Lesson 15 PIANO — Early Intermediate Course STANDARD GRADED COURSE, STANDARD GRADED COURSE, STANDARD GRADED COURSE, STANDARD GRADED COURSE, STANDARD GRADED COURSE, STANDARD GRADED COURSE, STANDARD GRADED COURSE, ST ANDARD^R ADH~D °COVRSE ~ de 3. Nocturne, 2. A Tender Grade 3. Exercise 6. Album Leaf, Grade 3. Exercise 8. Grade 3. Aeolian Harp, 10. Grade 3. A Chromatic Fancy Piece, Grade 3. The Butterflies, 13. Grade 3. Elevation, 17. Whispering iught. Supplement 2. Supplement 6. PLAYER’S^BOOK. Tremolo Touch, (Mathews), Grade 3. Exercise 1. PLAYER“entBOOK. Birds’ Spring PLAYER’S BOOK. Memory Study, PLAYER’S BOOK. Pedal Study, page Particularly planned for those who previously have had at PLAYER’S BOOK (School for the iTER’S BOOK. The Trill, pages page 20. Study, pages 20-21. 24. Album Leaf, page 25. PLAYER’S BOOK. The Chromatic PLAYER’SUBOOK.nt By the Brook- Piano, Vol. 3) by Theodore Presser. „ .1. The Murmuring Brooklet, HELLER-PHILIPP, Book 1. Elves, 9. HELLER-PHILIPP, Book 1. Andan- Scale, page 28. Fairies’ Waltz, page side, page 36. Ear Training, pages least two years of regular study. IIELLERgPHIgLIPP, Book 1. Etude, HELLER-PHILIPP, Book 1. Lovely 37-38. HELLER -PHILIPP. Book 1. Etude, HELLER-PHILIPP, Book 1. By Flower, 26. HELLER-PHILIPP, Book 1. Valse, A few pieces should be used in addition to the studies recom¬ STANDARD GRADED COURSE, Moonlight, 21. _„joh 6 STANDARD GRADED COURSE, mended. These might be sheet music or selections from such STANDARD GRADED COURSE, PLAYER’S BOOK.6 Menuetto in D, Grade 3. Arpeggio Study, Supple¬ Lesson 12 STANDARD GRADED COURSE, Lesson 1(1 albums as Album of Arpeggios; Standard Graded Composi¬ STANDARD GRADED COURSE, page 22. See the Conquering Hero ment 5. Exercise 11. STANDARD GRADED COURSE, Grade 3. Album Leaf, Supplement 8. STANDARD GRADED COURSE, STANDARD GRADED COURSE, Grade 3. Butterflies, 4. Exercise 5. Comes, page 23. PLAYER’S BOOK. Cz(lrd4s, pages Grade 3. The Happy Goldfishes, 12. PLAYER’S BOOK. Studies, page 34. Grade 3. Prelude, 16. tions (Mathews) Grade 3; Album of Cross-Hand Pieces; Grade 3. A Thought of Home, Sup¬ PLAYER'S BOOK. The Turn and PLAYER’S BOOK. Studies, ; HELLER-PHILIPP, Book 1. Gipsies, 26-27. Study, page 27. Chord Study, Supplement 7. Forest Spring, page 35. PLAYER’S BOOK. Study of Inter¬ plement 1. Graziella Waltz, 3. 19. Prelude, page 19. HELLER-PHILIPP, Book 1. Etude, PLAYER’S BOOK. Harp Sounds, HELLER-PHILIPP, Book 1. Etude, vals, page 39. April Showers, pages Standard Opera Album; Young American Album; Sprightly PLAYER’S BOOK. Romanza, page H ELLER-PHILIPP. Book 1. Curious HELLER-PHILIPP, Book 1. 16. page 30. Crossing of the Right Hand, 19. 40-41. HELLER-PHILIPP, Book 1. Etude, Rhythms or Gems of Melody and Rhythm. HILIPP.3 I HELLER-PHILIPP, Book 1. Etude, 23. Lennon 1—Use the portion indicated of Lesson 15 any one of the following books: STANDARD GRADED COURSE, STANDARD GRADED COURSE, STANDARD GRADED COURSE, STANDARD GRADED COURSE, STANDARD GRADED COURSE, STANDARD GRADED COURSE, Grade 4. Evening Song, page 15. Grade 4. Prelude, pages 12-13. Grade 4. Little Prelude, page 23. Grade 4. Study, page 25. Grade 4. Last Rose of Summer, page PIANO — Recreational Course (Mathews), Grade 4. Love Song, Flower Piece, Supplement, 1 Elfin Dance, Supplement, pages 4-5. HELLER-PHILIPP, Vol. 2. Etude, HELLER-PHILIPP, Vol. 2. Etude, HELLER-PHILIPP, Vol. 2. Etude, 27. On the Village Green, Supple- page 3. Staccato Etude, Supplement, HELLER-PHILIPP, 1 1-2. HELLER-PHILIPP, Vol. 2. Etude, HELLER-PHILIPP, Vol. 2. 15, pages 42-43. MUSI(?S STUDENTS PIANO MUSIC STUDENTS PIANO MUSIC STUDENTS PIANO HELLER-PHILIPP, Vol. 2. Etude, Various desirable studies and pieces offer excellent supple¬ HELLER - PHILIPP STUDIES IN MUSIC STUDENTS PIANO COURSE, 3rd Year, Book 1. Lesson COURSE, 3rd Year. Book 1. Lesson COURSE, 3rd Year, Book 1. Lesson 22. MUSICIANSHIP, Vol. MPU°SIPCU’STUDENTS Pli COURSE, 3rd Year, Book 1. Lesson 5, Exercises 1-5. 7, Exercises 1-5. MUSIC STUDENTS PIANO mentary material that might be selected for this course. Some COURSE, 3rd Year, Book 1. 4, Exercises 1-5. COURSE, 3rd Year, Book 1. Lesson are The Robyn-Hanon; Interpretation Studies by Born- . 3, Exe: IS 1-6. Lesson 14 8, Exercises 1-4. STANDARD GRADED COURSE STANDARD GRADED COURSE, STANDARD GRADED COURSE, STANDARD GRADED COURSE, schein; Melodies in Difficult Keys by Bilbro; Album of Grade 4. Harp Sounds, pages 8-9. <»n e STANDARD GRADED COURSE, Grade 4. Study in Staccato Octaves, Grade 4. Study, page 24. Grade 4. Melody, pages 26-27. Lesson 1G Trills; Standard Compositions for the Piano (Mathews) HELLER-PHILIPP, Vol. 2. Etude, 6. Grade 4. Study, pages 18-19. page 22. Choral Octave Study, page HELLER-PHILIPP, Vol. 2. Etude, 20. HELLER-PHILIPP, Vol. 2. Etude, STANDARD GRADED COURSE, STANDARD GRADED COURSE, MUSIC STUDENTS PIANO HELLER-PHILIPP, Vol. 2. Etude, MUSIC STUDENTS PIANO 25. Grade 4. Thistle-Down Fancies, Sup- Grade 4; Spring-Album of Piano Solos and Standard Bril¬ COURSE, 3rd Year, Book 1. L< 15; pages 44-45. HELLER-PHILIPP, Vol. 2. Etude, COURSE, 3rd year, Book 1. Lesson MUSIC STUDENTS PIANO HELLER-PHILIPP, t"""* HELLER-PHILIPP, Vol. 2. Etude, MUSIC STUDENTS PIANO 6, Exercises 4-9. COURSE, 3rd Year, Book 1. Lesson HELLER-PfflLIPP, Vol. 2. Etude, liant Album. COURSE, 3rd Year, Book 1. Lesson MUSIC?3 STUDENTS PIANO 7, Exercises 5-9. 4, Exercises 5-9. COURSE, 3rd Year, Book 1. Lesson MUSIC STUDENTS PIANO 5, Exercises 5-9. COURSE, 3rd Year, Book 1. Lesson Lesson X—Use the portion indicated of Lesson 13 Lesson 15 HISTORY AND THEORY either or both of the following books: THE STANDARD HISTORY OF Thn2°STANDARD HISTORY OF THE°STANDARD HISTORY OF THE°STANDARD HISTORY OF THE STANDARD HISTORY OF THE STANDARD HISTORY OF THE STANDARD HISTORY OF MUSIC. Gluck, Beethoven. MUSIC. Schumann and the Age of MUSIC. Liszt, Wagner. MUSIC. Modern Masters. Brahms, MUSIC. Music in America. Mas- MUSIC by Dr. James Francis Cook< HARMONY BOOK FOR BEGIN¬ Musical Romance. Opera Writers of HARMONY BOOK FOR BEGIN¬ Grieg, Tschaikowsky. The Art Song. These two subjects are vital to the complete music education. How Music Began. Music in th NERS. Pages 39-43. the Nineteenth Century. NERS. Pages 55-57. Famous Pianists of Yesterday. HARMONY aBOOK FOR BEGIN¬ One or both should be taken up along with other music study. Early Church. How Notation W( HARMONY BOOK FOR BEGIN¬ HARMONY BOOK FOR BEGIN¬ NERS. Pages 72-77. Students of almost any age from grammar school pupils up Evolved. The Troubadours an NERS. Pages 47-52. Lesson 12 NERS. Pages 63-67. M.-i-tcrsingers. THE*STANDARD HISTORY OF THE STANDARD HISTORY OF Lesson 16 could undertake the History course here detailed. Young HARMONY BOOK FOR BEGIN¬ MUSIC. Schubert, Weber, Men- Lesson 10 MUSIC. Modern Italian Composers. THE STANDARD HISTORY OF students, however, are provided with a wonderful book in NERS by Dr. Preston Ware C THE STANDARD HISTORY OF THE STANDARD HISTORY OF Rubinstein. Great French Compos- THE°STANDARD HISTORY OF MUSIC. Summary of Musical His¬ Young Folks’ Picture History of Music by Dr. James Francis MUSIC. Early French Music. ~ HARMONY BOOK FOR BEGIN¬ MUSIC. Great Teachers of the MUSIC. Great Virtuosos of To-day. tory. Formation of a Music Study Story of the Organ, the Violir NERS. Pages 44-46. Pianoforte. Chopin. HARMONY BOOK FOR BEGIN¬ Great Violinists. Composers of Val¬ Club for Next Winter. Cooke. The heights of real musicianship in performing upon HARMONY BOOK FOR BEGIN¬ NERS. Pages 58-62. uable Pianoforte Pieces in the Small¬ HARMONY BOOK FOR BEGIN¬ any instrument require an understanding of the structure of THE STANDARD HISTORY OF HARMONY BOOK FOR BEGIN¬ NERS. Pages 53-54. er Forms. Composers of Teaching NERS. Pages 78-88. music and a foundation for such musicianship is to be gained MUSIC. Polyphonic Music. Pales¬ NERS. Pages 27-30. Pieces. trina. Early English Music. HARMONY BOOK FOR BEGIN¬ in the enjoyable Harmony course here outlined. HARMONY BOOK FOR BEGIN - NERS. Pages 68-71. NERS. Pages 16-21, Lesson 13 Lesson 15 FIDDLING f< I FUN. The D Strii FIDDLING FOR FUN. Exercises 30- FIDDLING FOR FUN. Exercises 34- FIDDLING FOR FUN. Exercise 38. FIDDLING FOR FUN. Exercises 41- FIDDLING FOR FUN. Exercises 45- FIDDLING FOR FUN by Rob Ro; ~ fly, Exe 35. Review, pages 16-26. 46. BEL CANTO VIOLIN METHOD. Ex¬ BEL CANTO VIOLIN METHOD. Ex- BEL CANTO VIOLIN METHOD. Ex- BEL CANTO VIOLIN METHOD. Ex¬ BEL CANTO VIOLIN METHOD. Ex- BEL CANTO VIOLIN METHOD. Ex¬ BEL CANTO VIOLIN METHOD. Ex¬ ercises 19-22. ercises 39-41b. ercises 53-56. ercises 60-62. VIOLIN — Young Beginner’s Course THE CLASS VIOLIN INSTRUCTOR, THE CLASS VIOLIN INSTRUCTOR, THE CLASS VIOLIN INSTRUCTOR, THE CLASS VIOLIN INSTRUCTOR, THE CLASS VIOLIN INSTRUCTOR, THE CLASS VIOLIN INSTRUCTOR, THE CLASS VIOLIN INSTRUCTOR, Book 1. Exercises 6-8. Book I. Exercises 21-24. Book 1. Exercises 29-33. Book 1. Exercises 38-41. Book 1. Exercises 46-48. Book 1. Exercises 53-55. FIRST LESSONS ON THE VIOLIN. FIRST LESSONS e,ON THE VIOLIN. FIRST LESSONS ON THE VIOLIN. FIRST LESSONS ON THE VIOLIN. FIRST LESSONS ON THE VIOLIN. FIRST LESSONS ON THE VIOLIN. FIRST LESSONS ON THE VIOLIN. First Folk Songs for Violin by M. M. Watson; The Juvenile Lessons 9-11. Lessons 15-16. Lessons 20-22. Lessons 25-26. Lessons 30-32. Lessons 36-38. Violinist by F. A. Franklin or Fifty Selected Studies in the Lesson 6 Lesson S Lesson 10 Lesson 12 Lesson 14 Lesson 16 First Position (Chas. Levenson) may be used to supplement FIDDLING FOR FUN. The A String FIDDLING FOR FUN. Rhythm and FIDDLING FOR FUN. Exercises 32- FIDDLING FOR FUN. Exercises 36- FIDDLING FOR FUN. Exercises 39- FIDDLING FOR FUN. Exercises 43- FIDDLING FOR FUN. Exercises 47- Family, Exercises 15-20. Bowing, Exercises 27-29. 48. the main course outlined. There is a literature book, Practi¬ BEL CANTO VIOLIN METHOD. Ex¬ BEL CANTO VIOLIN METHOD. Ex- BEL CANTO VIOLIN METHOD. Ex- B EL CANTO_ VIOLIN METHOD. Ex- BEL CANTO VIOLIN METHOD. Ex¬ BEL CANTO VIOLIN METHOD. Ex¬ BEL CANTO VIOLIN METHOD. Ex- ercises 23-26. ercises 50-52. ercises 57-59. cal Violin Study by Frederick Hahn, that gives dependable THE-CLASS VIOLIN INSTRUCTOR, THE CLASS VIOLIN INSTRUCTOR, THE CLASS VIOLIN INSTRUCTOR, THE CLASS VIOLIN INSTRUCTOR, THE^CLASS VIOLIN INSTRUCTOR, THE CLASS VIOLIN INSTRUCTOR. Book 1. Exercises 25-28. THE CLASS VIOLIN INSTRUCTOR, advice for teachers and students of the violin. This book FIDDLING FOR FUN. The G Strini Book 1. Exercises 17-20. _,,,- Book 1. Exercises 34-37. Book 1. Exercises 42-45.. Book 1. Exercises 49-52. Book 1. Exercises 56-60. Family. Exercises 5-8. FIRST LESSONS ON THE VIOLIN. FIRST LESSONS ON THE VIOLIN. FIRST LESSONS ON THE VIOLIN. FIRST LESSONS ON THE VIOLIN. FIRST LESSONS ON THE VIOLIN. also suggests teaching materials to use. BEL CANTO VIOLIN METHOD. Ex- FIRST LESSONS ON THE VIOLIN. Lessons 17-19. Lessons 23-24. Lessons 27-29. FIRST LESSONS ON THE VIOLIN. ercises 16-18. Lessons 12-14. THE CLASS VIOLIN INSTRUCTOR, WRITE FOR LISTS OF INTERMEDIATE AND ADVANCED VIOLIN COURSE, ADVANCED PIANO MATERIALS, VOICE STUDY AND PIPE ORGAN STUDY A SUMMER COURSE IN PIANO OR VIOLIN STUDY IS MADE MORE INTERESTING WHEN A HISTORY OR A THEORY COURSE ALSO IS TAKEN. THE ETUDE Page 282 MAY 1934. THE ETUDE MAY 1934 Page 283 Tjhe Father of the Pianoforte Clementi 1752-1832 By Clarence Lucas te his own sonatas. His library con¬ widow befriended Haydn in London. He tained almost all the compositions of Cle- was asked to play some of dementi’s works ti for the piano. And he gave them to and he replied, “They can be performed his nephew Carl in preference to the musi¬ only by the author himself or the devil.” cally less valuable works of his own In 1783, J. B. Cramer, then a boy of teacher, Carl Czerny. about twelve, became his pupil. Several The writer of an article on Clementi in years later Beethoven said that Cramer was the Quarterly Musical Magazine of London the greatest pianist he had ever heard. for the year 1820 says: “I have heard Of another of his pupils Clementi said, Dussek, Steibelt, Woelfl, Beethoven, and “Such was the quickness of conception, other eminent performers on the Continent, retentiveness of memory and facility of who had had no opportunity of receiving personal instructions from Clementi, de¬ execution which this highly gifted boy clare that they had formed themselves en¬ possessed, that I seldom had occasion to tirely on his works.” make the same remark to him a second He established the principles of fingering time.” dementi took this wonderful boy and touch on which the modern school of to Vienna and then to St. Petersburg, in¬ piano playing is founded. troducing him to the aristocracy and the musicians of the Russian capital. The boy’s Mozart versus Clementi name was John Field. FROM LONDON, where he began his The famous Kalkbrenner, who offered public career, Clementi went to Paris to make young Chopin a pianist in three nd was astonished at the warmth of his years, was another of dementi's disciples. reception there, the French being more Little Visits to European ^Musical Shrines One of the most remarkable pupils of WESTMINSTER ABBEY demonstrative than the English. Two years MUZIO CLEMENTI Clementi was a man of wealth who after¬ Clementi is buried in the cloisters nearby later he visited Vienna, where he met wards neglected his extraordinary talent Haydn and Mozart. In 1781 the Emperor for piano playing in order to devote him¬ London,—A World Music Center UZXO CLEMENTI died a century Joseph II, who was a great lover of music, M self to composition. His name was Meyer¬ ago, in 1832, and was buried with had Mozart and Clementi play to him, and From Handel to Liszt Twenty-third in the Series of Musical Travelogues beer. He had a lasting affection for his public ceremonies under the pave¬ spent many evenings in their company. The LEMENTI was born in Rome in 17S2, verdict was that dementi’s execution was old master. In the museum of the Con¬ C ment of Westminster Abbey’s cloisters. lived most of his life m England, James Francis Cooke by far the more powerful and masterly, servatoire of Paris is the piano which ‘By The epitaph on his tombstone says that he where he died at the age of eighty in 1832. especially in passages in thirds, but that Meyerbeer used while he was composing is the “Father of the Pianoforte,” and for When he was born Handel was still alive Mozart played with deeper feeling and more “Les Huguenots.” The piano was made PART II that reason he has an enduring name in and when he died Liszt was talked of as the history of music. His influence on poetry. At any rate, the encounter left its by the dementi Piano Company of London after dementi had given up teaching for a prodigy. His life began four years be¬ NGLAND, as a kingdom and part of piano playing was boundless, not only as a mark on Mozart; for he used a theme of a E Beecham, but with many guest conductors. ways they have put the stamp of approval, one hundred and seventy-five professors, piano making. fore Mozart was born and ended five years a vast empire, naturally lays great performer, but also as a composer of piano Clementi sonata for the first theme of his Save for three composers (Stenhammar, for one of the most evasive and subtle of sub-professors and teachers, and one gains But Clementi never gave up composition. after Beethoven died. stress upon royal patronage. We music and as a teacher. He was the Liszt overture to “The Magic Flute” several Palaci and Manfrede) the creators of the all the arts, upon some singularly un¬ an idea of the formidable nature of this He left one hundred and six sonatas for musical republicans on this side of the sea of the eighteenth century. However, though years later. sixty-five compositions scheduled for that musical folks. Even the most patriotic of great institution. the piano, as well as innumerable concert gladly concede the notable advantage of he deserves to be called the “Father of Clementi visited Strassburg, Munich, and SELF-TEST QUESTIONS ON season are all well known to American English musicians will candidly confess The new building of the Academy was pieces and short works. His symphonies having high officials of the government Pianoforte Playing,” the father of the piano St. Petersburg, meeting everywhere with symphonic audiences. Five English com¬ that they know many much “degreed and formally opened in 1912 and is one of were swept from the concert hall by the MR. LUCAS’ ARTICLE exercise the regal stamp of approval, signi¬ itself is unquestionably Cristofori who in¬ the same extraordinary success. When the posers are listed—Bax, Delius, Elgar, Cyril certified” gentlemen who really never the finest music school buildings in Europe. finer symphonies of Haydn, but the great fying the symbolic touch of the court mace. vented this instrument about the year 1711. great pianist Dussek was asked to play 1. Name five great musicians whose style Scott and Vaughan Williams. These con¬ should have had anything whatever to do The concert hall, “The Duke’s Hall,” seats technical work for the piano, to which he For instance, here is a copy of the title In 1770, the year in which Beethoven after dementi at a concert, he modestly re¬ was admittedly formed on that of Cle- certs are given in Queen’s Hall. Single with music. Apart from the splendidly seven hundred and has room for a choir devoted some eight years of research, is page of the announcement of the Royal was born, Clementi, then eighteen, was plied, “To attempt anything in the same tickets for these concerts cost from ten dignified examinations of the venerable and orchestra of one hundred and fifty. still an admirable collection of studies for Philharmonic Society, for its one hundred acknowledged to have surpassed all his con¬ style would be presumption; and what 2. Contrast Mozart and Clementi, in their shillings sixpence, to two shillings for un¬ English universities, the next sought are In addition to this, there are two other pianists. Can they all do justice to de¬ and twenty-second season (1933-1934). temporaries as an executant. And for sonata, what concerto, or what other regu¬ piano playing. reserved seats. The Philharmonic Orches¬ the honors granted upon test by “The auditoriums, the Duke’s Theater (seating lar composition could a man play without menti’s “Gradus ad Parnassum?” Witness the fascination of the regal eclat tra also gives so-called popular concerts many years he was the most brilliant pian¬ 3. What indication did Mozart give of his Associated Board of the Royal Schools of capacity two hundred) and the Century falling into insipidity after what we have His culture was very broad. In addition of this facsimile. on Sunday afternoons, at considerably re¬ ist in Europe. At the age of twenty-one admiration for Clementi? Music, London,” The Royal Academy and Lecture Hall (seating one hundred and he began to publish the sonatas on which heard?” to being a player of the organ and harpsi¬ duced prices. As Mr. Boosey says, notable the Royal College of Music. This body, fifty). The building has six floors, most 4. In what roles did Clementi appear beside the whole fabric of modern sonatas for the chord, he was a master of counterpoint and features of the London concert season are founded in 1889, holds examinations in of which are given over to class rooms. The Line of a Great Tradition that of pianist? piano has been built. Johann Christian fugue; and, besides this, he was a Latin the Promenade Concerts, which also are local centers throughout the entire British The institution possesses a large and active Bach spoke of them in the highest terms. THE MOST famous German pianist of scholar and spoke Italian, English, French 5. What great contributions did he make given in Queen’s Hall. In 1933 these Empire. It is of course far above the library—four thousand volumes being cir¬ Beethoven studied them closely before he the day was Schroter, whose young and German. to musical literaturet concerts began on August twelfth and were suggestion of commercial promotion which culated annually. given nightly for eight weeks. The or¬ has attached itself to some examining bodies The faculty (also the faculty of the chestra—the British Broadcasting Orches¬ (unfortunately including some American Royal College) looks like an excerpt from tra, under the direction of Sir Henry Wood organizations where the chief examiner the Musical Who’s Who of England. ,We —was one of ninety players. A single seems to be the silver eagle). The Asso¬ see such names, for instance, as the Hon. promenade ticket cost two shillings. A ciated Board has some seventy-five local Arthur Bliss, Paul Corder (son of Profes¬ ‘Ghe ‘Diminished Seventh (Chords season ticket for these concerts cost thirty- examination centers in Great Britain. It sor Frederick C. Corder, for years a regu¬ seven shillings and sixpence, which, with has a board of examiners, including many lar contributor to The Etude Music our old rate of exchange (a shilling equal¬ of the most distinguished musicians of the George Thornton Magazine), Harry Farjeon, Arthur Hin¬ rj^rfri We shall now add the double-bass to i T?— i ) F-— our string group, for, with so many possi¬ bilities in the way of harmonic fillings and f *. H * countermelodizing, we shall need another V ‘ 11 low voice to help to sustain the broadening Viola flow of our arrangements. As we all know, Upon looking through this bit, it is dis¬ the double-bass sounds an octave lower closed that it is written in two voices or than notated, and in consequence we are mf - ~ parts and also that it is clearly defined har¬ permitting the accented bass notes to sound Cello . monically and rhythmically, rather fast in in octaves. Our first arrangement for full tempo and mezzoforte or moderately loud string voicing then presents itself: in dynamics. T-he violin and viola could play this easily, but this would give to it but a bare and literal string version with¬ r 1 r - * out making use of its many alluring possi-. bilities. Bass We have five capable stringed instru¬ mf ments, each of which should have a bit to , 2d Violin do in the orchestral interpretation. If we. desire to counter-melodize rather The theme is again carried in the first Let us decide to have the first violins than to employ an harmonic filling such as violins. The second violins are divided, carry the melody while the viola takes the double stops, we simply give the first and half of them playing the counter-melody Alberti bass line. What about the second second violins as a duet as follows, using Viola (stems up), the remainder doing the the viola as in Ex. 2. violin ? lit may do one of two things: > r.> double-stops (stems down). The violas supply harmonic background or counter- Ex. 3 have the figuration. The cellos also are melodize. . If the decision is to supply the divided, one section performing the rhyth¬ harmonic filling by. double-stopping, the mical countermelody while the other half second violin should be given ' two ' note doubles with the bass on the underpinning. chords expressive of the harmonies. Th This version is smarter and brighter than the first measure we find that the tonic the preceding transcription. triad, G, B, D is used and that the tempo We have done very little so far with the SIR HUGH P. ALLEN Bass signature calls for but two beats to the melody, having been content to let the first K.C.V.O., MUS. DOC., ETC. SIR LANDON RONALD JOHN B. MCEWEN, M.A., MUS. DOC., ETC. measure or, in other words, a primary and (Continued on page 3x9) Director of the Royal College of Music Director of the Guildhall School of Music Principal of the Royal Academy of Music THE ETUDE THE ETUDE MAY 1934 Page 287 Page 286 MAY 1934 The Standard Music Extension Study Piano Course for Teachers and Students The Teachers' Round Table Conducted Monthly by A 7<[ew Monthly Etude Feature of Great Importance PROF. CLARENCE G. HAMILTON, M. A. <8y Dr. John Thompson i \tm PROFESSOR OF PIANOFORTE PLAYING, WELLESLEY COLLEGE All of the Music Analyzed by Dr. Thompson will be Found in the Music Section of this Issue of The Etude Music Magazine The sustained notes of the melody sing quicker in tempo and beginning on the No question will be answered in these columns unless accompanied by the full name TIME OF LILAC VIOLETS AT DAWN fourth beat whereas the gavotte begins on and address of the writer. Only initials, or a furnished pseudonym will be published. By Francesco B. De Leone resonantly while the left hand supplies a By Charles Gilbert Spross staccato chord accompaniment. The figures the third. Handel intended this one to be Here is presented another number from A graceful, flowing melody in the right in eighth notes in the right hand are to be played at moderately fast tempo in cheerful the suite, In Sunny Sicily, Mr. De Leone’s hand against an active accompaniment in cleanly fingered and made to sparkle as mood but not too boisterously where the ing on the simplest intervals, such as sec¬ charming and lyric compositions which Kleglect of Fundamentals Ex. 2 the left makes of this piece an interesting they carry the melody line from one sus¬ fortissimo marks are shown. The tempo onds and thirds. Examination Questions have proven so popular with Etude readers. as well as seasonable number for piano. is strict throughout, naturally. The passages 2. Grade 2 may include: (a) further This music is to be taken at very moder¬ tained note to the next. to try my examination; In general style it is reminiscent of Gruen- A long diminuendo and ritardando are in in eighths in the right hand should be well details of notation—dynamic marks, such Would you kindly give ___ J J f ii) J J r^i feld’s famous Romance. Note that the ate pace and allows of artistically applied articulated with finger legato. The pedal easily remembered rules for the fin¬ effect for the last eight measures. stly trying iu as Pi f, mp; accidentals; other expression In the first of these the third finger is used tempo is moderato and the first theme rubato. The constant change of harmonies is to be used sparingly throughout. The gering of (a) major scales, (b) com¬ —-—„. Her hands marks, such as dolce and con fuoco; (b) mon chords, solid and broken in three on G because this note is a fourth from the begins piano, working thence to dynamic implies careful use of the pedal. The com¬ PASTORALE performance of the trill figure in measure caisnj and her wrist action is and four note forms, (c) dominant . Please advise.—G. G. P. technic—finger exercises, also the remain¬ C which follows it; and in the next chord heights in measures 13 and 14 after which position is well edited, and pedal marks By W. A. Mozart three is shown in the margin at the bottom seventh chords, solid and broken. ing major scales and the minor scales that the fourth is used because its note, A, is a diminuendo ends the first theme softly. should be followed as indicated. The text Arranged by W. M. Hodson of the page. Trill with fingers held close In their zeal to make a brilliant showing begin on white keys, each scale through a third from the following C. The following section is in the relative for the second theme, con dolce languore, to the keys. Dynamics are clearly marked, with their pupils, many teachers hurry (a) Since the fourth finger is used A pastorale, as the name implies, is two octaves; (c) studies and pieces in the When the chord is arpeggiated, extend¬ minor (G minor) and becomes animated in meaning “with sweet languor,” might well and the interpretation will not go far astray over important foundational details which regularly on but one note in an octave, always rustic in atmosphere, suggesting the second'grade; (d) ear-training, with more ing beyond a single octave, fingers 1, 2, mood and more forceful tonally. have been given as guidance for the inter¬ if these are followed. must sooner or later be attended to if real then, if we know the name of this note in activities and somehow the vernal freshness extended intervals (fifths to octaves). and 3 or 4 are repeated for each octave The trio section lies in the sub-dominant pretation of the entire composition. Not musicianship is to be attained. I advise a given scale, it will determine the location of country fields and woods. The example PRELUDE IN A FLAT MAJOR extension, thus: key, E flat major, and is to be played in only pedal, but marks of dynamics, are you to give this pupil plenty of technical of all the other fingers: for instance, if here given is William Hodson’s easy ar¬ By Cesar Cui Ex. 3 rather big sweeping phrases which modu¬ clearly set forth, and students should ob¬ rangement of the theme from Mozart’s work, especially in the way of proper re¬ we know that in the scale of E flat major Here is a number of the Russian school T)he Pedal with Pach late in tone as the reentrance of the first serve these expression marks as closely as famous “Pastorale with Variations” for laxation and, by gradual steps, to instruct the fourth finger falls on B flat in the right by Cesar Cui. It is to be played slowly I am beginning the study of Bach. hand and on A flat in the left hand, the theme nears. possible. piano. Of great importance are the two- her in such matters as musical form, ex¬ Is it necessary to use the pedal on and with resonance, giving a little promi¬ note slurs in evidence throughout the music. pression, composers and their works, and the “Two-Part Inventions"? And other fingers must fall as follows: nence to the top notes of the right hand what about Gavottes I and II from GRAND. PROCESSIONAL AT SONG OF THE VOLGA BOATMEN These should be meticulously observed. so forth. Do not let her feel that you are the “Third English S'. chords. Note the sostenuto mark placed (c) When the dominant seventh chord is AVIGNON Arranged by Wm. M. Felton The tempo is rather slow and the charm “putting her back to the beginning,” how¬ “ " the “Firs Ex. 1, over the second quarter in each of the first ,__without r_ Right: used in its “solid” form, all five fingers By James Francis Cooke Mr. Felton has made a cleverly arranged of the composition lies in its stark sim¬ ever, but give her music to study which, that they can be played in a finished four measures. This emphasis becomes are, of course, employed. If the chord is In this music we have an impressive easy piano solo of this well known melody. plicity. Except for an occasional dynamic while not complicated in details, yet re¬ more pronounced in the following measures arpeggiated, the thumb falls on the first number from a set entitled by the com¬ It should be played in even and rather contrast the piece is played very quietly. quires careful thought and practice. where the sign becomes an accent on the white key from the lowest note, and the poser “Palaces in France.” It has all the labored tempo, the idea being to suggest The sforsandos in the third and seventh It is neither necessary nor proper to use fifth is used only when needed for the upper glamour and dignity associated with ancient the rhythmical drag of straining bodies as. measures should be well pronounced. Also second quarter. In measure 22 the first the sustaining pedal with the “Two-part theme re-enters, this time in full chords. Finding J\[otes. Wea\ Hands Inventions”; in fact, this pedal should be pageantry and processionals and should the boatmen tug at heavy ropes. It will the change from forte to piano shown in To summarize further: therefore be played maestoso. Tourists in be found effective to begin the composition measures 10 and 11 must be well marked. The chords are arpeggiated and should be A pupil of eleven has studied for used with great restraint in any of the rolled fairly sharply. Otherwise the effect x months. He s France have seen the majestic palace of very softly, as though heard in the distance, This theme is a very fine example of im himself to _ _. the clavier works. Bach should be played in 1. Major scales that begin on white keys Amount of Daily Practice gradually to increase the volume and finally is untidy. It is almost impossible to mark L-inted page and___ then a the key- a clear, crisp manner, with nothing of the the Popes at Avignon where the most Mozart, and the young student is well ad¬ - The result-- is'- that" he loses I am working on scales and arpeg¬ to allow it to fade again softly as the boat the use of the pedal adequately in a com¬ over-lapping of notes that belongs to the In right hand, the fourth finger on gios, Loeschhorn’s “Studies, Op. 66,” gorgeous religious processions in the his¬ vised to become acquainted with it against his place and frequently stumbles. Mozart’s “Son: passes. position of this character. It will vary with 2. Another pupil, a girl of twelve, romantic school of Chopin, Schumann and the seventh of the scale, except in tory of the church were held during the the day when he will study the original is very talented; but she has a weak, pieces. At pres time that seven popes reigned in the old EROS the individual performer. A general rule the like. Remember, too, that the sustain¬ the scale of F, where it falls on f and would like t “Pastorale with Variations.” slim hand and fingers that “cave in.” know if this is 1 French walled town. This March should By George Dudley Martin is to change the pedal with each change How shall I treat these two cases ? ing pedal was absent from the claviers of B (also on F when it substitutes be played like a march of kings, emperors Here is a graceful waltz which the com¬ DANCING SHADOWS of harmony and avoid blurring at all times. Bach’s day, so that his music does not de¬ for the thumb) ; quite exhausting, ^as I keep ^at* i By Caroline Cassell 1. Place a large card or sheet of paper pend upon its use. Occasionally, however, regularly, taking weekly lessons of i and popes, with all the pomp and magnifi¬ poser has named Eros for the Greek god of LITTLE PRELUDE In left hand, the fourth finger on half hour each. In what grade ar cence imaginable. Love. The composition opens with an We have in Dancing Shadows a third on the piano rack in such a position that for the sake of accent or to give greater the foregoing considered to be ?—Mrs By J. S. Bach the second of the scale, except in A. J. B. grade composition calling for sparkling it covers the printed notes to which he is fullness to chord effects, the pedal may be Plenty of resonance should distinguish eight measure introduction built on a rhyth¬ the scale of B, where it falls on grace notes in the right hand. It is to be This Bach C major Prelude should be in coming; and, after he has played the notes depressed briefly on accented notes. In When one’s practice becomes exhausting, the chords and octaves, and for this reason mical figure divided between the hands, to E (also on B as substitute for played allegretto, lightly and in a lively the repertoire of all pianists. It must not in sight, move the card along a little to the Gavotte I of the “Third English Suite,” for it is apt to do more harm than good. Try care should be exercised in the use of the be played cleanly and brilliantly. The the thumb). pedal. Be careful of the rhythm. Be sure waltz proper begins with the ninth measure. manner with rather shallow touch, so as be played too quickly. The performance of right, so that new notes appear. Continue instance dividing your practice time into shorter to play the dotted eighths and following The melody lies in the upper voice, and it to keep the tone somewhat thin. The little the ornaments in the left hand is written out this process as far as you wish him to read. 2. Major scales that begin on black keys periods, not more than an hour each, and sixteenths in the rhythm marked and not is important that the dotted half notes in triplet figures in the right hand should be in the margin at the bottom of the page. In this way he is prevented from anticipat¬ have: resting whenever the “tired feeling” comes The right hand should apply a slight rolling ing notes too far ahead and is obliged to as triplets, a mistake too often made. the melody be not only held but heard for rolled rather than fingered, thus achieving In the right hand, the fourth finger on. Also, I am inclined to think that three motion to the broken chord figures with make sure of his place. hours a day is enough for you. When the first theme in C major has swept their full value. The right hand figures in more “sparkle” in the passages. In the on Bj>; grandly to its termination, the second theme eighths should be clearly articulated and trio section the left hand carries the theme. just enough finger action to keep the pas¬ 2. Have her play individual notes re¬ I should say that ydu are on the border in F major, subdominant key, enters in a not blurred by careless use of the pedal. Written in the cello register an approxi¬ sages clearly marked. Remember that peatedly with different fingers, throwing In the left hand, the fourth finger line between Grades IV and V. somewhat more restful mood. With the mation of cello tone will be found effective Bach here wrote for the clavier, the con¬ the hand over and into each key as it is on the fourth of the scale, except third measure, however, it begins to build VALSE throughout this section. After the trio the struction of which caused each note to be sounded. Meanwhile keep the fingers firm in scale of Gb, where it falls on tonally until a huge fortissimo is reached By James H. Rogers first theme reappears and ends at Fine. heard individually. While short, this prel¬ and well curved. Also see that the wrists Gb. 'Materials for a Tien'Year'Old Here is an unusual waltz form in that ude covers the range of dynamics from are free from stiffness. in the ninth measure and carries on from (b) A common chord of octave compass I would like you to send me a list this point. The Coda section passes the fundamental bass notes are rarely AIR A LA BOURREE piano to forte. Contrasts should be made In a similar manner, practice various five- of studies suitable for a girl of ten By G. F. Handel finger exercises, such as the following uses the first, the second, either the third who is studying piano and has taken through a series of colorful modulations, sounded, and the resultant tinkling effect tonally as the rhythm remains very strict or fourth, and the fifth fingers. In general, about twenty-four lessons in Wil¬ finally closing in the grand manner, is almost that of the old-fashioned music A very old dance is the Bourree, pat¬ throughout. liams’ “First Year at the Piano.” She the third finger is employed when the note has had note-writing and finger exer¬ allargando and forte fortissimo. terned somewhat after the gavotte (Continued on page 325) is at the interval of a fourth from the note cises. When should she have her first piece and what other studies should played by the little finger, and the fourth she have now? Is it imperative to the pedal may be touched upon as indi¬ finger when this interval is a third. Take, teach her the scales now or. not till giving a definite accent to each note. Play she has finished her first book? cated above. for instance, the following chords: —L. N. H. also with the left hand two octaves lower. With what she has already accomplished, the pupil should now be ready for “Twelve 73he Extent of Grades i and 2 Piano Etudes for Young Students,” by M. Bilbro, with which, for technical material, md grade ? The Piano Triumphant you may give her finger exercises and s know be- major scales of perhaps two and three In this issue of The Etude Music Magazine the leading editorial —G. F. octave compass. Next, let her work on is devoted to “The Piano in the Home.” It is to be followed monthly 1. Under Grade 1 should be included: “Short Pieces in All Keys,” by F. A. (a) a knozvledge of fundamental details, by a series of a dozen smaller editorials upon the piano, pointing out Williams, which will give practical applica¬ such as the keyboard, the staff, signatures, tion to the scales with which she has many factors which the ordinary non-musical person does not realize. already become familiar. notes, rests, and so forth; (b) elementary These are issued in cogent, common-sense, pointed words, so that structure, including units of time and how Since it is a matter of pride to a young these are grouped; (c) technic—simple teachers everywhere may use them with their patrons, their clubs, or pupil to receive a new “piece” (of real sheet music!), and since such pieces are finger exercises, also the scales of C, G, D as extracts in newspapers. Here is fine missionary material for con¬ available in all grades, from the very first, and F ma j or through one octave, with structive minded teachers. hands separate and together; (d) studies I advise you to introduce one at any suit¬ and pieces in the first grade; (e) ear-train¬ able time, perhaps as a reward for espe¬ cially faithful work. GRAND PROCESSIONAL AT AVIGNON THE ETUDE THE ETUDE MAY 1934 Page 289 Page 288 MAY 1934 FASCINATING PIECES FOR THE MUSICAL HOME — #- T5he Divine Purcell TIME OF LILAC England's Most (Distinctive Master Composer and His Music The easy grace of this fascinating piece brings out all of Mr. Spross’ rare melodic genius. It is a fine study for melody playing, with the accompani¬ ment in the same hand. Grade 4. „ _ Moderato m.m. J = 104 CHARLES GILBERT SPROSS (By Tod B. Galloway . j , as preposterous more like a modern pantomime than the 5Lsr”“" ** ,l,i‘ ''M““ - wi^irc**-** pss;zrz An Ancestral Calling SH-SSSFI Unfortunately— —«*, Purcell’s father hi, own and W,.»,.g *«- f tBfSFSSFJSAStSdied when he was quite a little boy, TLESS p „ tfg VSSKSS eration to refer to him except in such U covered. Holland says I is certa hjm ^ wQuld haye been incomplete and the latter was left to the care of an extreme terms. Purcell, who had the am¬ that : him England made without hitp His imaginative enterprise bition of exceeding everyone of his own uncle, Thomas Purcell, who being a gentle- time and who succeeded without contradic¬ -• • Spring in Taormina,Sicily, is very near to Paradise. There on the vernal slopes of the Mediterranean amid the loveliness of the new year, violets spring forth everywhere making the land a great bouquet. This is one of the most fascinating pieces from Mr. DeLeone’s charming suite ‘-In Sunny Sicily.” Molto moderato m.m.J = 72 Grade 3d. tenderly fen FRANCESCO B. De LEONE' Copyright 1934 by Theodore Presser Co. Copyright 1933 by Theodore Presser Co. British Copyright secured British Copyright secured THE ETUDE MAY 1934 Page 293 4 » 1 i i rip , * 1 | \ 4 i 35 , , 40 kTT i 4 4 u* ^ 4 4 #*5 i ^ 4 \ \> \ ^ — a tempo /r-Q—.- 0 _ i . _ ----^rrr . p — fkrfrrrfr EE^PP Wff PffN ) p 45 =^e?e E=t=Pf=E pMr ^-:I 1 ;:J 1 1—= =rh= > _ i m p- 2 J 1 «f PASTORALE Pastorale, as the name implies,has to do with pastoral matters-the fields,the herds,the flocks.In Italy the shepherds still drive their flocks into the cities.They often played upon a pipe which looked like an Oboe and had the same strident tone.The melody in this Pastorale of Mozart should there¬ fore have the same effect.Pastorales are almost always in ^time. THE ETUDE MAY 1934 THE ETUDE MAY 1934 Page 297 Page 296 MASTER WORKS Edited by John Orth PRE LUD E, IN Ak.MAJ OR CESAR GUI dMI Cesar Cui is one of the most melodic of the Russian composers. He probably employed the device of 3 metre to insure a slow performance (Larghetto e sostenuto). By playingthe composition in ordinary triple time as you would a piece in thiee-quarter mere, jus ima me eac quarter note as an eighth note, and each eighth as a sixteenth, the rhythm may appear simpler to you. Grade 6. Larghetto e sostenuto m. m. J = so --- /j ,, , r i, rn ^^ ^ \ yj. I?! a 1 ? 1^ liil jj* i^f j| lf]|. 7F? , 7rs ^ The measures marked (J) will be found more conveniently notated than in the original edition. Editor. Copyright MCMXIII by Oliver Ditson.Company THE ETUDE THE ETUDE MAY 1934 Page 299 Page 298 MAY 1934 AIR A LA BOURREE OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES . _* Have of Georffe I of England.The Bourree is a merry dance, -&- Costume this pieee in your ims.gin.tion with the a»teJ^™*/*'* instead of the third. GENE BROWN much after the pattern of the Gavotte, except that MARIGOLDS GUSTAV KLEMM G.F. HANDEL Allegro nioderato m.m.J = 69 __^ ^ ^ ^ ir^ 5 _ ItTTr' -h 15 s-s-TT' cresc. i° f 3 p 3. 1 ) ^ p cresc. 4- 1 J- 2 THE ETUDE THE ETUDE MAY 1934 Page 301 ) J J rr rl—•[P f£= */ 1*- ■ ■ g ~L g ' ^ J r . f 1 TrpP 4* jfii* 1 rail.1 r tt-J ^ Ra k d J vTT ji 7 J J J> ^ -J J) 7 J J J) *L V7 J,r IIU JM J * * fay — / JlJ#J# H2- 1 = — 1 TEE ETUDE Page 302 MAY 1934 THE ETUDE MAY 1934 Page 303 GRAZIELLA AUGUST NOLCK, Op. 250, No. 2 .*P»pPMr .^ppppp Jggea molto sostenutosostenu\to ff eP ' - - 2) dolce 60 - ^ j spiccato Page 305 THE ETUDE THE ETUDE MAY 1934 Page 304 MAY 1934 Gt. Melodia Sw. Celestes MEMORIES AT TWILIGHT Ped. Bourdon 16' HARRY PATTERSON HOPKINS THE ETUDE MAY 1934 Page 307 THE ETUDE Page 306 MAY 1934 THE JUGGLER THE JUGGLER RALPH HOWARD PENDLETON Moderato m.m. J = 108 SECONDO Moderato m.m. J - ,08 PRIM° RAL™ H0WARD PENDLETON 8.—-..*...— - -- ft- ^ p ft JJ -j 7 tv" 0bm 0? i#h 5 '•'•J —ift- ^ ILP rih»fi*rpff h \fk b 7JJF Mini 11 PM fft riiprrr— B==m^r^rfF 2 H.Hial P m....r. -p p 50 55 $From here go back to S$ andpJay to Fine; then play Trio. Copyright 1924 by Theodore Presser Co. British Copyright secured THE ETUDE THE ETUDE MAY 1934 Page 309 Page 308 MAY 1934 PROGRESSIVE MUSIC FOR ORCHESTRA FLUTE THE CLOWN Allegretto ANNA PRISCILLA RISHER sfz dim. Tit TRUMPET in Bl> THE CLOWN ANNA PRISCILLA RISHER Allegretto ^ 1 sjz dim. El> ALTO SAXOPHONE THE CLOWN ANNA PRISCILLA RISHER Allegretto \ l VIOLIN OBBLIGATO THE CLOWN Allegretto ANNA PRISCILLA RISHER sfz dim. ' rit. CELLO or TROMBONE 5* THE CLOWN ANNA PRISCILLA RISHER Allegretto I n n V JL n n V ir r if*n»r*ir r» r» *icB^ fW ^ % 1 n n V 1 n n V Fine =§§£= - i mp rit. a tempo mf Meno mosso n V sfz dim. tee etude THE ETUDE MAY 1934: Page 311 Copyright 1934 by Theodore Presser Co. British CopyngW* THE ETUDE TEE ETUDE MAY 1934. Page 313 Page 312 MAY 1934 DAINTY DAISIES Grade 2%. CLARENCE KOHLMANN COME TO FRANCE 3 WORLD- FAMOUS CO LLECTIONS THIS SUMMER At the School of Music for Amer¬ and board total less than $160 ican Students, located in the his¬ per month. toric palace of Fontainebleau, You should go and come on the WHEN MOTHER SINGS AT TWILIGHT you can combine a summer vaca¬ French Line, of course, because it Grade 1|. BERNIECE ROSE COPELAND tion with a summer's serious means two weeks more of France. study, under ideal conditions. English-speaking service, but pijj g A very distinguished faculty, you'll be glad of the chance to headed by Ch. M. Widor, the cel¬ brush up your French. Famous ebrated organist and composer, food and wines . . . and the se¬ B offers instruction in every branch curity of Breton seamanship. All MOST complete A COMPREHEN¬ .A.N outstanding col¬ iA of music, and in auxiliary sub¬ the luxury of France-Afloat . . . SIVE collection of lection of standard fa¬ child’s book, contain¬ more than two hun- vorite songs. Words ing nursery rhymes, jects. such as French, Operatic and it costs no more. dred well known songs and a series of and music. Included Acting, Phonetics, Musical History Consult your travel agent. His classic, modern, light are patriotic, operatic, piano pieces and duets suitable for the young operatic and sacred sacred, plantation and and General Pedagogy. Two services cost you nothing. And folks. A REFRESH- compositions. NO many other selections. MUSIC LIBRARY ING FOLIO OF kinds of certificates are granted let us mail you the new French SPLENDID FOR COMPLETE WITH¬ HAPPY REMIND¬ at the end of the session: (1) for Line booklet, "Summer Courses OUT THIS VOL¬ USE IN GROUP ERS OF YOUR OWN UME. SINGING. EARLY EFFORTS. excellence in execution, (2) for in France.". . . French Line, Edu¬ Each volume contains 536 pages. Cloth Binding $3.00 each. Reinforced Paper Cover Binding prospective teachers of music. cational Department, Maison $2.00 each. This exceptional opportunity is Francaise, Rockefeller Centre, aend^postpatd on receipt of price. Money cheerfully refunded if not entirely available on very reasonable New York City ... or 19 State satisfied. (NOT SOLD IN CANADA.) terms. The fees for tuition, room Street, New York City. MAIL COUPON FOR ILLUSTRATED FOLDER WITH CONTENTS T*11 40UBroadeny ,h NYork;, N. Y. ( ) Masterpieces of Piano Music. Enclosed find $. for which ( ) Child’s Own Music Book. please send the books checked. ( ) PAPER ( ) CLOTH ( ) PLEASE SEND FREE ILLUSTRATED FOLDER WITH CONTENTS. Sing With Personality THE SINGER'S ETUDE By Christine Little Edited for May by “TF I COULD just close my eyes and up your face into a meaningless grimace. I didn’t have to watch him! He goes Don’t be afraid to express just what you cmJtkd Eminent Specialists through such contortions when he feel. Put your whole personality into the sings!” How familiar that sounds. And It is the ambition of THE ETUDE to make this Singer’s Department "A Singer's Etude" complete in itself song. A slight raising of the eyebrows the sensational young operatic tenor of when it makes the passage more significant, whom it was said had a voice of beautiful a tilt of the head, a frown, an intimate quality, a wide range with clear top notes. nod, eyes alive with expression—these are Through a number of mannerisms, bad some of the things that help “put a song habits he had fallen into, he was losing across.” Practicing should be continued Canadian admirers steadily. in front of the mirror until a pleasant, When he came to a dramatic passage in sympathetic manner of singing becomes ^Automatic cBredth ^Action a song, he would close his eyes and with a second nature. forced expression literally grind the words out. At every high note he threw one foot The Art of “Ease” forward, Napoleonic style, clasped his t advice would you offer AND ction o] the instrument! What would them in chorus work. I would like infornu he approximate cost of t as to how to get started and just what 1„do the first few meetings. How soon shall I stai them on anthems and so forth? Shall the SCALE piano he used or shall they do sight reading manual organ might include from three -- Broadcasting and the Organ entirelyt—V. P. stops to twenty or thirty. We cannot advise A. We suggest your securing a copy of you as to details of construction nor cost of “Choral Music and its Practice,” by Noble materials. You might secure some information Cain, which contains chapters in connection as to methods of construction from the follow¬ 43y Harvey Gaul with junior and senior high schools: also, ing books : “How to build a Chamber Organ,” “Choir and Chorus Conducting,” by Wodell. Milne; “The Contemporary American Organ,” You might start them singing in two parts Barnes; “The Electric Organ,” Whitworth; See the present smartly fashioned line of Kimball grand and upright pianos (you do not state whether the group consists “Cinema and Theater Organs,” Whitworth. at the Kimball dealer's show room. Note how perfectly these pianos measure ployed. Programs are both high-brow and All kinds of microphones were employed, AMERICA is radio-minded. there was no way of controlling reception; of male, female or mixed voices) and later In deciding on specification the amount of up to the standards of modern fashions. A few bars of melody will discover low-brow, depending upon the taste and dinky little discs, looking like soup-cans, increase to three or four parts, using simple space available must be considered. If you f\ How can it be otherwise? sound was caught as it came, never numbers. We suggest using the piano at first. will give us further information as to size or the rich and vibrant tone quality of these superb instruments. A glance re¬ knowledge of the employer—though there huge barrel effects and square-shaped veals the artistry of their design, finish and craftsmanship. L \. Every shop you pass has dials dimmed and never magnified. Studio man- After the group has obtained experience and proposed organ we shall suggest a specification. is never much conflict on the part of the boxes. Sometimes they dangled from the a-turning Every time you get a hair-cut agers and announcers knew hardly enough can communicate with some organ supply A newly modeled Kimball In your studio will add prestige, enthusiasm and recitalist, as he knows that the best in ceiling; then they were placed on the it is to the accompaniment of a national to place a performer in an advantageous houses for information as to the cost of ma- impetus to your teaching. music sounds right on his instrument. rood screen; once they hung in both sec¬ hook-up. You can’t get a shoe shine a position. . Kimball Grand and Upright Pianos Lead Many studios use the organ as a sus¬ tions of the bifurcated organ. Q. As I understand it, a unit organ is one cappcila and, as for meals, the most in- This has all been changed and improved, taining feature, sometimes a fifteen-minute Results were negligible. The low pedal in which a set of 97 pipes or so is used in parts the World in Quality, Economy and the significant restaurant has its din of loud- and it’s a poor station, indeed, that does for several different stops. Cun such an in¬ fill in, sometimes merely as an entr acte Bourdon notes were invariably lost or, strument equal one in which there is a full set Number of Pianos in American Homes. speakers. You pick up a newspaper. The not have controls and adjustors, so that when recorded, were smeary; the light, Q. Can you inform me where I may secure or supplementary music. “Contemporary American Organ” (Barnes) of pipes for each stop? What is “partially This nationwide endorsement is your guarantee of satisfaction. last page of section one is devoted to overtones are blotted out and untoward upper register color stops never picked up, unified?” Is a unified organ necessarily elec¬ and “Organ Building for Amateurs” (Wicks) tro-pneumatic? In some advertising matter No other piano firm matches our record of 77 years without reorganization radio and the day’s best bet and, if that volume absorbed. The First Organ on the Air and, consequently, many derogatory letters and name prices?—H. M. S. I noticed a pipe organ of two manuals built does not make you radio-conscious, then As regards the organ this is particularly A. The books you name may be ordered into a case slightly larger than an upright or change in family ownership. HE FIRST organ to be used for were received (radio fan-mail is composed from the publishers of The ” the bill-boards will. You are regaled with true; because at this minute it is possible T piano with a total of thirty stops. Was this See the new Kimballs at your nearest dealer. We will gladly supply his name radio broadcasting was the instrument of two kinds, “black-hand” notes, unsigned, a unit organ? When full organ is used would a “Who’s Who” on the air and are told, to pick up the lightest mutation stop, say Organ,”^ not one set of unified pipes then sound as one and address. Catalog sent free on request. Write: at Calvary Church, Pittsburgh (where the and adulatory letters with a feminine signa¬ in three-sheet, as to the what-when-where the Unda Maris (they can almost catch stop? What is the use of relays in electric writer is organist and choirmaster) and ture. Sometimes the ugly letters surpass the ported. action? I supposed that from the console the of a star’s performance. the inaudible Aeoline), as well as the rich flattering ones—as every crooner knows), wires went directly to the magnets working Within two years radio has taken on sonorities of the four-manual full organ, the station was KDKA, “the pioneer Q. Enclosed is a diagram of the stops of the valves. Do combination pistons operate W. W. KIMBALL COMPANY broadcasting station of the world,” as it and, try as we would, we could not turn with compressed air? What happens when a tremendous impetus. No one can guess the Whether it is New York, Philadelphia, out a hundred per cent good service. stop 6’"drawn ’at a time?' When should “Forte combination is in use, and an additional com¬ Kimball Hall Established 1857 future. The only thing sure is that radio Pittsburgh, Cleveland, Detroit or Chicago, euphemistically bills itself. Dia.Uel." he used and when the stops marked bination is brought into use which contains CHICAGO, u. s. A. The microphones were installed as an Diapason, Octave Coupler and Melodiat Does some of the stops of the original combination ? is going after advertising in a feverish the organ is doing its fair share as a daily The Switchboard Solution “Sub Bass” mean that the note you play will If the pistons are operated with compressed 665 Fifth Avenue manner Who is to praise, or blame, for advertising feature. In almost every city experiment. No other church in Pitts¬ sound one octave lower? Is the swell shutter New York, N. Y. burgh would have anything to do with THEN A half dozen microphones were helow the keyboard used with other stops? electric console?** What are “Cancel Bars”? all this ? The answer is not far afield— it is used for the limousine, de luxe trade, installed with a switchboard. It was What is meant by “!>’ ” and “8ft.” and so In installations in which the console is movable the commercial hour. With the advent of as, for instance, by the Waldorf-Astoria radio. Some even went so far as to infer forth? The Tremulant stop does not take or on an elevator, how is wind (if it is used) J that microphones were a sacrilege—which, almost necessary to furnish the operator effect immediately on its being drawn. Is this conveyed to it? Where can a complete list of paid advertising, the status of radio Hotel, New York, by a certain high class with a scenario of the services, a light- a defect in the organ?—D. Q. organ builders in the United States be ob¬ changed not always for the better; but jeweler’s establishment in Pittsburgh, by indeed, they sometimes were, but not for A. Any number of stops may be drawn at tained?— H. L. plot and a cued-in libretto. He switched TINDALE at least paid performers brought in better an exclusive wholesale house in Chicago the reasons advanced by the parsons. one time. We would not advise the use of the A. You have the right conception of the the contact from microphone to micro¬ Tremulant when “full organ” is being used. unit organ idea. We do not consider a unit Qaustin organs) Music Filing Cabinet talents, if not always finer programs. and by a world-famous department store in At Calvary Church there is a large The “Forte Dia.Mel.” stop should be used when organ equal to one in which there is a full set divided organ, set in two clerestory gal¬ phone, as the service progressed and Time was when the organ was used only Philadelphia, you have Diapason and Melodia drawn and of pipes for each stop. A certain amount of Are desmne»rldesigned r»non crion+Ifir.scientific leries, high above the choir. This created changed. toi increase the power of those stops. unification or duplexing mav he used without in church broadcasting. But our major Sometimes the studio has a resident c ; coupler is used when you wish the seriously i-— principles and on an artistic ganist and often guest organists are ei exigencies as well as terrific difficulties. Calvary Church is a huge Episcopalian octave notes to be sounded with those actually studios have changed all that, and church, long nave and deep choir, which played. You will have to ascertain by investi¬ instrument. The duplex--., — - tonal basis. Built of quality of the minor ones have been quick to wit explains the necessity of having a switch¬ gation whether the coupler is one that operates manual stops to the Pedal is sometimes an ad¬ materials with skillful work¬ low suit. Each month sees the organ one octave higher or one octave lower. Melo¬ vantage as it permits of flexibility not possible board and operator. What with proces¬ dia is usually a stop of 8 ft. or normal pitch with unenclosed pedal stops. “Partially uni¬ manship they are outstand¬ Send to, list of advancing as an instrument for the com¬ sionals, recessionals, antiphonal readings and should be drawn when you wish to use an fied” indicates that not all the rar’- ■ — most popular stylet mercial hour. There’s a reason. Refine¬ 8 ft. stop of its character and volume. Prob¬ are fully unified. A unified org ing in tonal character and and singings, there was always movement ably Diapason and Melodia constitute one set operated with electro-pneumatic or TINDALE CABINET CO. ment, opulence of tone, and gamut give it of 8 ft. reeds (bass and treble) and both should trie action. Unification is possible with tubu¬ in durability. great appeal. Merchants and advertisers in the service. be drawn to make the set effective throughout lar pneumatic action, but It is not generally With the installation of the switchboard, the kevboard. Sub Bass indicates a stop of used. The instrument in the upright piano have discovered within the past few years poor reception and static were eliminated 16 ft. pitch, or one octave lower than the note case was undoubtedly unified and duplexed. AUSTIN ORGAN CoT that the organ, despite its ecclesiastical as¬ being played, as you suggest. The swells be¬ When full organ is used a unified stop would almost overnight, with which improvement HARTFORD, CONN, MERIT PINS—CLASS PINS sociations, makes a rather effective com¬ neath the keyboard can be used while stops are not sound as one stop but as the number of black-hand notes diminished and life be¬ drawn, the one on the right to increase the stops for which it is used. In chords, how¬ mercial hour instrument. power of the stops being used and the one on ever, certain of the notes would not appear C RINGS AND MEDALS Radio is the babe-in-arms of modern came pleasanter. the left to produce “full organ.” The “full the same individually as if a set of pipes was No sooner had Calvary Church started organ” swell gives you the full power of the used for each stop. Relays are used to divide | PIANO Real Blues, Flashy Tricks, Slick Basses, Hot llled or silver 60c each. Gold 90c ea industries, and its development has only organ in so far as stops are concerned, but the the unified stops. In unit consoles the wires )0 other Designs. Catalogue on Requ broadcasting (radio was a novelty in amount of tone can be increased by use of do not run directly to the magnets working the Stuff, NewBreaks-HUNDREDS ofeffects. begun. What part will the organ play? swell shutters controlled by the knee swell on valves but from console to magnet side of MAIL COURSES for Beginners or Advanced Chas. A. Winship & Co. Will it forge ahead to premiere position? 1920) than every other church in the city the right side. 8 ft. pitch is normal pitch relay, from relay contact to switches and from thru quick, easy “Slone’s Simplified System.” 713 M 159 N. State St. No man can tell. Least of all no studio began asking for it. As it was established (same as piano) while 4 ft. pitch is one octave TEACHERS WANTED! New loose leaf method in Pittsburgh, other cities began to ex¬ higher and 16 ft. pitch one octave lower. The compr_ _ manager can tell. It depends upon “space” tremulant stop is effective when other speak¬ used to operate < buyers, and they are entirely influenced by periment, New York and Detroit, for in¬ ing stops are drawn. If it does not act promptly coupler switches. When a combination which when such stops are drawn It may need some includes stops already drawn is brought into SLONESCHOOL OF POPULAR MUSIC the “fan mail” of the vast radio audience. stance. Both cities claim precedence and adjustment to make it work properly. use those stops remain drawn in addition to Dept. K-5, 2001 Forbes St., Pittsbursh, Pa. HARMONY BY MAIL There are only two countries making premieres in the way of broadcasting, but any others included in the newly used com¬ it was really Calvary Church, Pittsburgh, Q. In order to bring about more intelligent bination. “Cancel liars” are generally used much use of the organ, England and congregational singing I am going to analyze over stop-keys. The depression of a “cancel . Mss. corrected America. Of the two, America uses it that was the initial church—and inciden¬ a hymn at the mid-week prayer service each bar” cancels all stops within its range. What¬ rcxEpi more consistently. Germany, France, Italy tally the laboratory for all other church and week. In order to make this lesson a little ever stop is desired can then be put on individ¬ more ^interesting, I^ieould like to tell a little ually. Where wind^is conveyed to a ^movable and Russia make nothing of the instru¬ organ projections. : ment, possibly because in most of those Radio learned a deal from those pioneer¬ caused it to be written and so forth. Is there list of many of the organ builders in the United a collection of stories of the more familiar and States appeared in The Etude of October, countries the organ is • only a church in¬ ing days at Calvary. We have all atoned betterr hynhymns? —N. M. E. 1931. A complete list might be available strument, while in America it is in many for those early sins of commission and ■ suggest your Investigation of the through government industrial report. We The Etude Music Magazine ooks for your purpose : “The Story -that you address the Bureau of Statis- of our town halls and theaters. omission; we have learned what combina¬ ins and Tunes,” Brown and Butter- :ics, Washington, D. C., for information ▼ The World’s largest, and most highly tions register, what octaves are acceptable, _ , .--15) ; “Hymn Lore,” Laufer ($1.25) ; T respected musical publication. Days of Experimentation what are choral and organistic limitations, USHymn Stories” (75c) ; “More Hymn Stor- CAN YOU AFFORD TO BE WITHOUT IT? RADIO HAS been sending out music where a choir should be arranged and, thing www ...... for little over a decade, and the organ most valuable of all, how blasting may be Q. Is there an agency for organists’ posi¬ _..J address of the School is tions in Catholic Churches or in any other Pius X School of. Liturgical Music, was one of the first instruments used. At avoided. church sects?—G. L. College of the Sacred Heart, 133rd first it was a far from satisfactory me¬ A. For information in reference to posi¬ Street and Convent Avenue, New MUSIC PRINTERS Diapasons and Sob Stops tions in Catholic Churches, you might address York, New York. dium. In the beginning a church organ Bureau of Information, Society of St. Gregory, While we have not had any personal contact was used but, due to wretched mechanics, PROBABLY every major church in the 1705 Rittenhouse Street, Philadelphia. For with the School, the information we have in¬ CNGRAVERSanoLITHOGRAPHCRS faulty acoustics, wrong positions and in¬ information In reference to positions in dicates that it is admirable in every respect I country has had its fling at broad¬ churches other than Catholic you might watch for the acquisition of knowledge of Gregorian PRINT ANYTHING IN MUSIC-BY ANY PROCESS ability to adjust the microphones, the casting. Certainly it can no longer be “Special Notices and An—- «« mum Chant, sight reading and accompanying. Lec¬ Etude ; “Service Depar tures on liturgy are given. It is the only WE PRINT FOR INDIVIDUALS pick-up was horrible. Sometimes the tone called a novelty ; and yet, every once m school of its kind in this country. We have establishedia7c, REFERENCE ANY PUBLISHER came in splendidly and the next minute a while, some organist, usually from some heard some criticism of the vocal methods, JAZZ a'SJrrto'rjs there, was a blast and a shriek. and we suggest that you might bear this in smaller city, writes in for information as Q I am thinking of building a two manual mind in your studies and so avoid the “hooti- etc. Sen, postpaid lor In the early days engineers were never beautifully me urgan oienas with the architecture of the building, one of residence organ. What stops, couplers and so quite.-sure what caused blasting and .static; the finest Gothic structures in America. forth would you suggest as being suitable and "ZIMMERMAN6 THE ETUDE THE ETUDE MAY 1934 Page 319 Page 318 MAY 193Jf WHERE SHALL I GO Bands and Orchestras (Continued from page 285) EASTMAN SCHOOL OF MUSIC 1 T)iller-(&uaUe TO STUDY? OUR Spring Song violins sustain this voicing. We shall now cheerful and satisfying eficct of which the of School of ITlusiic strengthen it by allowing the first section strings are capable. The violas would is a Surf Song of the divided cellos to play it one octave seem a bit strenuous but the duty they per¬ Private Teachers lower, while the first section of the divided form is almost wholly rhythmical because The University of Rochester (Eastern) first violins strengthen and heighten it one the tone of this instrument, being the least Summer octave higher: assertive of all the strings, will not over- Howard Hanson, Director School WILLIAM C. CARL, Dir. Ex.9 Raymond Wilson, Assistant Director Guilmant Organ School for Teachers 51 FIFTH AVENUE, NEW YORK “SE- June 27th through July 18th Courses lead to Degrees: Bachelor of Music, Master of Music, Master of Arts WALTER CHARMBURY in Music, Doctor of Philosophy in Music; Eastman School Certificate (Diploma) An opportunity to get in touch Pianist and Teacher with modern methods of 539 37th Street Registrations for 1934-35 and 1934 Summer music teaching. WEST PALM BEACH, FLA. Information mailed on request. Session Now Being Received Address: Summer School Secretary KATE S. CHITTENDEN 49 East 91st Street, New York Pianoforte — Repertory — Appreciation Preparatory and Special Departments 230 WEST 59th ST„ NEW YORK CITY Information regarding graduates obtainable for positions will be ALBERTO JONAS MOTHERS 0 TEACHERS Celebrated Spanish Piano Virtuoso furnished on request Teacher al many famous pianists 19 WEST 85TH STREET, NEW YORK CITY Tel. Endicott 2-2084 On Wednesdays in Philadelphia For information and Catalogues, Address (Frai (Ernest Leeds and Lip LaFORGE-BERUMEN STUDIOS Arthur H. Larson, Secretary-Registrar Voice—Piano rank La Forse teacher of Lawrence Tibbett CHALFONTE- Eastman School of Music, Rochester, N. Y. since October 1922 r 14 WEST 68TH STREET, NEW YORK Tel. Trafalgar 7-8993 HfiDDON HALL ■■P College of Fine Arts 001 JUILLIARD SCHOOL OF MUSIC RICHARD McCLANAHAN Syracuse University John Erskine, President Representative TOBIAS MATTHAY ATLANTIC CITY TNp„rPpe. Bachelor of Music Special Summer Course, June-July JUILLIARD SUMMER SCHOOL Degrees. Master „f Music 706 STE1NWAY HALL, NEW YORK CITY George A. Wedge, Director Piano, Piano Teacher Training, Voice, (Continued in June Etude) Violin, Organ, cello, Harp, Compc RALFE LEECH STERNER T 17, 1934 Make THE ETUDE Your Marketing Place Etude Advertisers Open the Doors to Real (3he Divine ‘Purcell Opportunities DOUGLAS STANLEY X West 77th St. New York Harmony By Correspondence Clear Concise 1063 FrgnUItP TeS, Mass. Private Teachers FRANZ DARVAS The Greatest March in American History THE STARS AND STRIPES FOREVER By John Philip Sousa Every Boy and Girl Wants to Elay It! NOW PUBLISHED IN A SIMPLIFIED EDITION ancf'nfeo'ry?' for Yor, ZECKWER — HAHN Schools—Colleges BRAUN CONVERSE COLLEGER tit .... 1 f. ppj '-a- rvim- NqRTH\NESTERNl»lI THE ETUDE THE ETUDE MAY 1934 Page 321 Page 320 MAY 1934 arranged for viola and played by Lionel Vortrags Album (3 volumes).... Klengel Tertis and George Reeve's. On one side The following are all in the Schott of tlie second record is a delightful Edition: Serenda for muted viola by Delius, played 12 Irish Airs.A. M. Gifford by the same artists. Another record is the 6 Easy Duets for Viola and Piano, THE VIOLINIST'S ETUDE Mozart “Sonata in A Major,” arranged Op. 1.Weber (2 books) and played by Tertis. This great violist Andanta, Romanze, Scherzo, Mazurka, contributes an original composition called Op. 1.F. Hermann Edited by Blackbirds-which is a gem. These records Six Pieces (2 books) Op. 15..F. Hermann are valuable addition to the disc library of 13 pieces for Viola (2 vols.) Robert Braine any musician, and are indispensable for the C. d’Hervelois It is the ambition of THE ETUDE to make this Violin Department "A Violinist’s Etude ' complete m itse school library. Every violist, every string Morceaux de Salon, Op. 5.A. Thomas instrument player, should hear these over The Viola Players Repertory.Harvey and over again. Here are beautiful works, Hebrew Melodies .....Joachim beautifully played, on an instrument whose Five Old French Dances.Marais voice has too long been suppressed. Album Leaves, Op. 39.Hans Sitt £ A LIST OF VIOLA MATERIAL Separate Pieces for Viola and Piano Importance of Proven (fhord 'Practice Elegy and Country Dance.Busch For the Beginner Berceuse .Strube Mitchell Public School Method.... Ditson Komm’ susser Tod.Bach-Tertis Py William Walker Todd The Study of the Viola, Op. 20.. Schloming Allegretto and Romanza... .Wolstenholme Sunset .Tertis hand of that type of flexibility which com¬ Studies” by Emory L. Bauer is a most ex¬ Viola Schule .Dont-Dessauer From THE earliest beginnings of even these are disregarded or else given cellent work, while L. Able presents an Viola Schule fur Violinisten Chanson de Nuit.Elgar only scanty attention. This all is much to bines a relaxed composure of the muscu- violin work the young pupil is con¬ exhaustive treatise, “Broken Chords and H. Klingerdeld Canto Popolare.Elgar the detriment of left hand development lar system with a certain spring-like tinually impressed with the supreme Arpeggios in all Keys.” Practical Method for Viola.Sitt Chanson Celtique .Forsythe importance of scales. In fact, the scale, in which, in later years, is sure to show the strength and readiness wholly desirable and Ballade, Op. 10.Evan-Jones Eberhart has a book of arpeggio studies, Tutor for Viola.Langey a more or less complete form, is the basis effects of neglect of this vitally important necessary, particularly in the higher posi- Larghetto from Clarinet Quintet.. .Mozart and Emile Kross an extensive work, “Sys¬ of all first finger exercises the youthful item of technic. tions. , Etudes Cherry Ripe.Cecil Scott-Tertis tematic Chord Studies”; but doubtless the student attempts. And from this single The benefits to be derived from a system¬ There is hardly any branch of left hand Viola Technik.von Steiner Pavane pour Une Infante Defunte.. .Ravel The Ross Multiple Piano most compact, inclusive and logically ar¬ beginning, through the complicated realms atic, daily study of all types of broken technic that will so quickly act as a “warm¬ Twenty Etudes, Op. 22.Palaschko Serenade de Printemps.Leon Lolivrel For Class Piano Instruction of three and four octaves, double thirds, chords may well be said to be three-fold, ing-up” exercise for the advanced student ranged material of the sort is that famous 12 Viola Studies, Op. 55.Palaschko Concert Piece, Op. 46....Sitt sixths, octaves and tenths, this same scale mental, musical and physical: mental, in as a few minutes of slow, thoughtful prac¬ pioneer work, “Chord Studies for Violin,” The First Studies, Op. 86.Hofmann Berceuse .Eugene Cools In the old days the medical makes class instruction at the affording a mind picture of the relative is held up, and rightly so, as the founda¬ tice of three and four octave arpeggios, on by Henry Schradieck. Viola Studies from Spohr, Kreutzer, Alte-Weisen (Seven numbers in this positions of the fingers upon adjoining and law students studied with a Piano also altogether practicable. tion of all left hand technic. the major and minor triads, done with a In this is presented, in the most practical and so forth.Kreutz set) .Burmeister-Tertis Not so much is said, however, by the strings in stopping the intervals of major possible form, arpeggios on major and 36 Studies, Op. 45.Kayser regular practitioner individually, The ambitious modern teacher and minor thirds, perfect fourths and relaxed left hand and with a slow, well- Sonatas and Concertos average teacher, in reference to broken minor triads in all keys, both in two and Exercises in First Position with 2nd is not shocked at this, but is diminished fifths, and of relative positions controlled bow arm. The four octave ar¬ Classical Masters.Alard-Dessauer but now they are taught in classes chord work though this is fully as im¬ three octaves, dominant seventh chords Viola .Kupfer, Op. 21 of the various intervals in crossing the peggios beginning on G, A flat, A natural, (A series of 18th century music) following the trend. portant as scale work. One reason, per¬ with attendant resolutions, and diminished 15 Easy Studies in First Position more successfully. Modern in¬ strings; musical, in the excellent ear train¬ B flat and B natural are especially useful Six Sonatas .Ariosti-Patti haps, why the practice of broken chords seventh chords, both in the lower positions Clemens Mayer ing afforded through concentrating on in¬ in covering the ultimate range of the fin¬ Sonata No. 1 in C Minor_York Bowen vention is providing equipment Ask for full description, prices is not always stressed as strongly as it and throughout the compass of the instru¬ 25 Easy and Melodic Studies, with tervals founded on major and minor triads, gerboard. Concerto in G minor.Cecil Forsythe deserves is that this type of exercise can¬ A wealth of material is obtainable, from ment. It is not a work for the early be¬ 2nd Viola.A. Roger in the Ross Multiple Piano that and terms. not be compassed in its fullest extent until on chords of the dominant seventh with Concerto in B minor... Handel-Casadesus various authors, for the study of broken ginner, but a student who has a scale. 41 Caprices, Op. 22, with piano the student has already attained some com¬ their attendant resolutions, and on chords Sonata in C major.Walker chords in all keys. To attempt to enumer¬ knowledge of the third to the fifth position Campagnoli mand of the fingerboard outside of the of the diminished seventh with their con¬ Three Sonatas.Leclair-Alard ate it all is impossible, but a few of the can begin the study of it with great tech¬ 31 Etudes arr. for Viola Weaver Piano Company, Manufacturers, York, Pa. lower positions. By which time he is often tinual succession of minor thirds; physical, Concerto, Op. 10.Karl Marx more outstanding examples may be men¬ nical profit. Kreutzer, Hofmann so engrossed with his more interesting in the independence afforded the fingers Sonata for Viola and Piano.Rebecca Clark Makers of the Weaver Piano. A favorite with fine Pianists. tioned. The well-known Hrimaly “Scale Every student should be strongly urged Six Cello Suites for Viola etudes and solos that daily practice of ar¬ through accurate stopping of intervals, in Studies” present broken chord work upon to concentrate for a few minutes daily upon Bach-Svecenski Ensemble peggios is apt to be skimped or neglected the speed acquired in covering wide stretches the triads of the tonic and sub-dominant the practice of such broken chord studies There are a great many other books but Serenade for Flute, Violin and altogether. Of course elementary broken on the fingerboard and in the precision de¬ as lie within his degree of advancement, th6se are the best. Viola, Op. 25.Beethoven chord exercises, in all keys, can, and most veloped in shifting over wide skips which allied with the scales; and as this material yy/vur a frequently involve the leaping of alternate is introduced in the very elementary stages for there is no other branch of left hand Terzetto, Op. 76 for two violins and certainly should, be done on tonic and sub¬ technic that will pay such rapid and lasting Collections for Viola and Piano viola .Dvorak * vs.ST dominant triads in the first position, with positions. But probably the most valuable it will be found a highly valuable work result of all lies in the creation in the left for the beginner. “Scale and Arpeggio technical dividends. Alte Meister fur Junge Spieler Symphonic Concertante in E flat for most beneficial results; but all too often Moffat-Palaschko Violin and Viola and Orchestra. .Mozart American Wood for Uiolin Ataking Tjhe Viola, a ^Really Great Solo Instrument - -„- --1 audition, composed of thirteen virtuoso violinists In the discussion on American wood for the other of two hundred and ninety-twi violin making and the Paris violin contest, in sons from an audience of four or five hui Py Harold R. Harvey the August, 1932, number of The Etude, there Twice again was there surprising agrei BEWARE OF SWINDLERS are a few points that should be set right. It in according sixth place to my violin, PART III was a Canadian subscriber that questioned the relative values of American wood and elicited full results of the voting were as follows It is sad but true that toei many clever the article which was so interesting and prac¬ Judgment of the Virtuosos— ing for something entirely different, let L Stradivarius men and women stoop to IT IS evident that any violin composition violist who has already had, say, two years is a short, one-page number particularly tical. Following the proposal of the question, :. Le Lyonnais petty larceny him play the “Five Old French Dances” by mention was made of an account “of a violin when transposed a fifth lower may be of violin study, the “Practical Method” by suited to the instrument. Another such is made by a Canadian maker.” In the subse¬ . Guadagnini by collecting tor magazine subscriptions a charming Berceuse for muted viola by Marin Marais. These are a very unique 4. Joseph Aubry (modern) played on the viola. It is also evident, Hans Sitt is very fine. The Otto Langey quent sentences details were erroneously re¬ 5. Auguste Falisse (modern) and tailing to turn in the money. Pay Gustave Strube. addition to the rapidly increasing liter¬ ported, perhaps without r ■fault*—j| < upon trial, that not all music so transposed Tutor contains much useful material, but subscriber. 6. Bayeur (modern) Chanson Celtique by Cecil Forsythe, and ature. They have recently been set for Judgment of the Audience— no money to strangers soli citing ETUDE would be suited to the very individual it is not by any means an ideal instruction It is my privilege to know t 1. Joseph Aubry (modern) book. In the Universal Edition are to be the same composer’s “Concerto in G minor” symphony orchestra by Carleton Cooley, vionn,'' ”air. "Kosano sario Bayeur,i.ayeur, ori uanaaa, v subscriptions unless you a re convinced personality of the viola. It is impossible still finds happiness in carving a fiddle fi — 2. Le Lyonnais (modern) found three books of etudes selected from are beautiful numbers' and not too difficult solo violist of the Cleveland Symphony 3. Stradivarius to imagine the finale of the Mendelssohn the heart of a forest, who brings quivering 4. Guadagnini of their honesty and care1 to take the different composers and compiled by Hugo for viola and orchestra (or piano). Also, Orchestra. wood to life, and breathes a soul into taut “Violin Concerto” or the Rondo Capric- tense strings. Interested in the details of the 5. Guadagnini risk of loss. Representative IS who secure von Steiner. These cover the field from the two numbers by Carl Busch, Elegy and 6. Bayeur (modern) cioso by Saint-Saens as being effective for article, I dropped in to see Mr. Bayeur. He “If you would like further details for the subscriptions directly for beginners to advanced technic. The Country Dance, should not be overlooked, Music Coming Into Its Oum was prepared for the discussion, having read the ETUDE the larger instrument, however well per¬ the article in The Etude. So we sat ourselves substantial proofs of my statements, I shall “Twenty-Four Easy and Melodious since they are both very interesting and show you a copy of the Paris ‘Le Monde Musi¬ MUSIC MAGAZINE, Theodore Presser formed. These works are distinctly and LASTLY, may I mention an album, re- down amid an assortment of violins, old and cal’ for November, 1921, and the December inseparably violin music. Louis Svecen- Studies, Op. 86,” by Palaschko, are very effective. Wolstenholme gives us Alle¬ cently published, for which I myself new, and the characteristic odd piles of music Company, Publishers, carry our official and trinkets that clutter, but do not encumber, number of the London ‘Strad,’ same year.” ski, violist of the old Kneisel Quartet, interesting, and the same composer’s “Fif¬ gretto and Romansa, both of which are have been responsible. Although a violin¬ It did not take long for Mr. Bayeur to find PIANO JAZZ the shop of the luthier. the detailed discussions of the contest. Like receipt. Do not accept an ordinary mentions this point in commenting on Mr. teen Studies, Op. 86” are well worth the effective and have a real atmosphere. ist, the arranger of this volume studied the “First of all,” he said, “Mr. Braine is quite right in stating that the daily newspapers all human creatures who achieve success, he stationery store receipt. We cannot be Tertis’ remarkable performance of the violist’s time. For advanced technical Canto Popolare by Elgar is a very fine viola first, the reverse of the usual order was proud of his laurels. There were several cannot be relied upon in articles about violin pages of observations dealing the various responsible for the work of swindlers. Bach “Chaconne” which he played much work the “Caprices” by Campagnoli are solo. One of the loveliest things is Sunset of approaching these instruments. This making. The details were quite incorrect. In phases and merits of the competition. in this country. He doubts the true standard. Practically all the well-known by Tertis with its modern harmonization the first place, there were not two thousand “We almost forgot that point about the group of arrangements is the outcome of entries in the violin tone contest held at the wood," added the luthier, drawing my atten¬ artistic value of such performances. violin etudes have been transposed for the which makes it very colorful. several years’ striving on the part of the music-hall of the Paris Conservatoire in 1921. tion from the reviews which he had handed viola, such as Kreutzer, Fiorillo and Rode. Good collections for viola seem to be me. “I think it was quite stupid, even on the The Complete Repertoire author to make available for his own use part of a Canadian newspaper reporter, to say This material is not all-inclusive, by any scarce. One of the finest is the “Alte music which he feels belongs to the viola. fessor at the^ConservatoireJ'played a composi¬ that a violin of merit could have been made HERE IT would be well to list some means, but will keep the violist busy for Meister fur Junge Spieler” by Moffat- In transcribing these pieces two consider¬ from “freshly-cut” wood. The wood in my many years. tion especially written for the occasion by a violin was cut from our Canadian forests— material which will be found excel¬ Palsachko. This is a group of an even ations were kept in mind: first, to make Mr. Hayot to sound out fully the tonal qual¬ that is, from a maple tree, and a spruce ti lent for violists and which lies within the ities and compass of the strings, by way of Solo Abundance dozen solos by such men as Purcell, use only of the most effective registers and, double-stops, harmonics, and so forth. A Jury - —- -- The Jbr J-M- scope of students not yet arrived at virtu¬ Rameau, Lully, Tartini and others, all second, to keep the range within the limits of ooe hundred and thirty-two voters, using rs old. The top* v oso standing. (At the end of this paper F THE separate solos with piano O playable in the first position. They are of the first three positions, in so far as was loaned by t there is an almost embarrassing num¬ tered from un and rain’for about forty-five will be found a more extended list of all the more welcome because of their un- possible. These numbers have been tested __mparison with the really old vio- material with which every violist ought to ber of good things. The violist will famharity. One finds also three volumes 1. Le Lyonnais Cremona, my violin v— *- never tire of the Chanson de Nuit by in repeated public performance, and no pains 2. Falisse swaddling clothes; it was just two years om be familiar.) called Vortrags Album” by Paul Klengel, have been spared toward making each one 3. Le Lyonnais when entered in the contest of the Conserva- For the beginner, one who has never Elgar. It is not a difficult number and uses 4. Falisse which are exceedingly interesting. Here perfectly adaptable to this really wonder¬ rniro I guess that is all-” played any sort of stringed instrument, the register from the lowest tone to well 5. Joseph Aubry least, that covered all the disputed are forty-eight solos, well arranged not ful instrument. 6. Bayeur _=__The Etude. undoubtedly one of the best books is the up into the third position on the A string. all effective viola music, to be sure but “These six (cuuuiiueuitinued Mr.m Bayeur) submitted from a point of view of Mitchell “Public School Viola Method.” It is even more effective with organ than A set of records which are in the Colum¬ thereupon entered into further ^petition__ with being fi to Mr. Bayeur, and of increasing in¬ out anything in this line excellent solo material. The “Six Album bia library and which have given me manf Six old-timers. The Conservatoire had received study in the practicability of using “The Study of the Viola, Op. 20,” by with piano. Another beautiful transcription Leaves, Op. 39 by Hans Sitt is another an Amati, a Stradivarius, a Guarnerius del woods for violin making. SE P I ITEMIZED PRICE LIST Harry Schloming, is also good. For the is Komm sttsser Tod by Bach-Tertis. This hours of unalloyed pleasure is the record¬ Gesu, two Guadagnini, and a Maggini. There Raymond Cadwallader, S. J. very choice volume. If the violist is look¬ ing of the Delius “Violin Sonata, No. V TEE ETUDE Page 322 MAY 1934- THE ETUDE MAY 1934 Page 323 LmnmnjiJijmnAnjiJWi VIOLIN QUESTIONS Answered VOICE QUESTIONS By Robert Braine Answered Chicago EHiiiatoil By Frederick W. Wodell Oft No question will be answered in THE ETUDE unless accompanied by the full name Musical Z ZddZs of the inquirer. Only initials, or pseudonym given, will be published. and address of the inquirer. Only initials, or pseudonym giui :n, will be published. rapidly, as though pantomiming. Keep the breath flowing very slowly and steadily through the throat and mouth. Much free activity of tongue, lips and jaw. Pronounce College Do you feel that if you were given the Opportunity you c distinctly, though without t_ __ accomplish more in Music-qualify for the bigger and b - Keep the chest up, but without strain. Gradually inert_ Rudolph Ganz, President opportunities that are ready and waiting just as soon as yoi the number of repetitions upon one breath. Do this silent work but a very few minutes daily. Let it precede the “humming” upon M. Harold E. Ray, Business Mgr. If the voice “breaks” when humming, ’ ‘ ' not worry you. Do some more silent and then “hum” again, mentally ex pectin —are tl of the training you have given your natural the effect will be smooth. Allow only _ _ minutes of humming at one practice period. When you are working with a teacher, con¬ SlfflltTl€Y Three Sessions . . . • standing in ’ the musical centrate upon the instructions given, abandon¬ a ing thought of what you may have read about world. voice production. The teacher must have your May 14 - June 23 You can get this invaluable training right in your own home, without any interference with your regular work, and at but a Master JUNE 25 - AUG. 4 fraction of the cost in time and money otherwise necessary. The Q. Apparently because of catarrhal troubles MAJOR SESSION or perhaps because I sang too hard in my high Extension Method of Musical Training developed and perfected school days, I have trouble with my thr J During recent years I have had some v_ work with two very fine teachers, and I know School.. July 23 - Sept. 1 JUS that, as far as the use of my voice ii makeshift, but has stood the test of a quarter of a century’s “ J “ ■ • 'icularly good shape, s conditions. But I c Among the Distinguished intensive or constant pro without having of professional musicians, teachers and artists to stop after a few days several days of n to-- be sia much that the the world owe their success wholly to the authori- i!i iu us that it has become raw. Faculty of 125 Teachers - best I seldom practice more than tethods and the painstaking guidance of the master thirty or forty minutes, since it takes that of the University Extension Conservatory, and gladly long to get “warn--* ” " ■ -’ * PIANO—Rudolph Ganz . . . Glenn Dillard Gunn . . . Alex¬ sing out I have to ._ _, .. __ ... ander Raab ... Silvio Scionti. shape. Rain always causes trouble. My g . . . - -Jimmy you coma suggest t( VOICE—Herbert Witherspoon . . . Nelli Gardini . . . Victor Let This Great Conservatory Open the Way for You help this trouble f My voice is needed in thi Chesnais . . . Rose Lutiger Gannon . . . Mabel Sharp Her- various musical affairs of the town, and would like to have it more dependable. dien, Mary Ann Kauffman. —G. P. M. A. The troubles you describe are caused by VIOLIN—Leon Sametini . . . Max Fischel. pathological conditions, or wrong voice use, or both. In some cases nervousness is also in¬ VIOLONCELLO—Daniel Saidenberg. satisfaction. *in .Stars, in stand™ volved. Obviously, pathological conditions call GUARANTEED. for the attention of a skilled throat specialist MUSIC THEORY—Arthur O. Andersen . . . Gustav Dunkel- and in particular one who is accustomed to Judge for Yourself dealing with the throats of singers. Not¬ berger . . . Franklin Madsen. withstanding the fact that you have had “some work” with two “very fine” teachers, we have DALCROZE EURYTHMICS—Paul Boepple. doubts of the correctness of your voice use. The question is, did you have enough work DRAMATIC ART AND EXPRESSION—Walter Pyre. aSSSaSS!SB ™ with either or both of those teachers to fix correct habits in tone production—habits which will stay fixed under all circumstances ? SCHOOL OF THE OPERA—Frank St. Leger. We judge you to be a thoughtful person, one ABSOLUTELY FREE. who will endeavor to understand and to do TEACHERS’ TRAINING COURSES—Julia Lois Caruthers. things in the right way. In some cases of “throat trouble” the singer has not acquired PUBLIC SCHOOL MUSIC—Nellie Johnston Moench . sufficient control of the breath to make it pos¬ sible to leave the larynx in perfect freedom Franklin Madsen. while singing upward; nor has the singer learned what it is to have the larynx in its CLASS PIANO INSTRUCTION—Curtis Course: Helen Curtis. best position for the tone desired. For lack of control of the breath some singers uncon¬ sciously make rigid the fauces. Vocalists de¬ ceive themselves, on occasion, as to having the Courses in parts of the vocal instrument free from rigid¬ ity. They feel sure that they have this condi¬ This Is YOUR tion, when they have it not. A tone which is REPERTOIRE-INTERPRETATION—Mr. Ganz, Mr. Wither¬ truly sung “on the breath,” with the vowel formed, as it feels, in the upper front mouth, spoon, Mr. Gunn, Mr. Raab, Mr. Sametini, Mr. Scionti. will not adversely affect the throat. A “ner¬ vous” singer, one who is afraid, may do many TEACHERS’ TRAINING—Mr. Ganz, Mr. Witherspoon, Mr. foolish things. We recommend more study Gunn, Mr. Raab, Mr. Fischel, Miss Caruthers, Miss Curtis. with one or the other of the fine teachers from whom you have already derived some CONDUCTING AND SCORE READING—Mr. Ganz. Courses lead to Degrees and Certificates: Bachelor of Music, Master of Music, Bachelor and Master of Music Education, Bachelor and y throati— !. J. McC. Master of Drama, Teacher’s Certificate in Public School Music, Public —A. Pitch-... is ,-ipallyprincipally nmental, ntal, irather than School Orchestra Leader’s and Bandmaster’s Certificate. physical. All vocal pitches have to be thought, conceived by the singer, before he can utter a tone upon them. Whether he realizes his Accredited Under Authority State of Illinois pitch-concept depends first upon whether he holds to it firmly, and secondly upon whether he leaves his vocal instrument, in all its parts, Chicago Musical College is an Institutional Member of the fill free from rigidity. No rigidity, no strain. “High” pitches naturally produced require no National Association of Schools of Music more physical effort than do “low” pitches. The pitch generators will work normally if permitted to act without interference by undue • Train at the School Where Most Professionals Study • effort as shown by rigidity of tongue, jaw and neck. When working normally they use less substance for each ascending pitch. To pro¬ duce the normal tone for each ascending pitch WRITE FOR SUMMER SCHOOL CATALOG no increase of breath pressure is necessary. Of course to increase the weight, volume and intensity of tone on each ascending pitch in¬ volves an increase in the amount of substance put into vibration at the tone-generating point in the larynx. Here we have more physical effort, with attendant danger, in the case of Chicago Musical College the unskilled singer, of bringing in more or less rigidity of the parts. Allow the tone¬ generating apparatus to work normally, auto- 60 EAST VAN BUREN STREET, CHICAGO, ILLINOIS THE ETUDE THE ETUDE MAY 1934 Page 325 Page 324 MAY 1934 ^_l llL,ll|,|,|>|,|,|ll|,,l'|,,:r< QUESTION AND ANSWER DEPARTMENT SHERWOOD • MUSIC • SCHOOL Peabody Conservatory FOUNDED 1895 BY WILLIAM H. SHERWOOD Conducted by 410 SOUTH MICHIGAN AVENUE • CHICAGO AMERICAN BALTIMORE, MD. Karl W. Gehrkens OTTO ORTMANN, Director CONSERVATORY Recognized as the leading endowed musical conservatory of the country Second OF MUSIC World’s Affair Summer Session Summer Session j„Ty 28th found in measure 75 of Minuetto from "Sonata JUNIOR ETUDE -(Continued) Music- SACRED TRIOS Junior Etude Contest In All Its Branches THE CHAPEL ORGANIST DISTINCTIVE iMildred’s ^Musical ‘Diary FOR Original Compositions ANTHEMS SONGS THAT WOMEN'S and Transcriptions A Fine Collec¬ By Nancy D. Dunlea ight-hand corner of the J ' the Junior F.tudr Music of All Publishers. VOICES Compiled by Rob Roy Peery tion of Superb CONCERT AND Office, 1712 Chestnut_ Street, Philadelphia,liladelphia, Pe“„ Price, $1.50 Anthems ___the fifteenth of May. The nim» RADIO ARTISTS Mildred’s chum, Betty, received a “Line- ,f the prize winners and their contributions w Unequalled Stocks in All Depart¬ Price, 75 cents The ccmtents of this album were Price, 75 cents i published in the October i?- HAVE CHOSEN * “What^do^you writeTn^tr’ asked ments with Experts to Interpret and Fill Your Needs. tor,. •. . Mw’-‘Jrttftiio today. It wasST fiSVf:played by a ai-se^ursMOstsa •vmz&js1 what the weather is, and lots of things girl my age, and she played Elfin Friendly Helpful Service, Liberal Examination that I do. It’s lots of fun! It’s so much Dance, Birdling and the Butter- Privileges and the Convenience of One Account Inn to read it over after awhile. It makes fly, all by Grieg. She told us a ■sat-srs . little about the Norwegian com¬ Why I Li\e to Practice Why I Li\e to Practice ZSSftfZ. ON THE ROAD TO poser, too—how he liked to write (Prize Winner) (Prize Winner) fit &2-ci By Oley MUSIC FOR ALL EDUCATIONAL NEEDS By Wm. H. Neidlinger PIANO SOLOS FROM KINDERGARTEN TO COLLEGE THAT DELIGHT Sfr5***^ OVER AND By W.E.C.Seeboeck 50c BYiEsrF IsiP— SHOWER OF STARS ilSS By Paul ITachs 50c I LOVE LIFE GIPSY TRAIL By Tod B. Galloway By Carl Hahn &%***> WILL O’ THE WISP MOON DAWN SWI^?T.S^ER By Chas. B. Hawley Bsr ■ Tkurlow. gHSfcSS T HEODORE Instrument Puzzle By Maxine Funderburk (Age 14) Presser Co. 1712 CHESTNUT STREET PHILADELPHIA, PA. R L N U G O N Music Publishers, Dealers & Importers I A C I I A I E N L A T N P Write to Us About Any Music Needs. We Cheerfully Make T O I O R O E Suggestions and Upon Request Will Send Suitable Material Headquarters for I Z V O R B M For Examination. JOHN CHURCH CO. PUBLICATIONS T H J N G R O R E A B N A T Catalogs on Any Classification of Music Furnished Gratis. L TO NEW MEMBERS OF THE LITERARY GUILD of AMERICA Anatole France’s Immortal Classic 1*0© THAIS IbOUND IN FULL LEATHER MOROCCO-GRAINED • PUBLISHED AT $5.00 THAIS is the story of an immortal courtezan. 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