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

1-1-1944 Volume 62, Number 01 (January 1944) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 62, Number 01 (January 1944)." , (1944). https://digitalcommons.gardner-webb.edu/etude/221

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE “ * Price 25 Cents III U S f C III « if « / H the musical world’s contribution anniver- to the celebration of the tenth the sary of diplomatic relations between United States and the Soviet Union took pro- the form of a number of all-Russian grams presented during November by some of the leading symphony orchestras, CoLLe^e Pittsburgh Symphony Or- Unusual including the the “AmeRicA’s most chestra, Fritz Reiner, conductor; Philadelphia Orchestra, Eugene Orman- Sym- dy, conductor; the Minneapolis phony Orchestra, Dimitri Mitropoulos, conductor; and the Cincinnati Orchestra, (7/ie MfoticLofl Eugene Goossens, conductor. VOICE, PIANO, VIOLIN, PIPE ORGAN, THE PENSION FOUN- OFFERS PRIVATE INS JN Philadel- DATION of the HERE. THERE. AND EVERYWHERE SPEECH WT |UT ADDITIONAL COST ABOVE phia Orchestra, recently ART, AND organized, is sponsoring IN THE MUSICAL WORLD )EMIC TUITION. a series of membership fEGULAR concerts for which about world-famed art- spoke of thirty LEONARD BERNSTEIN, recently ap- that his feat let loose. Critics ists have volunteered New his “brilliant musicianship” and “his ca- ple in the pleasant and whole- pointed assistant conductor of the opportunity is iforded ta! ^ ^ their services to appear both to release and control the An amazing York Philharmonic -Symphony Orches- pacity Gladys without fee. The first of prepare for professional or teach* had an exciting and unexpected players.” Chri _ _ ts may Swarthout place tra, some atmosphere of a these events took organization when on debut with that DR. GORDON BALCH NEVIN, composer, for preparation on December 22, when the Orchestra, to take offers so fine an opportunity November 14 he was called upon George B. ing careers, and no conducting, pre- TIETJENS, composer and pianist, organist, and son of the late with Eugene Ormandy PAUL Bruno Walter, guest con- the original the place of Nevin, died on November 15 at New sented an all-Brahms program with who wrote the music for with influenza ser”v .usic on ductor, suddenly stricken Pennsylvania, where since for Christian Gregor Piatigorsky success, “Wizard of Oz,” died Wilmington, Nathan Milstein and stage few hours’ notice and with no Louis, Missouri. He this on a 1931 he had been professor of organ at as soloists. Other noted artists who have November 27 in St. That he came for opportunity for rehearsal. Nevin was born include Nelson for many years musical director Westminster College. Dr. volunteered their services was ordeal successfully is indi- works include an through the 1892 at Easton, Pennsylvania. Eddy, Lily Pons, Andre Kostelanetz, Maude Adams. His criticism May 19, cated by the flood of favorable churches in eastern Swarthout and Jan Peerce. opera, “The Tents of the Arabs.” He served various Gladys in cities and also was active as a teacher several colleges. His published works in- EUGENE ISTOMIN, seventeen-year-old clude books on musical subjects, organ pianist of New York City, has won the (Competitions pieces, and songs. fourth annual contest of the Edgar M. award is an work sub- Leventritt Foundation. The given for the best ensemble JONAS, one THE JUILLIARD SCHOOL OF MU- Can- ALBERTO appearance with the New York Phil- mitted from the United States and SIC has announced its annual competi- of the world’s most fa- Orchestra, which ada The contest closes May 31, 1944, harmonic-Symphony the publication of orchestral of piano- tion for information may be secured by mous teachers took place on November 21. Eugene ap- American composers. The and full compositions by Chamber Music Guild, forte, died at his home concert of the be published by writing to The peared also at a youth winning composition will Zone Wash- Novem- composer Inc., 1604 K Street, N. W., 6, in Philadelphia, Philadelphia Orchestra on November 17, the J uilliard School, with the copyright and ington, D. C. ber 9, at the age Of sev- winner of the Youth Contest of retaining control of the as the enty-five. Born in Ma- receiving all royalties and fees. The con- the Philadelphia Orchestra. PRIZES TO THE TOTAL OF $2000 1 and all details may drid, he first studied at test closes March Bonds are to be Dean, in United States War be secured from Oscar Wagner, Federation of the Madrid Conserva- debuts awarded by the National ONE OF THE most sensational uilliard Graduate School, 130 Claremont he entered J Music Clubs to federated music groups tory. Later was that of the aston- York City. at Carnegie Hall Avenue, New during the period from September the Brussels Conserva- Leonard which, ishing young piano virtuoso, April 1944, present programs tory, where he was a pupil of De Greef NATIONAL FEDERATION OF 1, 1943 to 1, Pennario, playing the Liszt “Concerto in THE the opinion of the board of first prize the sec- which in and Gevaert, where he won MUSIC CLUBS has announced nation s E-flat” with the New York Philharmonic- judges most significantly serve the short time in annual Young Composers’ Contest in piano playing. For a ond Donor of the awards is Don- Symphony Orchestra in early November. dollars. war efforts. the in- for total awards of three hundred conductor St. Petersburg he came under the critics ald Voorhees, noted American His reception was described by prize of one hundred dollars of Rubinstein. His debut The major director of a number of out- struction Anton Pennario is a orches- and musical as unprecedented. Mr. is for a composition for chamber Philharmonic Orchestra standing radio programs. The first prize with the Berlin States Army and second prize in this classifica- Private in the United tra, with a smaller awards down to $25, in 1891. After tours in England, prizes is $500, with was made nineteen. His tion of fifty dollars. There also are appeared in uniform. He is offered “only for public performances of Holland, Belgium, France, Germany, and twenty-five dollars for com- teacher for the last five years has been of fifty music given by- amateur musical organiza- States he classifications. Full de- Russia, Mexico, and the United JON positions in other dates.” Full in- BOB with him specified Dr. Guy Maier. An interview National tions within the of the Pianoforte Depart- tails mav be secured from the became head Etude shortly. formation may be secured from Mrs. Ada will appear in The Chairman, Miss Marion Bauer, 115 West ment in the University of Michigan boi refully selected from all sections Holding Miller, Chairman, War Service trained and fty and a student Seventy-third Street, New York City. 1894 to 1898, then with a Committee of the National Federation of School of Music from PIETRO A. YON, hon- Provi- Michigan Conservatory of Music, America and foreign lands, develoj^cKiyacter wi .alent and stresses spiritual values AWARD OF ONE HUNDRED Music Clubs, 28 Everett Avenue, at the of orary organist of the AN dence, Rhode Island. in Detroit, from 1898 to 1904. He spent be given by Monmouth Vatican, musical direc- DOLLARS is to 1914 in Ber- train! eight-line the years between 1904 and while offering the finest intellectual /nd artistic College for the best four or tor at St. Patrick’s Ca- A CONTEST to give encouragement teacher. In 1914 he returned to Psalm tune written for a version of the lin, as a City, and recognition to young American musi- York thedral, New York Eighty-fourth Psalm, for congregational America, where he taught in New instrumentalists and world-famous com- is speci- cal artists, both passing. In College, which stands wtthou^Gp ology for the "old-time religion" and the ab- and singing. The version to be used and in Philadelphia until his Bob Jones composers, is announced under the joint poser, died in Hunt- fied in the leaflet of regulations. All com- addition to his musical compositions Mr. sponsorship of the Southern California of to ington, Long Island on posers are eligible to compete and the very popular student’s solute authority of the Bible, offers awifle variety yourses leading Bachelor of Arts Symphony Association, radio stations Jonas wrote a judge of the contest will be Daniel Greg- November 22, after an KFI, and the Los Angeles Daily manual and notebook known as the Mason, Emeritus Professor of Music KECA— GradjraUf School of Religion courses leading Pietro illness of several months. ory will be In collabora- and Bachelor of Science degrees, anW u^he date News. Winning instrumentalists “Pianoscript Book” (1918). A. Yon at Columbia University. The closing Considered one of the presented on the air and given the op- tion with sixteen other virtuosi he wrote for submission of manuscript is March 1, to the Master of Arts and the Doctor oN^uSSCir^h^fegrees, and in the Graduate School foremost organists, Mr. Yon had portunity to have a debut with the Los regarded as his magnum world’s 1944 and all details may be secured from what must be ; ' Orchestra while brought Angeles Philharmonic ; a distinguished career which Prof. Thomas H. Hamilton, director of opus, "The Master School of Modern Arts courses leading to the Master oi Arts and the Master of Fine Arts degrees in the winning compositions will be per- of Fine him many honors. He was born at Set- the Monmouth College Conservatory of Piano Playing and Virtuosity.” This work formed by the orchestra. Also there will timo Vittone, Italy, August 8, 1886, and Music, Monmouth, Illinois. was written and published with parallel music and speech. be prizes 'totaling five hundred dollars in studied at the conservatories of Milan, instrumentalists text in English, Spanish, French, and TWO PRIZES OF $1000 EACH are to war bonds. Entries for the and Rome; For a time he was 1 while the is of the most ex- Turin, were closed as of December ; German, and one For detailed information be given for string quartet compositions, write substitute organist at the Vatican, and entries for the composition contest wall be haustive works of its kind in pianoforte by the Chamber Music Guild, Inc., of in 1907 he came to the United closed on February 15, 1944. All details Jonas had many noted then Washington, D. C., in conjunction with literature. Senor he held the entry blanks may be secured by re- States. For seventeen years the RCA Victor Division of the Radio and pupils and many friends who will the Director, Los Angeles post of organist and choirmaster at St. Corporation of America. One of the prizes writing to for his kindly personality, Competition, member, him works best string quartet Philharmonic Young Artists’ Patrick’s Cathedral, New York. His will be awarded for the his wit, and his solicitous interest in all Latin in care of KECA—KFI, 141 North Ver- include masses, oratorios, much organ submitted from the republics of educational projects. be mont Avenue, Los Angeles 4, California. musical including the widely America, while the other prize will music, and songs, ( Continued on Page 72) used Jesu Bambino. WITH MUSIC’ 1 JANUARY, 1944 "FORWARD MARCH — ' .

FAVORITE PIANO FOLIOS Editorial

. by f^ouenyer SACRED REFLECTIONS 1 for Piano Solo MONTHLY By Leopold W. Rovenger PUBLISHED By Theodore Presser Co., Philadelphia, Pa. A choice collection of forty-one of the world's most beloved religious selections. editorial and advisory staff Carefully edited and fingered for play- DR. JAMES FRANCIS COOKE, Editor ers with only a limited amount of technic. Guy McCoy and Ava Yeargain, Assistant Editors Will appeal to the young performer and Dr. Rob Roy Peery, Editor, Music Section adult player alike $ .75 Elizabeth*Gesi N. Clifford Page Harold Berkley —Edna Fort - “ ~ Peter Pietro Deiro Dr. Henry S. Fry George C. Krick Hugh Reed Dr. Nicholas Douty Karl W. Gehrkens Dr. Guy Maier William D. Revelli I PLEDGE ALLEGIANCE— -Founded 1883 by Theodore presser - A Patriotic Collection for All Americans dontenfo for January, 1944 NUTCRACKER by VOLUME LXII, No. 1 PRICE 25 CENTS SUITE, Bernard Wagness Tschaikowsky WORLD OF MUSIC l An appropriate collec- EDITORIAL Tomorrow's Symphony of Nations 3 Arranged by tion containing a selection Leopold of the most popular and MUSIC AND CULTURE W. Rovenger widely loved patriotic airs The Lure of the Rhythm Orchestra Rule A I im -1 arranged in easy piano The Line’s the Thing] Morton Go I 5 This Your Good Neighbors' Music It E 7 charming and ever-popular solo arrangements by Ber- WoUelm Listen to the Harpsichord Mimetic Me' 9 work is here intelligently brought nard Wagness. Contains: Among the Composers (Mrs. H. H. A. Beach. Carl Wilhelm Kern, to the level of young players. The America, America the and Ada Richter) II pianistic difficulties which have Beautiful, Star Spangled confined this number to advanced performers are cleverly cir- Banner, Yankee Doodle, MUSIC IN THE HOME cumvented. It is Good Neighbor Records Lead , I a delight to see such highly imaginative mate- Dixie and others. Beauti- Peter Hufpi R. 13 rial edited, fingered Notable Symphonic Music on the Air Alfred Lindsay More 14 and phrased so well that the student can fully illustrated in red, The Etude Music Lover's Bookshelf f. Meredith Cud n. i IS move easily through the entire group of seven pieces. Can be white and blue through- used with good effect in recitals $ .50 out .. $ .35 MUSIC AND STUDY The Teacher’s Round Table (A Music Teacher Learns Industry) Dr. c,uy Maier 1C FROM A FRIGHTFUL TODAY TO A GLORIOUS TOMORROW How to Make a Music Manuscript Dr. Orlcmln A ’ 17 Is Despite the fact that the destruction of the products of civilization of the past is now the most terrible in the story of Man. we must realize 738 So. Campbell Ave. Music Composition Instinctive? Dr. Arth ur Ola] Antler:.- n 1 H RUBANK .tnc. French Art-Song Composers Before Faure and Debussy that in this global travail a world is being born anew and a marvelous future awaits us. Science is providing not merely substitutes or Chicago, (Berlioz Bizet Illinois. — —Delibes) Helen Spill 19 "Ersatz," but vastly improved materials which will raise living standards and reduce the cost of daily necessities and taxes. The Etude is •Musical Instruction in Wartime '-Men Oh,, hunt It. 20 Organ and Voices indebted to the Firestone Tire & Rubber Co. for the use of the above illustration. ; Jr Warren I) All. 21 Eurythmics in the Elementary School Program Marie Great 22 Advancing Organization in School Music Pettee fee. ; Some Studies of Kreutzer Questions and Answers n. v.l «i Original Music “ for Four Hands.7.7. .7.7.7. HAT IS YOUR ATTITUDE toward that tomorrow have forgotten the spiritual assets of man. They have £ Technicofthe Month-Prelude S y in E-flat minor. Op. 28.' No.' 14 of the world which is now man’s chief concern ? The laughed out of the test tube. Mu sicianship Builders C Ch ° at ideals that have not come Pm Guy Mai 51 MUSIC...eL Wnew year presents no greater problem. They have made themselves cogs in their own machines. Classic and Contemporary Selections Old age rests upon petrified precedent, and only too often They have lived in a world of necessarily tangible matter, Harmony Book For Beginners Flaming Dahlias (Valse Elegante) 7n , M 29 meters its By Dr. Preston Ware Orem Romance Ralph Federcr 30 judgment by the calamities of yesterday. Youth and have not had the vision to see through the mountainous . Anton Choral Theme from '9 Rubinstein, Op. 44, No. 1 32 Te.xt.‘I3 that Symphony No. looks to the golden tomorrow, as unpredictable as the cash registers all problems. A 00k Lays a Most Substantial Foundation for Real Musicianship by which they have estimated by Making the First Steps in Harmony Ludwig van Beethoven Easy to Grasp. It is brief, simple, Valse Christine (Arranged by Henry Levine) 33 weather itself, but rich vital, practical, and distinctive. Excellent for class or private instruction, in hope. It is willing to make sacri- Naturally, these material megalomaniacs have in self- as well as an admirable book for self-help. It gives the main essentials of the in fices if it is convinced that they the road to better defense looked real in life the subject a simple, understandable and interesting manner. It is a harmony pave a day. down upon the leaders — boQk "without rules,” presenting, in collocmial language, all of the funda- Chances are, irrespective of the calendar of philosophers, the poets, ministers, the mentals up to and including the Dominant Seventh Chord. Price, $1 .25 your years, the the musicians,

(ArTan ed Geo ; " Vocal and Instrumental ComposMons* ° * ^ * if you are old you are a pessimist, and if you are ypung writers, the artists, the teachers. To the “hard-boiled” Theory and Composition of Music Cannot Weep (Medium £ Voice) , , Teach Me Thy Medalyn„ Philhp 2 you are an optimist. Halfway between are the so-called materialist, all such are pitiable dreamers. Thus, they shut Will (Low Voice) . . Dr. 14 By Preston Ware Orem Allemande (Violin and Piano) iclen Jun Mur: Scotch Idyl (Orean) lenry S Se.wycr 45 “realists” who only too often, in their studied effort “to see their eyes to the imagination of an H. G. Wells when that An admirable book for those seeking a practical knowledge of Harmony as Delightful Pieces Wn.iem ..i Fe.lot: l 6 applied to constructive for Young Players things as they are,” uncanny British and analytical work, for those seeking an insight into Forward, March! prove woefully mistaken because they historian drew fabulous pictures, almost Form and Composition, and for those wishing a knowledge of modulation The Jolly Fisherman J. Th omr.s 47 and other Theoretical details. It aims to continue, in the same plain and leave no margin for divine intervention and human frailties. photographic in their exactness, of just what is happening Little Cuckoo . .Margery McHale 48 practical manner, the studies begun in the Author’s "Harmony Book for Drifting Clouds Elizabeth Hopson 48 in tiiis Beginners.” It also develops, side by side, a knowledge of Melody Writing. They lack imagination—the quality of peering through the war-sick world at this moment. Wells, in their Technic of the Moiu.i Astrid Ratns^y 49 Composition, and Musical Form. Price, SI. 25 telescopes opinion, F Ch° of today in search of better things to come. They was an “impossible dreamer,” or at best a harm- Pm ' ° ' p 28‘ No ' 14 THE ( With Lesson by Dr. Guy Meier) 50 The Art of Interweaving Melodies JUNIOR ETUDE do not seem to realize that the arts, particularly music, less rhapsodist, and probably a little bit “balmy.” Wells MISCELLANEOUS .Elizabeth Cest 68 By Dr. Preston Ware Orem The Organ in America. stimulate the imagination and help the average man to ex- went on with his tales and persisted in making fortunes The Passing of a Great * Alvin C. H" te 6 ’Theorist ibr'(1Jr - This is a first study in counterpoint for PercTWvWGoetschius)V tend his life horizons. Music directs his through them, as the public, students of all ages. The author treats An Easter Program Y . . 8 soul toward faith always curious, instinctively the study of counterpoint as a method of making enjoyable music, not as the I)ar*ces . 8 t Africa H ' C HamU assignment of a group of mathematical problems (Dr. Alhert Schweitzer) in the coming era of liberation from this knows that dreamers are more often that must be solved. Of Drum Hunt . ! . ’ 10 present age of right than the so-called course, a thorough knowledge of harmony is presupposed before taking F and C 10 up this book. horror. “practical, hard-headed materialists.” Price, $1.25 Time Values George B. Thomt n 10 They couldn’t help Two Pins, an ' Elastic Band,' and a Tack' Lula D. Hopkins 12 buying his books. acK - • • Giant industry requires imagination, and great industrial- of Recording on Wire Everett E. Truette 12 Manual Fugue Voice Questions 7 Answered'. James Francis Cooke 24 ists are finding that music, in some mysterious manner, You and we are gradually beginning to see, Organ and Choir Questions Dr. Nicholas Douty 53 through the By Dr. Preston Ware Orem Legends Answered of Niccolo Paganini Dr. Henry S. Fry 55 smoke clouds Violin sharpens the focus of both leaders and workers, pointing of the greatest mechanized war known to man, The student of this Questions Answered Paul 56 book soon sees from the author's explanations and original Making A. Yuravage illustrations that anyone the Most of the PriririnaVU Berkley 57 that in with average intelligence may learn something of Contrary P slon Harold the road to a new and finer life. the end only a spiritualized world, based upon the the Resources of Fugue Construction, Motion in Scale PlaviS? Harry Patterson Hopkins 59 going into Imitation in Two Parts The Etude Playmg Imitation in Three Parts Double Musical Omz Clement 63 ; Counterpoint in the Octave, in the Tenth Band Antrobus Harris Many in the past have not had the rational philosophy philosophy of the Golden Rule, can provide a civilization in and in the Twelfth; Countrapuntal Sequence; Questions Answered Perlee 64 The Fugue Form; The Tonal Letters Charles D. Fugue and How to Analyze from Etude Friends.'.'.'.'.' ; a Fugue. Price, 75 cents William D. Revelli 66 and world-grasp to see straight or to think straight. Their which life may be secure, prosperity possible, and reason- paltry imaginations have been bound by “things”—by able happiness insured for all. Therefore, you champions Theodore Presser MUSIC PUBLISHERS materials, by inorganic stuffs and contraptions, so that they of one of the greatest of arts must realize that in the future Co. AND DEALERS $2.50 a year in U S A onA d (Continued on Page 60) 1712 CHESTNUT ST„ PHILADELPHIA 1, PA. ffy*. Ry**1 * of Honduras Guatemala. Mexico. Nicaracua f foundland, S»i, j $2.75 li a year. Alt other <=“*. ’ ja.JU a year. ^ 3^50^1^Single copy. prlce 25 cents. I

THE ETUDE I ANUARY, 1944 3 : — —

Horton Gould, born in New York in 1913, began to play the Music and Culture Music and Culture piano and to improvise at the age of four, and had his first composition published at six. At eight, he was awarded a scholarship to the Institute of Musical Art; at fifteen, he had

finished his courses at the New York University Music School, tie studied piano with Miss Abby Whiteside and composition with Dr. Vincent Jones. At seventeen, Mr. Gould began his of the professional career with theatrical and concert work. He was The Line’s the Thing! The Lure engaged by "Roxy," appointed to the Music Hall Staff, and later became a member of the National Broadcasting Com- pany. At twenty-one, fortified with a practical and varied Conference with background that ranged from "hot" jazz to classic symphonies, A Rhythm Orchestra Mr. Gould was invited to conduct and arrange his own pro- grams with a large symphony orchestra over the Mutual Net- work. These programs afforded young Gould an opportunity to present his own works, many of which have since been played by Toscanini, Stokowski, Rodzinski, Barbirolli, and others. One Distinguished American of the foremost interpreters of contemporary national life, Mr.

Gould is intensely American in thought, feeling, and idiom. Conductor and Composer His better-known works include A Lincoln Legend, Spirituals, Cowboy Rhapsody, Foster Gallery, and his latest, "Symphony No. 1." A duplication of this score was photo-filmed and sent SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT to Russia upon request of the Soviet Government. At present,

he is arranging and conducting his own program over the there is no more appealing approach to the study effort to avoid repeating a similar mistake. Columbia Network (Wednesdays, at 10:30 P.M., E.W.T.). In orchestra. The Teach good music from the beginning. First of music than that of the rhythm the following conference, Mr. Gould stresses the importance of in the cur- have the children walk to the music as they but of musical designs. Look over the notes of a the living, continuous, inner line and feeling of rhythm orchestra should be included musical form and outlines suggestions for its better under- listen for the corners (ends or piece and see where the line rises, where it falls, the piece, whereas the novice plays only notes. riculum of every kindergarten and school, private phrases) of the standing . Editor's Note. STARTING TO COMPOSE where it curves, and build your basic pattern or public, so that every child may share the ad- piece. When they can feel these corners, have That kind of living thought-transference should Albert Bradford, Jr., four-year-old pianist and composer. according to the shape of the music. basis of all musical performance. The vantages offered by its training, and more effi- them walk in one direction until the next corner be the Among his original compositions in manuscript are Little “One sometimes notices that the best pianistic mere practicing of technical exercises never Miss Bee, Lizard, Lizard, Where Are You Going?, The Little Duck, cient work may result in other lines of study. Dr. is reached, and so on throughout the piece. After I ^ HE FIRST THING for the serious music this particular kind of fluency. It Snowflakes Falling, The Little Gray Squirrel, Little Twinkling Charles Elliot said, “Music is the best mind the different instruments have been taught, the produces Butterflies, and On the G Chord. He has appeared in five I student to do is to make himself under- seems to grow out of the performer’s deter- trainer on the list.” And it has been proved that pupils may think of the phrases of a piece as a public recitals. stand just what he is about. Too many of those who have had musical training take sev- conversation—each group of instruments having mination to make others aware of the us look upon music as mere groups of notes that line the enty-five per cent of all general prizes and their turn in the telling of their part special pattern and feeling and of of the be must ‘performed.’ Now notes are but symbols is best USIC IS BEING ENJOYED today by thou- scholarships offered. story. Phrase recogni- music he plays. And this, to me, the sands who only —symbols of thought, of feeling, of some indi- kind of expression. recently have had the The child must learn tion is important, and vidual expression of life. In performing notes, M opportunity to enjoy it. Each year it is tak- to feel rhythm before learning to hear just ing a more we should really be releasing creative ideas. Seek the Important Notes important place in education because he can play rhythmi- where the breathing Therefore, the ideas should first of the ever-increasing realization of its necessity be our consid- cally. Modern educa- places come will make “How can it be achieved? Assuming that eration—and ideas do not come in neat little in the life of the child and in his preparation tors have shown that the student has enough technical ability to the story more easily performance-units. for citizenship. Now, more than ever, we They come in great, sweep- need the best way to de- understood. The phrase get about the keyboard at all, how shall he ing, structural lines. An architect does not spend musical training which offers an equal oppor- velop is this through is the natural unit of study? I do not believe in reading through tunity for all children, rich or poor, to develop his study-years concentrating on rivets, angles, bodily expression. musical a piece at the keyboard and then selecting meaning. We and joists. He must know about the talent with which God endowed them. in them, to be sure, Work the rhythm must remember that the technical difficulties for further prac- Every child is but the thing he is after is to express structural born with some degree of musi- orchestra supplies this tice. lies deeper diffi- music is a language The core than Anger cal instinct his lines in such a way that the observer is not con- — natural heritage. This instinct opportunity. Here are culties! First, let our student read through and should be taught scious of the rivets, is as deeply rooted as the instinct of speech, and few preliminary angles, and joists that hold a sug- as such. the piece away from the keyboard and find if given a chance will show itself naturally them together. In looking at a cathedral we are as as gestions for rhythm out what it says. What kind of composition that of speech. The little one who is never lulled aware of design, line, and expression. A person training The Child's is it stylistically? Is it classic—of clear, to sleep with a lullaby and never taught who looks at such an edifice only to remark how a nurs- Walking (not march- Imagination visibly sectionalized structure, and positive, ery tune may grow into life’s later responsibil- evenly the corners fit, would be thought rather ing) to music is an ex- straightforward emotion? Is it Bring crea- romantic ities with no appreciation of music. Rubinstein out the odd. The corners have to fit—but the observer is cellent beginning. For with less crystallized, vaguer, more rhap- tive ability of the child said, “The study of the musical language is like aware of them only as details of secondary im- whole notes, step on sodic emotion and treatment? Is it in every possible way. pure that of all other languages. He learns it in portance. The line’s the thing! The same is true who One and dip (in the rhythmic drive less imagi- —with emotion than infancy can become master of it; but at an He has a vivid of music. In considering music we still incline knees) on Counts Two, ‘show?’ The style of the piece is the sole advanced age it is almost impossible to acquire.” nation and enjoys pic- too much to think of details of phrase or tech- Three, and Four. For factor to determine its style of performance turing nature's ele- nic, instead of trying half notes, step on to grasp the full line and One, . . . and a misreading of style is as dis- The Necessity for Rhythm Sense ments such as rain- meaning of the whole work. dip on Two. For quar- astrous as a slip in technic! History provides drops, snowflakes, us with numerous examples ter notes, take a step to “Next, find out clouds, on. Chil- Importance of Piano Playing which of the ability and accomplishment of the young each note. For eighth and so MORTON GOULD WITH HIS MOTHER notes and blocks of notes child. Mozart began pick dren can learn to as- “The music student, therefore, should early to out intervals on the notes, run — taking a are the important, bright accustom himself mean- clavier at the tender age of three, to play little short step for sociate with to work in ear-patterns of every ingful ones. All the notes pieces at four, and at five—when most little folks note, sunshine the pieces human thought. He must provide himself with coordination — the instantaneous and stepping in a piece are not equally are just beginning Kindergarten he began heavier written in major keys. technical skills, of course, but technical skills ability to transfer musical thought — to every other expressive. There are compose. Paganini, after being told of dream note where And if the teacher does alone are not music. His purpose in acquiring his into digital expression is to be a a quarter — transitions, figurations, music skills is to release thought and feeling in tone. his mother had in which the Savior granted her note would come if not call minor found among jazz players! Why? and such, which actually the fulfillment of a prayer that her son should written above BROUGHT UP WITH “sad music,” nine- Thus he must accustom himself to think music. Is jazz a better finger developer the RHYTHM say little. The blocks of The Pike pupils “Whatever other instrumental aptitudes become a great violinist, was so inspired at the eighth. Eventually Sisters. Mary Eloise. tenths of the the than the classic repertory? Not at pianist, age 1( notes that state the S 096 14 it as student may develop, he is wise to study age of five that he began at once to build his make the first step in ’ were bought up will describe the all! The secret,. I believe, is that fhvth™ ' TrheS hu arming thought must be made to musical future. The boy Handel, in whose family each dau9hters of Mr. anc “night,” or say that it piano because of its harmonic value. The piano the jazz pianist plays exactly as measure the ? W P-V ? ^ , ^ of Columbia. South stand out; they must be' Carolina, have the is the only solo instrument capable of no one had ever been a musician, provided us heaviest. y successful is raining, or that harmonic he feels, without working his way public appearances. Mary worked out first, always with still further proof of recerved a and orchestral expression. This kind of expres- what the young child The rhythm orches- superior rating for two sun has gone under through an artificial technical successive ye according to thought Philips the contests of the sion is precisely what the future violinist, and can achieve. Brooks said, “The future of tra is invaluable for National Federation of Music cloud. If we strive to flaut- equipment. You will also find that not according to technical the race marches forward on the feet of little team work. Mental develop this creative ist, and others will most need in ensemble work. a jazz player manages to infuse a obstacles. Then the next children”; and we can just as truthfully say, alertness is imagination in the The piano was my first instrument and I am feeling, a verve, a living conti- quickened, since ear, eye, and hand of Music child from his early eternally grateful for the musical important expression- “The future marches forward on the of each player must work together. study of music, we shall be insight it has nuity into his playing that falls Pupils must establishing lines feet of little children.” keep absolutely in for him a priceless and lifelong afforded me. The ‘trick’ in piano playing is not to away entirely when an average must be worked out, unison, thus acquiring accu- It is of great importance that a good feeling racy of attack and possession. regard the instrument as one of percussion. The pianist reads the jazz notes and regardless of whether release. A tardy chime from for rhythm be established early in the life Children should piano sing. It build long, they stand of a the bells or triangle, or a belated crash start playing with substantial must must flowing, con- reproduces only and exactly what next to the from the instruments child, for it puts him in harmony with the per- cymbals, is heard so clearly that in simple ways. Instruments made of tinued musical lines. I find satisfaction in think- those notes indicate. The reason first .group on the printed the perform- good Playing Tone Clusters petual rhythm of the world around him. And ers, in their material will last more ing, not in terms of individual notes to be ‘struck,’ is that the jazz player reproduces embarrassment, make an longer, will be prized as in Ravel's Bolero page. Then, gradually, earnest highly and handled ( Continued on Page 58) 4 "FORWARD MARCH WITH MUSIC’’ jANUARY, 1944 "FORWARD MARCH WITH MUSIC’’ 5 THE ETUDE — ,

given by the Lord Bishop of lieved to be the one Music and Culture developing. This is especial y Music in the Home that our youngsters are Ireland to Trinity Church of Newport in communities, whei e music Cloyne, true in small and even rural was able to e Later, when that church buy a worked for—not just a pastime to 1733 is a thing to be one was presented to Ha. . this the exchange for an admission to Carnegie better instrument, had in The organ used ORCHESTRA OF THE which the young American mu- Portsmouth congregation. by The chief thing for CASINO DE LA PLAYA, think work the details. This kind of off of pieces (1765-1834) when composing the out and out sician must strive is not a mere rattling Oliver Holden and meaning more clearly broad grasp is HAVANA. CUBA study emphasizes structure with a minimum of technical error, but a Coronation and other hymns, now in the Old and more interestingly than a measure -by-measure colors and pulsings that make of the various lines and State House, Boston. This was one of the first Latin- process that takes the notes as they come, regardless music mean something. Fortunately, orches- the structure of There are two claims as to the first organ made American popular music of their meaning and value. an ability to do just tras to the he is showing a willingness and these organs were made in the achieve success in and in- in America. Both “This study of musical line and structure is im- this. That is why the outlook for the creative States. It later formed the basis one by Matthias Zimmerman of Phila- mensely important to every young musician, what- terpretative future of American music is a heartening year 1737; for Xavier Cugat's orchestra. other by John Clemm, who was Seated on the drum at the right ever his instrument. Today’s students will be to- one.” delphia, and the morrow’s musicians, and posts in orchestras and radio born in Dresden in 1690 and went to the United is Miguelito Valdez. studios will be waiting for those who know their States in 1736, settling in Philadelphia. He business. first thing they need to know is that The learned the art of organ building under Andreas radio has revolutionized the performance-equipment The Organ in America Silberman, a great German organ builder. He of the orchestral player. He must specialize in ver- was engaged to erect an organ for Trinity Church, satility. In one day he may take part in a Brahms 1739. He built a three-manual in- symphony, accompany a torch singer, take the solo MLn C. WU New York in strain in a sentimental folk-air, and read off the strument, containing ten stops on the Great, ten manuscript score of a new American suite. He must T WAS NOT UNTIL the year 1700 that the first on the Choir, and six on the Swell. It is likely stylistically perfect in all. For own radio pro- be my pipe organ arrived in America. It was installed that the stops did not run through and that the gram, for instance, I have a single, four -hour rehearsal I in the Episcopal Church at Port Royal, Vir- Swell manual was of short compass. Nevertheless, on the day of the ‘show,’ in which varied types of TITO GUIZAR ginia, where it remained until 1860; then it was the instrument was large for those days. We are new music must be worked up from an almost sight- Familiar in luxury hotel dining rooms, on radio moved to Hancock and later to Shepherdstown, told that it had a “fontispiece of gilt pipes and reading start to a polished finish. After those four programs, in more than half a dozen films, and was otherwise neatly adorned.” hours there is no more rehearsing, and the program West Virginia. on records, he is a Mexican capable of singing must go off perfectly that night. Mere fluency in blow- The famous “Brattle Organ” of Boston was When Irish Eyes Are Smiling with as much convic- Interesting Facts ing and fingering can never provide the requisite pro- named after Thomas Brattle, who willed the tion as he does Rancho Grande or Cancion de Amor. Your Good Neighbors’ Music ficiency. Each of the men must be musically sure. organ to the Brattle Square Church. Mr. Brattle In 1745 Edward Bromfield, Junior built an musician of familiar- Thus, the serious tomorrow must was a Boston merchant and an amateur musi- organ in Boston, copied from an English model; ize himself with as many styles and ‘schools’ of music cian who was born September 5, 1657, and died and in 1752 Thomas Johnstone, also of Boston, as he can. He must absorb not only the conventional Tribute to Latin America in Boston on May 18, 1713. With just two class- constructed an organ for Christ Church the A classic repertory; he must be able also to read, feel, mates he graduated from Harvard College in and express all contemporary American music. Jazz, famous “Old North” from whose tower swung the for instance, is important as a contemporary idiom. 1676, and was treasurer of the college from 1693 signal lanterns (“one if by land, two if by sea”) Even if he is not sympathetic to it, the professional until his death. In his will, probated May 23, 1713, which warned Paul Revere of the movements of musician realizes that jazz is here and that he must he bequeathed his organ: “Given and devoted to the British soldiery and precipitated the shot L^lZc. WoLL, know how to handle it. As he develops professionally, the glory of God in said Church (Brattle Street) heard around the world.” This instrument was a the American musician will use more and more native if they shall accept thereof and within a year small affair of only a single manual and some five works, and these will become more and more dis- after my decease procure a sober person that or six stops; however, it was a pipe organ. Lititz, tinctly American in idiom. Thus, this American idiom can play skillfully therson, with a loud noise; Pennsylvania has a pipe organ built in America must be learned. ORTH AMERICANS are beginning to learn understand our neighbors better has revealed otherwise to the Church of England (King’s in 1765. The organ in “Old Peach Church” near "We know that notes in a score are but symbols at that Brazil produces sambas as well as that Latin music is rich in variety and melody. Chapel) in this town, on the same terms and best. We know that a Brahms triplet is not played Mechanicsburg, Pennsylvania, which had six stops N coffee, that Cuba has turned out rumbas conditions; on their exactly like a Mozart triplet—it is always taken on and non-acceptance or dis- and three hundred pipes and installed in Americans Learn was in addition to sugar, and that Mexico’s canciones Spanish Music continuance to it as before, I give the broad side, in the Brahmsian idiom. The Ameri- use the same to 1807, is still in use. The organ of Boston Music are as important as its tamales. Not so very many years ago North Americans idiom has its own style just as the Classic and my nephew, William Brattle.” can Hall, dedicated November the first 2, 1863, was seem to be gained most of their concepts Romantic Schools have theirs. Too many of our rank- Brattle Street Church voted July But in learning this, we of the north and knowledge of on 24, 1713: organ of concert proportions in America. this the varieties of dances and Spanish music from listening to the ing performers are still unaware of pulsing, de- “We do not think it proper to use confused by many composi- said organ in The first American organ builder to become veloping, American idiom. That is why many new the public worship of God”; songs with such similar names as son, samba, tions of Spain (and the music that came through but the instrument noted as such was William native works are not given a fully understanding per- M. Goodrich who was son, and Spain) or the results of was formally accepted and erected in 1714 by zamba, conga, rumba, afro-cubano , transplanting that formance. For instance, jazz often makes use of a born in 1777 and settled in Boston in 1799. where King’s Chapel, with Mr. Edward Enstone, an Eng- bolero-son. music to the Spanish-speaking countries of this dotted eighth note and a sixteenth, in sequential ar- he began the business of in organ construction hemisphere. Songs like Granados, lishman of Tower Hill, London, coming in 1714 Jose Jose’s Cuban Rumba Boys, newly arrived La Paloma, and rangement. Idiomatically, these are played more like 1805. In 1827 the brothers Elias and George G. as organist at thirty pounds a year. Mr. at the El Pacito Club, may play five Latin Princesita were popular. Here we cared much a triplet—like a quarter note and an eighth bracketed Enstone, Hook (the eldest of whom, under an apprentice- northern ears more for that music than we did for the native under a 3. Many American rhythmical structures must in addition to his salary, had other “advantages rhythms in a row, and to some ship which began at the age of fourteen, learned be performed less according to the form of their outer as to dancing and music,” and when he arrived CARLOS RAMIREZ they will sound involved because in each the rhythms of Latin America, not many of which his trade from Goodrich) began the manufacture rhythms than to the inner pulse that builds their he duly opened not only a music shop, but also a Latin-American baritone heard frequently on maracas, the claves, the bongo, and the cuatro we had heard. of organs on a scale which opened era in pattern of feeling. And these patterns must be recog- dancing school. a new radio, represents the classical and light opera will be played along with a saxophone and other But with the coming of fascism to Spain, the American organ building. nized! This firm afterwards music of the good neighbors to the South. Yankee instruments. Carmen Carmencita, the effect of that political philosophy upon culture became the famous Hook “Human emotions are fixed, but their expression A Wandering Organ and Hastings Company, blazing Uruguayan heat wave, may sing several was the same there as in Germany, Austria, varies according to time and place. Beethoven, Wag- which was to rank among the oldest and best The organ remained in use in King’s Chapel Latin numbers, but some ears will not realize Italy, and other totalitarian lands: very little ner, and Tschaikowsky all express love in different organ building concerns in the Samuel until it purchased world. that when she races through Bambu-Bambu she but propaganda music was written. Then the war in an American work would was in 1756 by St. Paul’s ways. The slow movement Wakefield, D.D., L.L.D., who great-grand- Church, Newburyport, was a is not singing of her country but in Europe gradually made cultural exchanges, conceivably have a ‘Blues’ cast; in a Teutonic work where it was used for father the music own of Dr. Charles Wakefield Cadman the even in Brahms—it might take the line of a student eighty years. It was next purchased by St. John’s a Portuguese song from Brazil. such as might be made through music and liter- composer, was the builder of organ student who hopes to play professionally Church in Portsmouth, the first pipe look, accompanied by listen, if there is ature, increasingly difficult. We Norte Amer- song. The New Hampshire. In 1901 the But a a m United States west of the Alleghenies. must learn to feel, recognize, and adjust to all the the instrument was taken to Boston and placed a radio or a phonograph handy, will show that icanos being cut off from Spain, then were urged A few years previous various musical idioms. on exhibition with other musical to the signing of the Dec- Latin dances, songs, and instruments are not as to know our southern neighbors better because instruments in laration music is not homogeneous. It roots in of Independence, “American the new Horticultural Hall. three organists arrived are some basic we must unite for hemisphere defense. The instrument is fiom complicated as they sound. There sources that run from break-down tunes to hill-billy England and became prominent in the mu- now in use at St. John’s Chapel on State Street, instruments, general dance forms, and common Latin-American bands obtained contracts here; airs, to Negro strains, to songs of rebellion, to grand sical life of Boston. As Portsmouth, New Hampshire. No one remem- early as 1771, Josiah Flagg fundamental rhythms that unite the music of the Latin singers gained better spots on radio pro- and moving music of the soul. None of these is more played a concerto bers who built the organ, for organ there, and William some of our composers studied the Latin -American than the others—all must be recognized but it was imported two dozen Latin-American countries from Mexico grams; e y, then organist of Thus, the American musician must acquaint from England and was first installed in the King’s Chapel and one down to the Straits of Magellan. rhythms and produced convincing rumbas and and felt. home o he best of musicians of his frequently himself with the complex sources (many of them Mr. Brattle. The exact date of its original day, It wasn’t exactly necessary for a war to come congas. - Then we realized that not only the Played the organ concertos rude) of his own music, as well as with the sources installation is not known, but under the of Handel at impor- along to make North, Central, and South Amer- Spaniards but also the Latin Americans had date of e ents ’ It that enabled Brahms to grow out of Beethoven, out May 29, 1711, the Reverend Joseph is also recorded that William musically, too, especially to our Green notes in m h J. icans a little familiar with one another’s music. something make Palestrina. Musicians in America gave an of Bach, out of his diary: “I was at Mr. Thomas orSan recital in 1796. Even feet move irresistibly. Juan Arvizu, Xavier Cugat, Brattle’s; heard with United States jazz long has been a favorite in the should be fully, aware of American music! the scarcity of organs an ye organ.” It might be added that by 1790 the in this period, warm countries, and the Latins’ tango, maxixe, Tito Guizar, Carmen Miranda, Olga Coelho, “Happily, they are becoming just that. Some of e oi was evidently Brattle Street Church had become made to create a desire for or in the North Carlos Ramirez, and other singers, dancers, and recollections go back to the days, before this so worldly as and bolero were sung danced my best good music and to to import from England an organ for regard the organ as a solo true, have neglected Latin musicians introduced us to a richer musical war, when I was privileged to act as a guest conductor “use in a instrument. decades ago. We, it is limited way.” for a number of college and high school orchestras music completely for children. Not one of our menu from their countries. Leopold Stokowski, °r BAND In the historic ns t0 the number FEATURED SINGER WITH XAVIER CUGAT'S and bands. This experience convinced me, thrillingly, old Christian Church of Ports- of 1,695 and valued English books of world music contains a Latin- returning from a trip to South America with his 213P Miguelito specialty of ’ 460 ’ W6re Valdez makes a of the sensitive understanding of their own music mouth, Rhode Island is an organ which built in the United states American composition. But the recent rush to Youth Orchestra, discovered the compulsions of is be- in 1929 satirical and romantic Afro-Cuban songs.

6 "FORWARD MARCH WITH MUSIC” JANUARY, 1944 "FORWARD MARCH WITH MUSIC” 7 THE ETUDE ) — —

(1929) ; “The Structure of ters of the Symphony” Mu- Music and Culture interpreting the ( Music and Culture addition to these he wrote *RE YOU INTERESTED in sic” (1933). In a large including Z\ music of Bach as the old master himself number of musical compositions, a symphony, also edited Then listen to the harpsichord! two concert overtures and a representative intended? The Passing of a Great Theorist including his famous are concert pianist, a music Latin rhythms in Brazil and saw to it that two albums group of musical works, “Analytic Whether you a of records were made of some native songs that now, Symphony Series,” in which forty-three symphonic teacher, or simply a member of the great army of American musicians under one title or another (sometimes as direct as HE CONTRIBUTIONS compositions arranged for piano solo, are exhaustively of music lovers, you are aware that Bach is one books upon theory, Brazil can to the world library of and analyzed. This work alone would be , be heard any night on your eight-tuber. annotated a of the immortal “three B’s.” The American pub- Harpsichord harmony, counterpoint and composition, have Listen to the Most Latin-American nations have developed their T monument for any man. keenly alive to becoming more American gifts lic is gradually own instruments, been especially notable because of the loyalty and continuous critical and all our Spanish neighbors, like Dr. Goetschius’ in- the beauties of seventeenth and eighteenth-cen- for practicability and simplification. By no means can persons of Latin blood anywhere in the world, are in The Etude over a course of many years, have terest is more logical than the it be said that all of our theoretical books are excel- tury music. What then musical. Four major veins, musicologists have noted, source of great encouragement for which we Understanding of the Harpsichord Means Improved Per- the been a appreciation of this music run through lent. Some indeed are very weak and represent idea that a deeper Latin-American music, in terms of na- have been most grateful. Though never a student of Eighteenth- ambitions of immature and inadequately experienced will be gained by an understanding of the harp- formance on the Piano of Seventeenth and tional or racial characteristics: Indian, Spanish, Portu- Dr. Goetschius, in the ordinary sense, your Editor minds. However, it must be said that our theoretical sichord, the instrument for which it was written? guese, and African Negro. Purity is only relative. The would be very unappreciative if he did not here ac- Century Compositions Especially the Music of Bach works in general do not suffer from the abstruse at- wishes to be intelligent differences, however, sometimes depend upon climate. knowledge, personally, his high appreciation of the The musician who tempts at exposition of fine musicians, capable of beginning Sunny Brazil and dull -weather Colombia are reflected fatherly counsel, shrewd wisdom and affectionate about keyboard literature from its musically in the expressing themselves gloriously in notes, but some- material written for outdoor fiestas esteem of this famous leader in the field of musical must gain a few important concepts about the An Interview with in each country. This what hopelessly in words. does not make the music of creation. In a birthday greeting letter to the Editor instruments for which it was written. It may be Brazil better than that of Colombia, but only different. Dr. Percy Goetschius, whose death on October 29, of The Etude, couched in his ever kindly, fluent Eng- freely admitted that music from the time of Being a nation of dance lovers, we North Americans 1943 at his home in Manchester, New Hampshire re- lish and marked with the unaffected and independent Beethoven on, which may be approximately also were delighted to find that our neighbors write moves one of the greatest figures in the international sincerity which comes with great age, he wrote: l^yjanette WarUe field of labeled nineteenth and twentieth-century music, much of their music for the sake of dancing to it. of music theory, will be mourned by an army “Please accept heartfelt congratulations from your harpsichord. And millions of North Americans also have been pupils and admirers. Dr. Goetschius attained the noble could never be reproduced on the Director of Music, Milwaukee Downer College old comrade, on the advent of another milestone on dancing to it ever since the discovery was made and age of ninety and has gone to a well-earned rest after Such music demands the range of dynamics and your most beneficent and successful Road of Life. Our popularized. a life especially rich and productive of notable stu- tonal colorations made possible only by use of correspondence has not been, as lively as in former It is possible for Norte Americanos to hear records dents. Fortunately he has left a monument of able the sustained pedal of the piano. On the other SECURED EXPRESSLY FOR THE ETUDE BY JOSEPHINE PURTELL years, for sometime, but I can assure you that you or use printed music of more than two hundred of the books explaining the mysteries of musical composition. piano cannot give the fundamental have been often in my thoughts, and always with hand, the counted hundreds of song and dance forms of Latin Dr. Goetschius was born at Paterson, New Jersey, most of composer like Bach, but the harpsi- kindly reflections. Once, at least, each I concept a America. But there are many varieties about which August 30, 1853. When he was twenty he entered the month see chord can—for the simple reason that the music we know nothing. Nelson Rockefeller’s Stuttgart Conservatory where he was a pupil of Lebert, your name and read your inspiring editorial lines in organization in seated for the harpsichord. This does not Manette Marble, Director of the Music Department of Milwaukee Downer College, is shown here Washington, the Office of the Coordinator of Inter- Pruckner, Faiszt and Doppler. In 1876 he took the our Etude—and that is something. No one can regret was written played on the piano. at the harpsichord she played in Bach's "The Passion According to Saint Matthew," presented in Mil- American Affairs, has a little job on its hands, if it place of Faiszt teaching the English classes. In 1885 more deeply than myself that my diminishing eyesight mean that Bach cannot be waukee by the Arion Musical Club, Sunday, May 28, 1943. Miss Marble became interested in the harpsi- wants it, in letting us Yankees hear some of the though not serious, and the increasing infirmities of It means that a more accurate and richer inter- chord seven years ago while studying for her degree at the Royal Academy of Music in London. native music of Costa Rica, Honduras, El Salvador, advancing years make it impossible for me to write pretation of Bach and other seventeenth and Haslemere, Surrey, and Nicaragua, four nations whose music no one has the many things I would like to present to our read- eighteenth-century composers will follow an Friends told her of the Dolmetsch festivals held every summer in the tiny village of featuring old music played on harpsichords, clavichords, viols, and recorders. troubled to record commercially or put in printed ers. We must take Life as it comes." understanding of the harpsichord. form on sheets for use here. “What a versatile genius you are, and what a glori- studied Renaissance and Baroque music at the harpsi- There are three reasons why old music is best Upon her return to the United States Miss Marble ous contribution you are always making to a better chord with Miss Telia Pessl of Columbia University. Miss Marble ordered a small instrument from the interpreted on the harpsichord. The instrument country, Mr. John Challis of Ypsilanti, Michigan, who had learned A Paradox appreciation of Music ! May the good Father strengthen only harpsichord manufacturer in this gives a better concept of tone, of concerto form, your arm, and lengthen your days! his trade from Mr. Dolmetsch. Later she secured a larger instrument, an original Dolmetsch rebuilt by Of these two hundred song and dance forms, at quality of this type of music. “Your and of the rhythmic Mr. Challis. These two, and another owned by a collector, are believed to be the only harpsichords in least fifteen are popular in two or more Latin- devoted old friend and co-worker, Wisconsin . Erstcr's I'-Icte. Percy Goetschius.’’ working condition in the state of American countries. Paradoxically, the most widely A Vastly Different Concept sung and danced of these forms are almost unknown from the instru- in North America. The bailecito (“little dance”), for The tonal concepts derived a couple or many couples in groups, is popular in ments prevalent at the time of Bach are not being indicated by figures beneath the bass part. Bolivia, Uruguay, and Argentina, as is the estilo, an easily understood at first, because the modern The plucked string of the harpsichord produces This be harpsi- Argentine pampas song. The pasacalle is common in concept concerns volume—large-tone qualities. what has been called a “dematerialized” tone. harmony would played on the Bolivia, Ecuador, and Peru, as is the yaravi or harahui, An Easter Program There is a constancy of dynamics within chord in a simple, harmonic style of chordal ac- a type of sorrowful music which we would call a blues a given register as compared to the companiment which filled in missing parts, acted or torch song. This can be heard almost anywhere on such as mod- as the motor impulse for the rhythmic movement d. -J-lam'tluon more pliable instruments the continent. Argentina, Brazil, and Chile, the ABC ern strings, woodwinds, and the piano. of the music, and blended together other instru- countries, as well as Uruguay, have a liking for the The harpsichord has a clear, crisp, ments that might be used in playing improvised tonada, a rather general name for any local song. OME FEW years ago, when contemplating brilliant tone as distinguished from the parts in the accompaniment. This style of com- Yet the rumba, son, conga, and samba, the leaders what music our choir could present at position and manner of performance continued in the United States, stem from two countries only, S more diffused tone quality of the piano Easter, I became possessed of an idea which, although they are heard in many first the sustained wind sonority of the through the period of Bach and Handel and into now. The three while a little out of the ordinary, proved not only or are Cuban; the samba is Brazilian. This popularity is organ. In contrapuntal music, melodies the time of Haydn and Mozart. Bach, however, satisfactory but exceptionally effective. This par- explained by greater adaptability to North American on top of another may be heard indicated very clearly in his scores the melodic ticular congregation always expected the Halle- one taste and by commercial selection. parts to be played by other instruments along lujah Chorus much more clearly on the harpsichord Yankees probably have responded more enthusias- at the Easter season, and I deter- than on the piano. Then too, piano with the vocal, or solo part, and the basso con- tically to the rumba than to any other Latin musical mined the people would not only get their wish, action is not quick enough for the tinuo. form because it has a relationship to African music, but would hear the grand old a new DR. PERCY GOETSCHIUS chorus by contrapuntal already popular in Yankeeland. rhythmical accents of Clothilde Pujol, a approach. To do this, I took a slight liberty, A Recent Revival melodies and for the best interpreta- Cuban musicologist, in digging into the origin of the chronologically speaking, with Handel’s oratorio; revival of interest in old music and con- rumba, points out that in its original form it was he received what was then an extraordinary tion of the little turns and trills found The distinc- but the end certainly justified the means. brought into Cuba by Negro slaves about three hundred tion for an American, when the King of Wurtemberg in this old music. sequently in the harpsichord is a comparatively As everyone who is familiar “Messiah” years ago and then combined with Spanish forms, appointed him Royal Professor. For a time with the under- recent thing. It began in Germany in the latter he was a knows, The concerto form may be particularly the music critic on German the composer has written, in Part III, four Andalucian. In its crude, original papers. In 1890 he went to stood by a consideration of Bach’s part of the nineteenth century and spread to Syracuse University as extremely short choruses begin- pattern the rumba was danced with a bacchanale at Professor of theoretical subjects in succession, Here England about 1900. In the United States interest ning well-known “Italian Concerto.” its end; today it has been so theatricalized, Miss Pujol and advanced pianoforte playing. The University with Since by Man words con- Came Death. The principle, with its was shown only by collectors until about ten ferred the of the baroque concerto points out, that it no longer is true Cuban music. degree of Doctor of Music upon him two Paul’s argument on the resurrection are fol- full orchestral passages and years ago. Just what are the differences years later, when he left alternating between the samba and to head the Department of lowed, until we are told Christ that “Even so in passages, be well inter- The most important writers of harpsichord zamba, the conga and rumba? Musical Composition at the New England shall softer solo may Conserva- all be made alive.” This fourth chorus is The samba, as Walt Disney’s film “Saludos tory of Music. In 1905 he preted on the harpsichord with the literature, besides Bach, are his contemporaries Amigos” became head of the theory minor throughout; and beginning in D minor with Handel, Couperin, Scarlatti, and Purcell, and has helped to make more clear, is Brazilian. The composition department of the N. Y. Institute tutti effect on the lower keyboard and — of a modulation to, and minor. music of that country is considered the most varied Musical Art (Juilliard Foundation) a conclusion in, A the English composers who preceded him, such and retained this the solo effect on the upper keyboard. In the days of Bach in among the Latin peoples. This may be because not position for twenty years. and Handel, movements reason old music is as Byrd, Bull, and Gibbons. The manuscripts a The final why only Spanish, Indian, and Negro compositions have His published theoretical minor key were frequently the works include: “The Ma- terminated by best interpreted on the harpsichord is of some of these composers have only recently found a place, but also because Brazil is a Portuguese terial Used in Musical tonic major chord. Composition” (1882 • All students of Bach’s organ 1889 1914 i that the plucked string gives a rhyth- been rediscovered and published. Until the pres- country, and the music of that European nation has “The Theory and Practice of Tone works will find many Relations” (1892 examples. quality that the hammered string ent war broke out, musicians obtained the best survived. Only Argentina has more different 1916) “The mic types of ; Homophonic Forms of Musical Here then is Composi- what I did: on the second syl- clearly felt, editions of this type of music from Europe music and dances (some going back to before tion” (1898) does not. The accents are the Span- ; “Models of the Principal Musical lable of the Forms” last “alive,” I asked the tenors to percussive quality allows the Bach from Germany, Scarlatti from Italy, Cou- ish conquest) . In Brazil are acalanto, and the the batucada, (1895) ; “Exercises in Melody • Writing” (1900) “Ad sing C-sharp, thereby major batuque, clioro, chula, coco, congada, cururu, desafio, plied Counterpoint” finishing on the music to carry on the rhythm. Seven- perin from France and England, and the com- (1902) ; “Lessons in Music Form” chord of A. Then, embolada, frevo, jongo, lundu, macumba, maracatu, (1904) without a preamble or intro- composers would often positions of early English music, naturally, from ; “Elementary Counterpoint” (1909) teenth-century ; “Essentials duction of marcha, maxixe, moda, modinha, recortado, mineiro, of Music History” any kind from the organ, the entire American publishers are now (with Thomas Tapper, 1913 “ write only the vocal solo and a bass line English publishers. ) The chorus followed samba, and toado. ( Continued on Page 52) Larger Forms of Musical up with the Hallelujah Chorus, the Composition” ( 1915 called the basso continuo, the harmony beginning to meet demand. ) ; MARBLE “Mas- m the key of MANETTE D major. ( Continued on Page 51) 8 "FORWARD MARCH WITH MUSIC” "FORWARD MARCH WITH MUSIC” 9 THE ETUDE JANUARY, 1944 — — —

that, dur- Music and Culture It is a very fine compliment to our readers Drum Hunt Music and Culture spare ing the war pressure, they have been inspired to musician, a little from their means for a rare fellow engaged D. FRESCOLN, noted who has felt that the labor in which he is r. LEONARD ortho- material The first literary reference to a harpsichord is in and for which he gladly is making great pedic surgeon of the medical faculty of the ‘‘Rules of the Minnesingers,” published in 1404 by support. Pennsylvania, makes sacrifices, is worthy of their D University of a hobby Eberhard Cersne. The identity of the inventor is un- Dr. eminent Episcopal clergyman, Karl Reiland, of music. He is President of the famous Choral known, but we know that the keyboard is a Western formerly rector of St. George’s Church in New York Society of Philadelphia. His musical initiative led invention. The harpsichord was first used for opera City, writes of Dr. Schweitzer: Among the Composers to the formation of a group of accomplished in Florence in 1600 and for oratorio in Rome in 1600. “How comes it that one of the world’s greatest players at the University of Pennsylvania known The influence of the opera on church music was re- scholars—doctor, scientist, philosopher, theologian, or- sponsible for “Professional Men’s Orchestra.” This group music lover naturally interest and curiosity concerning the use of the harpsichord in dramatic ganist, lecturer, author—goes from Alsace to Africa, as the Every has a keen by religious music of 1600 and 1700. At the time of Bach from a great European university to the Equatorial of thirty is now conducted Gordon Kahn. the lives of the composers whose works he plays. The Etude has had in the harpsichord had great importance. The conductor hospital and devote of men in other professions primeval forest, there to found a Orchestras composed preparation for a long time a series of articles about these present-day sat at the instrument and directed the singers and his accomplished life as physician and surgeon among becoming quite usual in big cities. Chicago are and recent writers whose compositions are widely performed. We also the orchestra, which was then basically strings. this extraordi- sick and suffering Negro tribes? Who is had its famous “Business Men’s Symphony Or- The harpsichord declined in popularity after the heroic man have asked these composers for an expression of personal opinion upon nary, many-sided man, this humble and Milan, Italy had a large orchestra middle chestra,” and of the nineteenth century chiefly because the who forsakes a thrilling career in Europe to heal compositions in general, and these timely contributions will be printed composed of physicians. keyboard music written by Mozart, Beethoven, and natives Trader Horn coun- on the River Ogowe in the from time to time in this newly inaugurated department . Editor's Note. Dr. Frescoln elected to play the tympani, but composers of the Romantic period demanded the try? Well, read his own remarkable story, ‘Out of My piano for the range of conditions, the orchestra was un- dynamics and use of the pedal Life and Thought.’ You will not easily lay this book owing to war for combining tones. to developments instrument. Due in orchestral aside. You cannot read it without being fascinated able to get more than one One kettle music, the harpsichord was longer no needed as a by the matter and becoming an admirer of the man. drum is about as useful as one-half of a pair blending or rhythmic instrument in the orchestra. Ada Richter “You w'ill read of various great tasks all well done. of scissors. It was possible to secure one tympani Those have who heard the harpsichord over the You will find Albert Schweitzer the university pro- through a sale of old instruments, held by the Lessons for Housework radio but have never had an opportunity to see one fessor and lecturer: the musician, playing organ re- Department of the United are interested to know what the instrument Quartermaster States looks like. citals in London, Paris and Berlin; the doctor among The outward form of the modern grand Army. However, this copper drum was of the type * DA RICHTER is one of the most successful of piano differs his patients in Strasbourg and Africa; the preacher in no essential respect from that of the used in a cavalry band, in which a tympani is present-day writers of teaching material for harpsichord. and the pastor; the author, writing epoch-making The latter may be found in different sizes, the harness on each side of the ^ some quite books on Jesus and Paul, on philosophy, on Johann hung on horse’s -^children. Equally successful as a teacher of small, with only one keyboard of four-octave range. Sebastian Each and his music; the expert on organ head. The scarcity of copper made it impossible young folks, her very busy and happy studio has The description of Bach’s harpsichord, preserved in a MRS. H. H. A. BEACH construction; the authority on comparative religions. to secure another such instrument from a dealer, been both the inspiration and the proving ground German museum, corresponds very closely to one of “See him—at medicine and surgery—taming the and therefore Dr. Frescoln was put to his wit’s for much of the material which has come from the instruments in the music department of Milwau- jungle—charring logs for hospital construction—pris- end to get another tympani. pen. kee Downer College. This instrument H. A. Beach her has two key- oner of war, with Mrs. H. his brave wife, doctoring fellow- Then he thought, “Well, what is a kettle Philadelphia boards, like an organ, with five octaves each. When drum Mrs. Richter was born in and prisoners—receiving degrees in England and Europe a key is struck, a little wooden jack plucks the steel but a kettle with a drum head fastened to it?” began her musical training at an early age. Later —making journeys of mercy among Negro Tribes “The World Cries Put for Harmony" string with a leather quill called a “plectrum” to pro- Where could he get such a kettle? Then he re- she studied under Camille W. Zeckwer, Leo receiving the Goethe Prize at Frankfort—practicing duce the sound. There are three sets of strings, con- membered the copper kettles used for making Ornstein, and Alfred Richter (to whom she is trolled by six pedals. In this way there are a number apple butter in the Pennsylvania Dutch districts, -|» irRS H. H. A. BEACH, distinguished Amer- married). For several years Mr. and Mrs. Richter of combinations for varying the tone and dynamic ican composer-pianist, was born in Hen- an annual rite which requires that this delectable I have conducted a most successful school of music power. What would be the white keys of a piano are IV article* should be stirred constantly while it is niker, New Hampshire on September 5, in Merchantville, New Jersey. black on a harpsichord. This is an old custom nobody 1867. At a very early age it was seen that she can explain. kept over the fire for two or three days. Apples, In addition to a number of widely used original was gifted with unusual musical talent. Before Musicians who are fortunate enough to have access cut into pieces or “schnitz,” are cooked in cider piano pieces and arrangements, Mrs. Richter has she was a year old she was singing little songs; to a harpsichord will find it an invaluable aid in per- until they have the consistency of jam. Dr. written a number of books that have attracted fecting their techniques of interpreting old music. Frescoln made a visit to a country sale and at four she was playing the piano; and at the much attention in the field of music education These instruments are in various colleges and uni- bought just the kind of kettle he wanted; and age of seven she gave two recitals. At seventeen for young folks. Included in these are “Kinder- versities throughout the country. An annual Bach now, as he bats out tonics and dominants by she appeared as soloist with the Boston Sym- garten Class Book”; “My Piano Book”; “My festival is held at Baldwin Wallace College at Berea, Haydn, Mozart, and Beethoven, he thinks of the phony Orchestra. Her first lessons were with her First Song Book”; “Cinderella”; “Play and Sing”; Ohio. If you are so situated that you cannot use an gallons and gallons of apple butter that once mother, a talented singer and pianist; and when “Jack and the Beanstalk”; “Three Little Pigs”; instrument to practice, try to hear artists on tour. were in she was eight years of age she went to Boston Book”; “Christmas Carols”; There are from time to time regular radio programs made one of his drums. “My Own Hymn to study with E. Perabo and C. Baerman. She featuring the harpsichord, offered by the different “Poems for Peter”; “Let’s Stay Well”; and a was practically self-taught in counterpoint and networks. Whenever and however you can, listen to clever, easy arrangement (with the story) of the the harpsichord! You will be richly rewarded. instrumentation. She had an extensive concert “Nutcracker Suite” by Tschaikowsky. career, appearing in all of the large musical One of Mrs. Richter’s “human interest” ex- centers of America and in many of the large periences is related here. cities of Europe. Following her marriage in 1885 “Many people are still of the opinion that the F and C to Dr. Beach, her concert appearances became less frequent and she began to devote much time to composition. In 1892 her first large work, a A Master in Darkest ay Ujeorge IS. ZJhornton “Mass in E-flat,” was completed. A Festival Jubi- late for chorus and orchestra was written in 1893 CARL WILHELM KERN ERE ARE for the dedication of Building at Africa two of the most interesting notes the Woman’s in music, F and C. Their position on the the Chicago’s World Fair. In 1896 came a “Gaelic H jpiano Symphony” for full orchestra, played which was keyboard is such as to arouse curi- Carl Wilhelm Kern N ANOTHER DAY and generation, Dr. Albert osity, F being at the left of the three black keys by the Boston Symphony Orchestra; and in 1900 Schweitzer, physician extraordinary, and I theologian, C at the left of the two black keys. They are she wrote a “Concerto in F-sharp minor,” for “Inspiration Must be Encouraged” missionary, and one of the world’s finest organists, found at the upper end of the tetrachords piano and orchestra. A Panama Hymn was writ- would be a candidate two for canonization. Dr. Schweit- that in 1915 form the scale of C, as the illustration will ten for the Panama-Pacific Exposition PROLIFIC COMPOSER of piano teaching zer readily might have the choice of occupying any show: at San Francisco. A “Sonata for Violin and material, Carl Wilhelm Kern was born at one of a thousand important and remunerative posi- Piano” was given its first performance in Paris A Schlitz, Hesse-Darmstadt, Germany, June 4, tions in America or Europe. He elects, however, to give DR. ALBERT SCHWEITZER Ex 1 her his time to his hospital in the heart of darkest Africa, by Eugene Ysaye and Raoul Pugno. Among 1874. His father, a composer and organist, super- where, in a sweltering climate, on his piano (equipped with smaller works deserving special mention are these vised the early instruction of his son, who later he is aiding vast num- organ pedals) late at bers of natives, and fighting night on the edge of the pieces for piano: Fantasia Fugata, Heartsease, studied Friedrich tropical diseases which African forest—playing a with the organ virtuoso Lux, at might Bach recital in Paris with be a great menace to civilization. his friend, Widor or giving Fireflies, Honeysuckle, A Humming Bird, Mignon- Mayence. Mr. Kern came to the United States in lectures Professor Everett Skillings, Chairman of The Albert and recitals all over Europe to hese ette, Morning Glories, Nocturne, Bit Cairo, raise funds tetrachords are precisely in con- A of 1893 and settled near Chicago. He became a for h:s hospital at Lambarene. alike Schweitzer Fellowship, Middlebury College, Middle- Was there ever such s ruction, and Young Birches. the best of her songs of faculty of College a each containing five semitones, forming Among member the Elmhurst and bury, Vermont (where those who desire to help capable, versatile, ubiquitous, and this altogether human ape"ect fourth. The are the settings of “Three Browning Songs” The also continued his musical studies. Subsequent remarkable man may send contributions) states and companionable giant among men? semitone occurring between , that a Yet how hum- c ird and fourth Year’s at the Spring, Ah, Lp.ve, But a> Day and positions were 'at the Springfield, Ohio School of notice, published last year in The Etude, about Dr. ble and with what a sense of humor!” notes of each tetrachord is between I Send My Heart Up to Thee; also, Little Brown- Music; Dennison University; and the Baptist Uni- Schweitzer’s work in Lambarene, French Equatorial white keys. Africa, Besides being Eyed Laddie; The Artless Maid; Jesus, My versity, Dallas, Texas. In 1904 he settled in St. resulted in “a great many gifts for Dr. Schweit- “There is nothing worse than at the end of the tetrachords, F an obstinate adherence zer’s hospital, for which we are very grateful Us”ally Saviour; The Moon-Path; Song in the Hills; and Louis, where he has been active as teacher, com- to you.” to fixed forms.”—Richard Strauss. are fingered with the thumb in both nands.fff The figured Though I Take the (Continued on Page 12) poser, organist, editor. ( Continued on Page 12) ADA RICHTER ( Continued on Page 57) "FORW'ARD MARCH WITH MUSIC” THE ETUDE JANUARY, 1944 "FORWARD MARCH WITH MUSIC” 11 5 4 I 68 .

Music in the Home two-and, and so on. “One” Music and Culture Count one-and, repre- Mrs. H. H. A. Beach sents the first half of the beat and the “and” represents the second half of the beat. Another

(Continued from Page 11) good way to count the equally divided beat is radio and other canned music have taken away the one-two, two-two, and so on. desire to study an instrument. I am constantly asked, Wings of Morning. A number of choral works also have ‘Do children still take piano lessons as much as they Ex. come from her pen, included among these being “Peter did when I was young?’ The answer is definitely ‘Yes’. Good Neighbor Records Lead Pan,” a cantata for three-part treble voices. However the following story is probably the best n an- n in n | Mrs. Beach has very definite ideas about the need swer to this question. 1 2 2 2 3 2 4 2 for music in general, and singing in particular, in the “A few years back when the depression was at its It is well first to practice counting “one-and” height, a woman present world crisis. whom I admire tremendously came “ 'We who sing have walked in glory.’ What more also to the quarter notes, and “one-and, two-and” to me and explained that she wanted her children to can we say about singing than that? And was there to the half notes, as well as to the eighth notes. ly. Indeed have lessons, but she had no money. She offered to do ever a time when singing was more badly needed than This will aid you to count and to play all anything in return for the lessons, and also gave me of the now? Singing, not only with our throats but with our proportion to understand that her husband and the children were notes in correct to each other. spirits. If special voices, we can try to make willing to work. So for five we have no years she did my laundry, Ex. 7 our fingers sing on keyboard or strings. The main FOLK DANCES: La Huella; La mains a good introduction to the composer’s style. her husband and children cut the lawn, cleaned the ATIN-AMERICAN thing is to let our hearts sing, even through sorrow However, it is not a representative work. Delius cellar, repaired furniture, and even went fishing and j j j Firmeza; Serenata de Amor—Zamba (Argentina); I | and anxiety. The world cries out for harmony.” Nocturne. It is a virtuoso paid partly 3 4 1 Cata Golosa Pasillo; Rumi- called the tone poem a me in fish. They raised vegetables and 1 & 2 & & & 4 2 * 3*44 1"El Pericon (Uruguay) ; — chickens and kept me supplied with these commodities. Bambuco (Columbia); La Mula Rucia Joropo piece exploiting the tonal richness of the modern Next study the sixteenth notes. c haca— — We kept strict account of all things given in trade (Venezuela); La Limanrta—Marinera (Peru); Chiapan- orchestra. (at her suggestion) and I must say I often laughed as Ex. typical instru- Eventyr, or Legends, is based upon some Nor- ecas; Los Viejitos (Mexico) ; played by I looked at the account, which read something like mental groups with soloists. Bost Record Set ES4, wegian folk tales, which “embody the fantasy, this: Ten weeks’ laundry, eight sea-bass, four dozen Time Values detail of the five 10-inch discs. superstition, humor, and homely eggs, lawn mowed four times, one chicken, two baskets authority on Latin-American mu- Norwegian folk.” It depicts a phantom world vegetables, one sofa (she often had furniture given her The eminent bij. rjCu fa 2). -JJ-ophinA assembled the material for peopled with hobgoblins, trolls, and so on. It is the which we also took if she had no use for it). The sic, Irma Labastille, climax was reached, wrote the excellent booklet. These spirit of the tale, rather than any particular story, however, when she discovered that Play and count two sixteenth notes for “one”— this album and Delius depicts in his music. she still was in my debt at the end of the I UPILS of the pianoforte quite frequently typical folk melodies of our neighbors to the which season. the first half of the beat—and two sixteenth are told her incidental to Flecker’s “Has- to forget about it, but being very honest she have great difficulty in understanding the South. The tunes are sung and danced all the year Delius’ music play notes for “and”—the second half of the beat. insisted she pay the bill to the last cent. ‘Suppose,’ P san” is by no means significant music. The Seren- said time value of different notes and distinguish- round, but are perhaps most commonly associated she, ‘I give your house a good spring cleaning.’ We ing between the time allowed for notes of dif- Ex.f) with national and religious festivals. The fiesta, ade has been called a “musical cameo”; its poetic FREDERICK DELIUS agreed upon this and as she started out the door she the line ferent denomination. Some pupils require a great so common to the Catholic countries of Europe, sweetness borders on of sentimentalism, turned and said, ‘Say, do you mind if I bring Mrs. etc. or etc. Delius too great an artist to cross that deal of drill work in order to keep any regular is an institution, Miss Lebastille tells us, “common but was (a neighbor of hers) to help with 1 & me the 12 line. It ideally fits the scene in the play in which cleaning, time. to all Latin-American countries, and its celebra- sion of Italian peasantry dancing, while Kousse- as the house is so big I can’t get it done alone The jiupil should not be allowed to play tion, whether religious or secular, is marked by Hassan stands in a moonlit street awaiting the could be danced only by and tend to my other work too?’ (She was also A careful analysis of the foregoing examples vitzky’s last movement working for others, exercises from notes until he has been taught native music and folk-dancing. The material here results of a gift to his light of love. The two songs Sir Thomas, he tends including papering rooms.) ‘That’s should be very helpful in clearing up any un- supermen. As always with by Shelley, so splendidly sung by Mr. Nash, are quite all right,’ said I, ‘but who will pay ?’ the time value of the notes and has learned how is excellently chosen; the dances some with listener forget for the moment any Mrs. certainties about the time values of the various — to make the ‘Oh, don’t not among the composer’s greatest songs, nor are you worry about that,- said she, ‘I’ll pay her to beat time in a steady, even manner. Write two notes. vocal accompaniments—are rhythmically fascin- other performance, so wholeheartedly does he in eggs.’ So my they striking settings of the poems. house was cleaned, the bill was paid measures of repeated notes in four-four time. In ating and full of a healthy well-being. To be sure, enter into the spirit of the music. It is unfortunate in full, Mrs. was paid in eggs, Sir Thomas Beecham, long the chief sponsor of and I must say the first measure, write two half notes and in much of the material is repetitious, but this does that his reading takes four discs. I never saw such cheerful workers. They sang as they Delius’ music, gives notable performances of the not preclude one’s enjoyment of the rhythmic major. Op. No. 1 (11 scrubbed, Ex. Beethoven: Quartet in F 59, and even did a little dance as I practiced. orchestral works above, and the recorders have Two Pins, zest and vigor and it is not unlikely that the sides); and Haydn: Menuetto from Unfinished Quartet “It seems to me if people will go to such lengths that an Elastic Band music will make the listener want to participate provided realistic reproduction which has stood Busch Quartet, they might have music lessons, we need never in B flat. Op. 103 (1 side); The fear for the test of time (in recording a few years can our democracy.” and a Tack in the dance. That is primarily what most of the Columbia set 543. make a great difference in the quality of the the second measure write four quarter notes. pieces were intended to do. This is one of the most satisfactory perform- sound) Delius: Paris Night Piece; Eventyr Once Upon Quartet has given on rec- Ex. 2 by Cverett C.. —A — ances that the Busch TJruetle Mendelssohn: Symphony in A major. Op. 90 (Italian); a Time; Koanga—Closing Scene; Hassan— Interlude and ords; there is greater dramatic strength in the The Philharmonic-Symphony Orchestra of Serenade; The London Philharmonic Orchestra, New Busch’s reading of the broadly melodic movement AN ORGAN RECITAL was once saved by two pins, also two York, conducted by Sir Thomas Beecham. Colum- an elastic band and a conducted by Sir Thomas Beecham; and an incisiveness in the Scherzo which is missing Drum these /A tack, without which it bia set 538. Carl repeated notes on a table before would Heart and Love’s Philosophy, version. slow is Wilhelm Kern have been necessary to cancel the recital, songs—Queen of My in the earlier Roth The movement playing tnem. First, let the pupil beat time while e oiganist Sometime back it was rumored in the press had carefully prepared his program, but, sung by Heddle Nash (tenor) and Gerald Moore treated more austerely than it is by the Roths, the teacher that Sir displeased (.Continued, from Page 11) plays these two measures several emg a litt’e nervous, Thomas was with his Philhar- he returned to the organ a (piano) . Columbia set 305. but the playing is admirable from the musicianly times in succession. Then let the pupil play coup e of hours before monic-Symphony recordings made by Columbia. while the recital to freshen his This is, of course, a re-issue of Vol. I of the aspect. It is unfortunate that this recording was the teacher beats the time. Try this memory regarding two Later we learned that he settled his differences Mr. Kern’s wide experience in teaching has given many times or three points in the registra- Delius Society, which was brought out in England spread over eleven sides, when it could have been 10 ’1 him an insight until the pupil can do either ' be Played, one of and sanctioned the release of the several sets. In into the special needs of students, and with ease, and then the great organ keys dropped this country in November, 1937. achieved on ten. However, the splendid Haydn an a booming in 1935 and in his compositions have that happy require him to keep time by counting cipher in the pedal organ gave him a the previous issues there was much that Sir combination of aloud while Delius still defies classification, for Menuetto is a valuable adjunct to any chamber melody nervous shock. The art of and pedagogic value which makes them so at the same time playing the measures himself. Thomas could criticize, for the balance in the re- No organ the composer belonged to no national or recog- music collection. It hardly seems necessary to useful in the studio. Among his piano pieces a number mechanic was available. Being of a some- cordings was not good and the submergence of are deserving Ex. 8 what mechanical nized school. English-born, he is acclaimed as an comment on the music; the “F major Quartet” of special mention: Sunbeam Dance, and ingenious turn of mind, this many essential voices in the music was lamen- Valse Episode, Rainbow Dance, organist investigated the English composer by his people, although most of remains one of Beethoven’s most cherishable Community Grand cause of the trouble. He table. Here, recording full oun hat the would seem to do March, Twilight Moods, A Dance in the Village, Glit- a tracker (it was an old-fashioned organ) his life was spent outside of his own country. achievements in its form. o justice to the conductor’s intentions; it is by far tering Raindrops, 1 & 2 & 3 4 one of the In an Old Garden, Babbling Brook, & & 1 & 2 & 3&4 & great organ keys was broken, and a Much of Delius’ music owns qualities similar to Milhaud: Suite Provencale; The St. Louis Symphony spring of the best recording made by Sir Thomas for do- Danse Aragonaise, Silvery Moonlight, and Valse Bril- the pedal action had the poetry Wordsworth, Shelley, and Keats, Orchestra, conducted by Vladimir Goldschmann. When the snapped. On discovering of lante. For pipe organ, pupil is able to keep time playing half e °1 hacker mestic Columbia. the Festival March, Berceuse, on the floor, he drew the two ends and it inevitably recalls to those who have known Victor set 951. notes and Chancel Radiance, Slumber Song, quarter notes, try a similar kind of V-0 e broken tracker Koussevitzky’s excellent set of the “Italian and Recessional together, placed the piece of England the beauty of its landscape. The compo- Milhaud has taken some eighteenth-century merit attention. There are other compositions in work by writing the value of eighth notes ex ra tracker across Symphony” offers keen competition to this per- vari- in the break, pushed a pin through sitions here, outside of the conventional songs, folk airs from his native Provence and woven ous arrangements which have attracted attention. relation to quarter notes, half notes, and e wo 11 ackers at each formance. Let it be said at the outset that both whole . end, , , and bent the pins up convey more cosmopolitan composer than some into a suite, which he has elected to orches- notes. double to hold a them Mr. Kern has rather definite ideas about inspiration them in place. Although great or- conductors give fine readings of the work. The the English writers would have us believe Delius was. trate in a richly elaborate manner for modern and the part it plays in his creative aS down a work. Ex. ^ sixteen th of an inch the action essential difference seems to be one of temper- a l Of primary interest here to Americans should be orchestra. As attractive as the melodies are, it is “I often have wondered why it To repair was that at times . , the broken spring in the ament: Koussevitzky’s reading is charged with tl0n the Closing Scene from the composer’s opera our feeling that they would have fared better writing would come easy ’ he drove —just flow naturally—while the tack into the woodwork an electrical energy, particularly in the outer e ^ for at other times nothing worth while would come ®prin S- With a the “Koanga.” Delius, who lived in Florida a short with less inflated instrumentation. Golschmann forth; V slip-knot he fastened movements, which tends to make of the music a the inspiration simply was not present. Perhaps for and t0 the sprin and end t’me in the middle ’80s, was greatly impressed by performs this music with gusto, and the recording a fv, u 8 looped the other month, band tour de force; Beecham, on the other hand, plays ideas would come freely. It is necessary always around the tack. This held the spring up Negro harmonies and improvisations and made is realistically contrived. in these movements with a fine surety to use these ideas judiciously, 06 and the elasticit of rhythmic in order to encourage y of the band acted as a notes on them which he used later in compositions Schubert: Sonatina in D major. Op. 137, No. 1 (3 spring thrust, fresh inspiration. I may have a very good but with a more subtle sense of song- beginning —such works as “Koanga” (a story of Creole life) sides), and Rondo from Piano Sonata in D major, Op. on a certain fullness. His last movement composition—then suddenly all inspira- these temporary repairs were only rnake- and “Appalachia.” conveys an impres- Now play a measure of eighth cviifr 53 (arr. Friedberg) ; Josef Szigeti (violin) and tion stops. Usually if notes. ' U hey I put the manuscript aside for a “ enabl ed the organist to give the recital, ° Of Delius’ tone poem Paris, it has been said Andor Foldes (piano) . Columbia set X-238. time, the will Ex. h ’ otherwise, Muse begin to work after a while. *. would have been impossible. A day “The working ate that when it is heard among other composers’ In the hands of a mature artist like Szigeti this knowledge to put ideas down in proper !' the breaks were properly repaired by an form is echanicl works it requires the smallest of adjust- “Sonatina” of Schubert becomes a little gem; to learned by study and observance, but the ideas m - Many organists inci- amount RECORDS rinn^e u will remember themselves must be felt spiritually. This is inspiration. W en some makeshift ment on the listener’s part. For this reason it re- be sure, it is a miniature ( Continued on Page 54) 1 & 2 & 3 & 4 adjustment made it pos- & sibleih , to( continue a service or recital. 12 "FORWARD MARCH WITH MUSIC’ JANUARY, 1944 "FORWARD MARCH WITH MUSIC’ 13 THE ETUDE Russell Bennett’s Note- Music in the Home Music in the Home book. To people in the Our Patriotic Songs movie and theatre world, Bennett is known Almost every American patriotic song has had ’EMORY plays for his brilliant orchestrations a dramatic genesis. They were not the work of many strange of movie scores and some garret-ridden hack, but were brought into IVT tricks mu- where ra- crises. This ac- sical comedies the being in the cauldrons of great dio is concerned,” wrote Notable Symphonic Music — most The Etude recent of which counts for their internal vitality by which they - a correspondent recently. is New & have survived through many generations. “Because one does not York’s hit, “Oklahoma.” A handsome book, which should be a “must” in see the musicians and the His classical composi- every school library and a valuable addition to studio one forgets too tions have been played the home music room, is Dr. John Henry Lyons’ much about radio. May- on the Air by many leading sym- Music Lover’s Bookshelf “Stories of Our American Patriotic Songs.” The be it is just as well that phony orchestras. Music publication, which is the size of an ordinary one does forget a lot of For An Hour is Bennett’s sheet of music, is bound in boards and hand- things heard via radio, but great musical own show, which means it largely features somely and appropriately illustrated. It contains Any book here programs, and a particularly well-arranged his own music and his own arrangements 'eviewed may authentic versions of The Star-Spangled Banner; be secured from musical show, often deserve to be remem- of popular tunes. It is heard every Sunday THE ETUDE MUSIC Yankee Doodle; Hail, Columbia; America; Co- MAGAZINE at the bered. I do not know how many folks keep from 1:30 to 2:30 P.M., EWT—Mutual Net- lumbia, the Gem of the Ocean; Dixie; Maryland, price given plus a radio log or diary, but I recommend work. postage. My Maryland; The Battle Cry of Freedom; The one.” That chamber orchestra program called Battle Hymn of the Republic; and America, The The General Motors Symphony Hour (Sun- Sinfonietta, which Alfred Wallenstein orig- Beautiful. Dr. Lyons, who is the Director of Music days, 5 to 6 P. M., EWT—NBC Network) is inated from the WOR Studios of Mutual, Education of the Pasadena Public Schools, has now under the direction of Leopold Sto- has changed its time from 8:00 P.M. to told the stories of these songs in graphic and kowski. Few conductors have provided 11:30 P.M., EWT, on Tuesdays. Emil scholarly manner so that they will appeal to hj (J3. l/Yjereclitli C^cicLman more interesting symphonic programs than Cooper, who has currently been heard with readers of all ages. Stokowski did last year in his NBC-Sym- his own program as guest conductor on “Stories of Our American Patriotic Songs” phonic broadcasts. In his present series, he Sinfonietta, completes his engagement on icate suggestion or even the telepathic intimations activity in the early years of the home of the bean intends to list contemporary composers January 5. Arthur Fiedler, conductor of By Dr. John Henry Lyons of the conductor’s dream fancies. and the cod are given proper recognition. Graup- in balanced pattern with the old masters. the Boston “Pops” Concerts, is scheduled Pages; 72 First of all, however, comes the iron discipline ner (1767-1836), German-born, became an Amer- Stokowski is one of a small minority of to follow Mr. Cooper in the next six Price: $1.50 which compels concentrated attention to the mi- ican citizen in 1808. He had been an oboe player great musicians who has made a serious concerts. Publishers: The Vanguard Press nutest detail, and imperial respect for the conduc- in Haydn’s London orchestra. After considerable study of music in reproduction from the The young American conductor, Bernard tor’s every whim. As one conductor said, in travel he settled in Boston, opening a music shop technical end. He contends that a sensitive Herrmann, has been appointed symphonic Conductors and Conductors speaking privately of his men, “They are merely and a publishing business. The early perform- musician is as fully cognizant of his vast conductor of the Columbia Broadcasting' the digits with which I play my instrument.” ances of the “Messiah” and the “Creation” were unseen radio audience as he is of the The stories of thirty prima donna (or shall we System. A native New Yorker, Mr. Herr- There is also the story of the player who was due to him, and his initiative led to the formation guests in the radio studio. In his recent say primo uomo) conductors of the American mann joined the Columbia System in 1934 asked if he had played under the baton of a of the Handel and Haydn Society. He was called book, “Music For All Of Us,” he says in orchestras is the subject of a new book by David as composer and arranger at the invita- conductor of notorious severity. “Yes,” he replied. the “Father of American Orchestral Music” and this connection: “When we are broadcast- Ewen, “Dictators of the Baton,” in which inter- tion of Howard Barlow. Since then the “I played under his baton, but I called it a base- some insist that he was the originator of the ing from studio, it is strange how intense- esting sidelights are presented upon the methods young musician has presented many un- ball bat.” American minstrel song. ly we can feel the distant presence of the employed by the director and the orchestra man- usual series in which he has directed much considered are Toscanini, Sto- Graupner was in a way the mentor of Oliver enormous radio public. The conductors We are sending the Courtesy, U. 8. Coast Guard agement to make their artistic projects more seldom-heard as well as new music. Re- kowski, Koussevitzky, Dimitri Mitropoulos, Iturbi, Ditson, and Graupner’s son, John Henry Howard music to them, but they are also sending ARTHUR FIEDLER distinctive, more alluring, more glamorous, and, cently he presented the first American Damrosch, Stock, Walter, Busch, Beecham, Mon- Graupner, was associated with the Ditson firm in something to us—something invisible, in- Ever-popular of compelling in box office appeal. American symphonic conductor doing his bit performances of Miaskovsky’s course, more Leinsdorf, Reiner, tangible, “Twenty- teux, Barbirolli, Ormandy, the early days as head of the music printing and inaudible, and yet intensely pow- as a Coast Guard Apprentice Seaman. Guest Conductor first Symphony” and Edmund Rubbra’s Sevitzky, Golschmann, Smallens, Kind- engraving department. A catalog of the publica- erful. Our music passes to them, carried with the WOR "Sinfonietta" programs. Rodzinski, “Third Symphony.” He has also done much Krueger, Barlow, Black, Wal- tions of Graupner includes four hundred and by radio waves and later converted into ler, Kolar, Goosens, pioneer work on CBS for the music of such Solomon, Dixon, and Levin. twenty numbers. sound waves. Their responsive feeling lenstein, Rapee, men as Charles Ives, Peter Ber- sidelights passes to us through sympathetic human Warlock, The book is filled with illuminating Graupner, Mallet, and Trajetta opened a musical nard van Dieren, and Gerald Finzi. Herr- waves for which we have no name. Whether i of interest for orchestra lovers. conservatory in 1801 which met with unusual suc- mann is known to possess a most inquisi- we are conscious of it or not, this inner cess. tive musical mind, and this has served him communication of the spirit is one of the “Dictators of the Baton” This charming book is far more than a mere well in unearthing forgotten such most mysterious forces of all our lives.” works— By David Ewen historical chronicle. It will have many admirers. as an overture by Ending his chapter on radio, Stokowski the novelist Samuel Pages: 305 The author is Instructor of Music at Clark Uni- Butler, an opera tells us that radio has performed miracles JttfrJ JiruLuf W,'orc^an by Rousseau, music by Price: $3.50 versity, and Music Critic of “The New Haven King Henry VIII, and the in the past, and that its future is depend- a symphony by Publishers: Alliance Book Corporation Register.” At present he is on leave with the U. S. poet Sidney ent on the extent of our imagination, Lanier. Herrmann has also Army Air Forces. written a number of works which have “vision, and willingness to serve instead of ex- cal custom of long standing, Days the Treasure Hour of been featured Musical Boston of Other ploiting our fellowmen.” In musical over CBS and played by leading “Musical Interludes in Boston” listening and Song will select understudies from the Metropoli- appreciation, imagination orchestras across country. His "First Symphony” H. Earle Johnson has made an important con- By H. Earle Johnson plays a strong part; tan Opera roster to substitute for the main stars, owed its concert-hall performance Columbia University Studies in Pages: 366 those who twist dials indiscriminately are not in the event that out-of-town to the friendly tribution to the or previously regai d of Howard in Boston showing themselves as being possessed of any scheduled Barlow for the composer. Musicology in “Musical Interludes Price: $4.00 commitments make it impossible for great The Eighth Symphony” of author ingeniously starts with a degree of imaginativeness. To trust to luck them to appear. Shostakovich, which (1795-1830) . The Publishers: Columbia University Press was given its a great in matters of art is a poor way to serve world premiere in Moscow on No- quotation from James Boswell: “I am our Russell Bennett, one of America’s foremost fellowmen. vember 4, will be presented for in friend of public amusements for they keep the composer-conductors, returned recently the first time to the the Western note of great- The Treasure Hour of Song (Thursdays, 9:30 to Mutual Network Hemisphere by the Philharmonic- people from vice.” This suggests the Convenient Plots of the Operas with his program, Music For An 10:00 P.M., EWT Mutual Symphony Orchestra of di- which the reader will find throughout the — Network) returned to Hour, featuring unusual and sophisticated New York, under the ness ar- rection of dry-as- This is a small-page, very much cheaper edi- the airways late in November. This popular rangements Artur Rodzinski, in a Sunday afternoon book, making it quite different from some of popular music. A comparatively tion of the opera synopses of broadcast one critic has two hundred and broadcast, featuring the stars of the Metropolitan recent addition to Mutual’s sponsored by the United States Rubber dust essays on musicology, which schedule, Music For ompany sixty-six operas, included in The Internationa] Opera—Licia Albanese (soprano) and Francesco An Hour was introduced over the Columbia Network. The actual described as “magnifications of dreadful trivia.” by Alfred Wallenstein Cyclopedia of Music and Musicians edited by Valentino (baritone) presents operatic date of the performance escorts the reader to the , selections (musical director of Mutual’s New York was not announced at the The writer pleasantly Station time of Oscar Thompson, an excellent, practical, and and songs which the people have long favored. WOR) writing, and it days when “the polite arts” were , now on leave may well it will Boston of other of absence to direct the Los be that comprehensive work which, although not exactly Alfred Antonini, the conductor a\e been played affinity for of the orchestra, Angeles Symphony Orchestra. It by the time these lines are read. given unusual attention. The author’s was Wallenstein in pocket size, would fit comfortably in a lady’s sees a trend 1 U toward romantic music in these who first brought Bennett to n0red Columbia paid the picturesque makes the book far more than WOR’s microphones

A Music Teacher Learns from Industry Round Table AT FOUR A. M. one rain-and-wind- The Teacher’s /A swept night, the telephone jangled How to Make a Music Manuscript in the office of the converted pipe organ factory. I scuttled down from a Conducted by was shocked to find out that all the em- ladder perch in one of the dim-lit aisles ployees excepting myself were in the Helpful Hints on Musical Penmanship to answer the jangle. “skilled” category. I learned with dis- THOSE who believe These, if the pen is held “Asa Taylor Warehouse,” said. all the other workers I (Asa may that had as Hamlet “once did as directed, can be made by Taylor was the proprietor, long since de- years of aircraft experience against ' cuer had A. > Qu W< Thold it” that it is “a one stroke, or one pressure ceased, of the pipe organ factory, now few months of mine; that I was f a at of the thumb and fingers, baseness to write fair,” this ), oc. become a storehouse for aircraft parts.) least twenty years older than the old- Orfando WanijUJ, 1NU 2 Mus. Doc article may be wearisome for each note. White notes From the Plant office at the other end est student; and that each of us would y of worthless. Fortunately, are of better shape and the wire, the leadman informed me Noted Pianist be required not only to instruct the oth- and that I had been chosen to “go to school” however, the days are past more oval in appearance if Educator ers in skills performed in the various on alternate nights from one and Music by to three departments, but also to play the role in which the criterion of a made the union of two A. M. called it JIT He the school. JIT, of learner of these skills. Furthermore, “gentlemanly hand” was its illegibility, and we and finer. In both cases flexibility of point is an curved or elliptical strokes, rather than by a he said, meant Job Instructor’s Training. a carefully worked-out teaching plan have now come to agree with Quintilian that essential, so that a black note can be made with more or less crude circle. Beyond that, he could not enlighten me, Correspondents with this Deport- would be followed, criticized, of course, “the practice of a fair and quick hand in writing” a slight pressure; and a stem, as fine as a hair, In addition to ill-shaped notes and irregularly except to add that I was to report limit Letters on ment are requested to by the instructor and the other mem- lighter stroke. nibs are not and inadequately and Fifty Words. is “no immaterial accomplishment.” But we must supplied by a Such spaced measures, perhaps the the • following night for the opening to One Hundred bers of the class. found are preferable most annoying session. not forget that, although standards of excellence easy to procure, but when feature in most imperfectly writ- It was a terrifying prospect for a vet- to the uniformity of most ordinary writing nibs, ten musical manuscripts is At any rate, since it was now lunch in handwriting continue to vary considerably, the persistency with eran of my years. Yet, when the in- the period, I wouldn’t worry about the JIT there is now a general agreement amongst mu- or the uneven flow or too-great rigidity of which the writers turn the stems of their notes too many for ours; and the quantity of structor called for a volunteer to be the school, whatever that was, but would sicians that the best musical manuscripts are majority of fountain pens. A good plan is to use in the wrong direction—if, indeed, they give the our lines and tubing would bowl him first victim, some irresistible impulse knock off work to munch thick lamb several suitable pens, varying these in accordance matter any attention at all. Yet the rules relating over. If Asa bragged of his careful work- those that conform to the finest specimens of moved me to raise my hand. . . . Fine! sandwiches, swig quantities of strong class to manship, would be speechless at the the musical engraving of their period. We live with the quality of paper provided or the stems are quite simple and, as stated in the black he I was to give the teaching demonstra- coffee, and ruminate on the vicis- writer’s “Rudiments hairbreadth precison of ours; as for his class session. in an age in which the art of printing and en- of work required. of Music” (Paxton), are to situdes of my career as expediter in the tion at the next Too late much vaunted tuning, he should hear our music been brought to an almost In selecting a penholder, without which a nib the effect that, when writing a single part, notes warehouse of a well-known aircraft com- to recant now; alas, I was in for it! graving has finished instrument tune up! And if our is useless, that distressing malady known as above the third line have their stems turned down; pany. Don’t let that “expediter” label That sinking feeling was as sickening unsurpassable pitch of excellence, and the prin- product wouldn’t exactly bear us aloft suffered In hour before “writer’s cramp” can often be mitigated or those below the third line get you off on the Wrong track; it’s just as that the a cipal productions of this art are remarkably having their stems on “wings of music,” Asa would be bug- turned a fancy name for a husky guy who un- concert; forehead and hands exuded the identical in detail. Hence, it follows that the most avoided altogether by the use of the larger-sized up; and notes upon the third line have eyed to see what it could do! perspiration of loads and stores airplane parts of all familiar, cold, clammy meritorious musical manuscripts of today are penholders common in America, but somewhat their stems up or down, according to the context. sizes, hefts, and descriptions, terror as I tried in vain to think up and later Dr. Maier and his famous pupil, Lieut. those in which the essential features of our rare in Great Britain. Cramp and weariness, In chords, or in a series of single notes grouped Ho-Hum. . . . Four-thirty A. “pulls,” loads, and M. ... An (1) some skill I could teach anyone in ships the material Dalies Frantz. Dr. Maier has just come musical typography are most faithfully repro- however, are far less likely to occur if the pen- together, the stems are turned in the direction end to dreaming. . . Back again to the back to . this hard-boiled group, and (2) how to the Plant. When you are the only from the Lube-lack Co., Santa Monica, for of the old grind of receiving, storing, pulling, duced. To assist the student or the inexperienced holder is held in the most suitable manner note farthest from the third line. When expediter on the graveyard shift, you where he works as a machinist. teach same after I thought it up. loading—such is the life of an expediter. copyist or composer to attain this style of musi- writing music; namely, between the first and two or more parts are written on one staff, the have plenty to do—and then some. Then I learned that this JIT course So, cal penmanship is the aim of this discussion. second fingers, the thumb bent outwards at an stems of the notes forming the upper parts are while the Pacific gale howled round stained-glass windows where Asa proudly was one of the divisions of “Training angle, opposite the finger tips, supplying ap- turned upwards; those forming the lower parts, the warehouse walls, beat on the roof, displayed his finished organs to the cus- We Go to School within Industry” devised by the War and Selecting the Paper propriate pressure for light or heavy strokes, downwards. A reference to any standard hymnal pounded the doors, I wondered what tomers? What function had these strange, At one A. M. the next night, I drove Manpower Commission to teach defense old Asa curves of or classical will Taylor would say if he came crazy “stringers,” “nacelles,” and “skins” through the blacked-out streets to the workers their jobs quickly, thoroughly, To modern script of any kind, paper is a prime notes, or dots, and enabling slurs and edition make this clear. Occa- down our pitch-black side street tonight which usurped the places of honor there? Plant, parked precariously in the dark, and safely. To my amazement I found necessity. For musical purposes this paper should all kinds to be produced with almost mechanical sionally, in keyboard music, when the parts for to visit his organ factory. . . . Where . . . What kind of a newfangled organ camouflaged lot, and found the little that the only “textbook” was a card, be as the cookery books would say, “of a certain accuracy. both hands are written on one staff, the notes were those thousands of pipes of tin, was this, anyway? room where the JIT school was in ses- two by three inches in size, on which consistency.” It should be impervious to ink, not In the matter of ink, nothing is better than a intended to be played by the right hand have lead, and wood, of assorted shapes and It wouldn’t be hard to imagine old sion. Around a long table sat a dozen were boiled down the principles taught too highly glazed, and capable of bearing the good black or blue-black fluid. But for keyboard their stems turned upwards; those for the left sizes? Where were his famous “actions” Asa’s astonishment when we put on a very sharp-looking young people of both in college teacher training courses. This and vocal music, bars ruled with red ink are hand, downwards. and consoles with their miles of strain of erasure. The size of the paper should lines demonstration of our “organ” for him. sexes, all hoping to qualify as job instruct- card was to be our sole guide. If its and tubing? And what had happened vary according to the nature of the manuscript. more arresting and, perhaps, somewhat pic- If his instrument required thousands of ors. When names and jobs were called steps were followed literally, we were Other Details it not altogether desirable to this high central hall with its faked parts, one hundred thousand are none by the young, Oblong folio is most suitable for organ music turesque.' However. is pink-cheeked teacher, I (Continued on Page 58) and full-score work because it demands less to follow the procedure of W. T. Best (1826-97) However the stems may be turned, they must frequent insertion of brackets, clefs, and key who is reported to have used black ink for his be on the right-hand side of the upper-stemmed signatures. For pianoforte and vocal music the notes, red for his organ registration, and green note and on the left-hand side of the lower- ordinary quarto page of twelve staves is generally for other terms and directions! Bars should gen- stemmed; not on the right-hand side in both preferred. For four-part .music with keyboard erally be inserted before the music is commenced, cases “as the manner of some is.” Hooks for instrument accompaniment, a ruling of eighteen ample space being allotted to each measure, eighth notes and shorter notes should be writ- staves to a larger quarto page is often advan- three or four measures being the maximum for ten on the right-hand side of the stems, whether tageous, the ruling for scoring paper varying a line of ordinary quarto paper. For the actual the latter are upper or lower. Lastly, all notes from about fifteen staves upwards, according to ruling a double ruler is most helpful; that is, sounded or struck simultaneously should align; requirements. one in which the front portion, against which that is, fall in a straight line above or below one Whatever ruling is adopted, in music paper for the pen is placed, is rigid, but is hinged to a roller another. Great care should be taken not to crowd keyboard instruments there should be ample by which it is propelled. Hence, depositing or long notes together, but to make them occupy space between the staves in order to leave room smearing ink on the paper is practically im- pretty much the same space as an equivalent for fingering, pedaling, musical terms or regis- possible. group of shorter notes. This simple task is ren- tration, and—most important of all phrasing. dered still easier if a uniform spacing of bars — Forming the Notes In this latter desideratum most ordinary music is adopted. paper is lacking, almost all twelve-stave samples Other minor requisites for successful music Slurs should be applied to the heads of the needing a reduction of space between the staff script include an eraser in the form of a sharp notes and not to the stems, in cases in which all lines, and a consequent widening of space be- penknife, preferably one with a flat back which notes involved are stemmed in the same direc- tween the various staves. For organ music, apart is useful to smooth over the surface of, the paper tion. If in a given passage, group, or figure, some from that which we have had especially printed after an erasure has been made; also a good, notes have upper stems and some lower, and if for our own use, we have found that the only fairly soft lead pencil to rewrite notes on an the former predominate, place the slur below paper which was entirely satisfactory was a erased surface and thus prevent the ink from the staff; if the latter, above. Some authorities parcel purchased from the library of Dr. W. J. “running.” recommend that in keyboard music, to give more Westbrook (1831-1894), the eminent organ com- Passing from the discussion of writing mate- space between the staves, the slurs affecting Werner Janssen, noted American composer and conductor, now in the rials to that of the writing itself, we first observe notes on the upper staff should be placed above Purchasing Department of poser and arranger. Unfortunately, this supply the Douglas Aircraft Co. was exhausted many years ago. that black notes should not be constructed by that staff; those relating to notes on the lower Mrs. Guy Maier, piano virtuoso, pouring "soup" Pens come next to paper in importance. These making a series of o’s and then laboriously fill- staff, below. Triplets, duplets, and other irregular for plastic patterns at the Douglas Aircraft Co., ballerina, must vary, the rougher papers requiring softer ing them up, but they should consist of a num- groups are better denoted by a square or oblong Santa Monica, California. - — iii&i on A-20 (Continued on Page 52) Boston bombers, and broader nibs; the smoother papers, harder ber of dots, each about the size of a pinhead. bracket rather than by Douglas Co. "FORW'ARD MARCH WITH MUSIC” " FORWARD MARCH WITH MUSIC” 17 THE ETUDE JANUARY , 1944 —

of harmony in was beginning the study its ele- to the studio Music and Study Music and Study mentary aspects, brought a piece piano carefully notated, correct for violin and progressions which were a long in all harmonic he was studying. way in advance of what Not melody attractive and “under only was the violin piano accompaniment was Instinctive? the fingers” but the Is Musical Composition moved easily and rich and natural and spon- French Art-Song Composers variety taneously with rhythmical and balance. The form was perfect. How does one account for this except to pro- instinctive? The young man played the ^sdrthur dnderAen a’oc. claim it Before Faure and Debussy by. OLf — ? wu He knew nothing about the piano indifferently. himself in violin; but he had saturated music through attending concerts and, of all kinds Berlioz— Bizet— Delibes listening to phonograph still more, through every records. AVE YOU TEACHERS of musical theory based upon the old with improvements of makes one wonder if Mozart and Bee- ever had students who wrote poor har- nature? It all as the thoven, who both were bored to tears over the H mony exercises and yet would bring to When we come across a passage such (if ^Jdelen l{ ac- of theory, did not compose almost entirely their lessons full-fledged compositions surpris- foregoing, how can we justify its existence study T instinct? They each had a very definite ingly correct in all harmonic structure and cording to the old rules of harmony? through vocabulary, distinctive and personal. Each am- progression? I doubt if there is a theory teacher We feel sure that Mr. Richter would have had broadened what had come before his in the country who has not had such an ex- a fit if a student had brought him a composition plified and been musically saturated HE TRULY FINE BODY of modern French In Monpou’s time there lived another French perience. in which such a queer-sounding progression ap- time. Each must have had a naturally inventive mind, art-song which we know today did not composer, whose name and fame have since been This takes us back to the very beginnings of peared. Yet, today, we And many such so-called and must have the strides ahead in form and the Tappear until after the middle of the nine- the signal for heated discussion pro and con as music composition. Someone started it. Our books queer progressions. The unresolved appoggiatura judging by they introduced to the musical teenth century, nearly fifty years after the won- to his legitimate right to his position of musical of music history are elaborate in explanation of is a plaything of the modern writer. It is quite other mechanics derful florescence of cultivated solo song that eminence. This composer was Hector Berlioz, HECTOR BERLIOZ the almost romantic beginnings of musical as natural to him as any ordinary triads were world. began in Germany with Franz Schubert. The 1803-1869, entirely a man of his time. His highly speech, what purposes it served, and so on. Later, to the older composers. Therefore, the following Wagner and Debussy period which preceded that of the art-song in strung, passionate, and enthusiastic tempera- a couple of Greeks, with their highly intellectual is what he doesn’t hear but knows is there if people all- nineteenth-century France coincided with the ment eagerly embraced the new musical message flair for classification and rule, experimented all the delayed appoggiaturi were patiently re- Some musically inclined have an sense of melody plus harmony. Others troubled era of the Revolution, the Empires, the from Gluck, Weber, and Beethoven, which came with poetry and music combined and thus be- solved : embracing Restoration, and the Revolutions of 1830 and to him as a youth in Paris. Though Berlioz is came the first musicologists. Pythagoras and have only a melodic sense and cannot even sug- a time of intense feeling. Under such con- celebrated first for his innovations in the field Aristoxenus, both philosophers, invented a sys- gest the harmonic clothing necessary for the full 1848; ditions patriotic songs were found in great abun- of orchestral composition, he has shown himself, tem of notation and, for the first time, visual expression of their melody. Thus it is that many dance. At the beginning of this period the by his songs, to be also the first of French aid in reading music was born. Later, the Ro- Tin Pan Alley song writers receive credit for com- no lyric poet of the stature of the posers really to venture in search of truly mans adopted Greek culture. Music was sub- compositions written in conjunction with ar- French had ex- Goethe to inspire to song creation, and pressive solo song and to leave worthy results jected to vast changes by the introduction of rangers while they supply only the melodies. German one, general state of music of his efforts. Christianity as the Roman state religion. Greek Even the lyrics to their songs are written by had there been the France would not have provided nomenclature was lost altogether and a new professional writers who are wise in this field composition in for art-song crea- A Tonal Adventurer system of notation was created and became a of the popular ditty. the necessary musical means sense understand it today. When consider sparse part of the religious ritual. Bishop Ambrose and What about Wagner with his flowing stream tion in the that we we the musical founda- - ”3 this period were to be found the romances tions upon which Berlioz had to begin his career Pope Gregory each took a hand in making music Vj of melodies, one melting into another or several At n of Garat, 1764-1823, a distinguished composer and the low level of musical taste current in a stabilized part of all religious ceremonies, re- used together? There are no rules to tell one singer of Romances, who was feted and ad- Paris at the time of his first visits, his courage taining very little of the Greek use of it and how to do these things. This must all be instinc- and mired by Marie Antoinette and her court at in striking out into new paths and his ultimate forming new rules and regulations. tive, natural, unsought for, and yet planned to Versailles, and later was professeur du accomplishment seem great. In his music, as made . Up to this point music certainly was instinc- T T a great extent to meet characterization, situa- chant at the Conservatoire by Napoleon. The Berlioz states, he “determined enforcing tive as far as melody was concerned. Rules were tion, and mood. on the songs of this time had facile, pleasing melodies, inner meaning of his subject”; this he seems to man made but constantly improved upon by Thus is disclosed a line of thought which is And Debussy? Well, we might say he loved but were rather thin in texture and simple in have aimed to do in his songs, mainly by means necessity. uppermost in the mind of the modernist. tonal effects regardless of rule or regulation. An construction. Their composers were more or less of richer harmonic color and other modes of All of this happened over a period of six hun- Now the question arises—is this instinctive, or imagist seeking for strange yet beautiful designs is it studied effort? It certainly identified with the composition and production expression very unusual in French song in his dred years and came about so gradually and a cannot be in- in color—one whose music is an acquired taste— of opera in various forms, and also provided day, and entirely foreign, at that moment, to naturally that musicologists of today are vague stinctive for any person actually to have been who catered to the esthete, who reveled in the about it all to solve to their inspired to write such a passage music for the numerous State entertainments French ideas of musical art. and at a loss own except as a exotic. There is a big place for his music and — result of and other public functions of their day. His group of songs called “Les Nuits d’ Ete,” satisfaction just how the development was wishing to express a certain mood and, he had his own reasons for writing in the man- composed in 1834, consists of musical settings brought about. even then, it would have to be studied carefully ner he did. It was instinctive. A Poetic Array When we consider the simplicity of this early to obtain the correct notation. The second ex- of six poems by Theophile Gautier. Romain Rol- the land calls attention to a certain classical quality music in comparison with the atonal abracadabra ample, disclosing the resolution chords, is no A Valued Opinion With beginning of the century of Roman- of some of our modern writers of today we won- problem whatever. That might ticism in France there appeared a great array inherent in the music of Berlioz, which mani- have been in- In a conversation with an important figure in der if man-made laws of chord formation and stinctive. But, when we take into of lyric poets; singers deeply responsive to the fests itself in spite of Romantic harmonies, color, consideration the music world—a man whose compositions chord progression have any lasting value. the many devices employed by era. First in the line came the idealistic Lamar- and exotic rhythms; we find this quality in the the latest school have been widely performed here and abroad of writers, such as escaped tine, and the more intellectual de Vigny; then songs. Those of “Les Nuits d’ Ete” are well con- resolutions, odd uses he stated that he had studied theory quite con- Ex.l of ninth chords, elevenths and that passionate and charming lyricist Alfred trasted and exhibit far greater resourcefulness thirteenths, dual- scientiously when a young man but had soon tonality, mixed meters, elaborate de Musset; and, at last, the classical Gautier. in the matter of musical expression than had pedal figures, after forgotten everything he had learned. We pointillism, and so on, one wonders about Over all these, and over the whole century, yet been found in French song. An effective song the asked him if he thought the study of harmony labored works imposed upon the public hovers the personality of France’s “mightiest in this group is the lamento Sur les Lagunes, in com- had been beneficial in his original work. He pon- parison to the spontaneous, straightforward,' gatherer of words since the world began,” Victor which opens with the words “Ma belle ami est dered on the question for a moment or two and singing melodic lines of the instinctive Hugo, 1802-1885. For this wonderful outburst of morte. . . (My beloved friend is dead) . The writers answered that although he could not quote a who make no effort to be unnatural. romantic lyrics the complementary musical whole work expresses the almost immeasurable single rule of harmonic progression, he thought that themes were generally lacking, but there was An Interesting perhaps, subconsciously, he had retained Case one during the first half of the century who something. And so it goes. Instinct coupled with If a composition is the result of a tense neces- sought bolder effects and greater originality in an orderly mind, plus good taste and a sensitive sity of expression and the writer possesses song. He was Francois Louis Hippolyte Monpou, an ear, go a long distance in the of music. grief of the loss of dear friend. accurate ear and only creation one at a Here a fleeting knowledge of In many called the bard of the Romantic “cenacles,” and instances it must be inborn; and when Berlioz has used a short ( Continued on Page 52) harmony, the result may well be important. In- popular with Victor Hugo and contemporary the personality is large enough, blessed with stinct has done its work and, in many cases French poets of his time, whose verses he set to imagination, the result is empiric and a new ex- Should pigeonhole the old rules and forget done it well. have seen we We surprising results pression music. However, Monpou had too little musical comes to light. If this is forceful enough about them? Or, should we retain them and try from instinctive creation. learning and fell short in the matter of genius, many rules of harmony go by the board. Is not to explain the reasons for the new things as Recently, a young music student, who and his songs have not endured. only this development instinctive? LEO DELIBES 18 "FORWARD MARCH WITH MUSIC” JANUARY, 1944 "FORWARD MUSIC” THE ETUDE MARCH WITH 19 . — ” — l

occupied promi- Music and Study hausted or distracted, or otherwise depressed HE ORGAN has always a place in the Western Church, both Music and Study Examples of soothing music are Faith, and nent “Songs Without Words,” T musically and architecturally. There is a Consolation, from Men- reason for this, to be found in the delssohn; and To a Wild Rose, MacDowell. psychological fact that the organ is itself an assemblage of Stimulating Music voices under central control, a sort of artificial congregation. Rows and rows of people make up Some students need a spur to enable them to a congregation, all responding to priest and Instruction overcome fear and gain courage for action. Organ and Voices Musical together, praying Marches, patriotic songs, triumphant hymns, and preacher, singing together, and responding together in devotional unity. The or- quick, lively pieces with strong rhythm and ac- with rows on rows of pipes, all as alike and cents are exhilarating. The Turkish March, Bee- gan, different as the voices below, is a most thoven; March Militaire, Schubert; and The yet as in Wartime appropriate means of musical inspiration and Ly 2k Warren 2). -Jit Stars and Stripes Forever, Sousa, are stimulating for the human congregation. compositions. support Certain criteria for organs and organists may A good band is a physical and mental tonic. be set up, to see how well they fulfill The colorful uniforms, shining instruments, and therefore traditional function just described. Does or breathing places whatever! ly enunciated. It is to this end that the “classical” animated rhythms awaken man’s higher im- the any ventilation organ music sing? Does it make listeners want Organ “methods” are apt to exaggerate the organ has made its finest contribution. The ro- pulses and make him want to do his part. Since to sing with it? Does it give support to singers importance of finger-shifting, as if one’s musical mantic organ, however, like romantic teaching, people’s chief interests center around things per- without overwhelming them? These are perti- life depended on the perfection of legato. Freely has pushed chordal harmony to the fore, until taining to the war, military music will be as- she nent questions which we organists and all organ singing melodies, on any instrument, do call for all music has been pedantically represented as a Miss Helen Oliphant Bates, Mus. Bac., A.A.G.O. makes her home in San Antonio, Texas, where signed generously. legatissimo series of Chordal stagna- is active as a pianist and organist. builders can profitably and constantly ask in our a smooth legato, of course, but the “chord progressions.” Boys like to learn bugle calls. The tones of a is abomination to be avoided tion gets us into musical mud, so just a word is published stories, plays, verses, and articles. These have work. Unless the three questions above can be on the organ an Miss Bates is the author of over two thousand bugle call are used at the beginning of the piece Jack and Jill, Children s Activities, Instructor, answered in the affirmative, the organ is nothing like the plague. What we mean by legato, in terms due on harmonic clarity. appeared in the leading publications for children— Taps, by H. Engelmann. If pupils are taught Grade Teacher, American Childhood, Young Crusader, and the Sunday School weeklies. Miss Bates has but “a kist o’ whistles,” and the traditional ob- of singing, is that the vowels of our musical compositions with military atmosphere and inspirational features, and poems to magazines for adults. are Clarity of Harmonic Texture also contributed numerous educational articles, jections to it tend phrases should life, it . told stories of army and navy will increase Her articles in The Etude have been practical and useful Editor s Note. to be justified. have time to be One caution is almost axiomatic play as few their interest in the purchase of defense stamps — Unfortunately, heard. Singers notes as possible. At least let us add no super- and other children’s war activities. one finds organs who spend all fluous ones. Military Dramatizations here and there their time sound- The old rules that one-third is enough in a Dance, MacDowell; Gardens in the Rain, Reflec- USIC is essential in war. The spirit of man that discourage ing vowels, how- chord and that the bass and tenor should be before his physical tions in the Water, and Clair de lune, Debussy; Military dramatizations always are popular. It so frequently collapses singing, organs ever, never have well spaced are as good for organ playing as for music is often Forest Murmurs, Liszt; Song to the Evening Star is not necessary to know dramatic art to use M strength gives out, that any diction. The part-writing. There should also be slow and un- which call for the the means of saving life. Instances in Poland from “Tannhauser,” Wagner. simple pantomime scenes in the studio. If the greatest skill in articulation of usual punishment for the offenders who push prove the power of song. In that country families Since Mendelssohn did not suffer the hardships teacher will start with a few suggestions, the phrasing and in consonants is as down sevenths into perfectly adequate triads, been brutally evacuated from their homes, that were the lot of most composers, his music pupils can work out the action themselves. Mili- have registration, or- necessary as the thus “gumming up the works.” jammed into cattle cars, and forced to ride with- radiates a freshness tary music can be used, gans on such sonority of vow- The best-harmonized hymn tunes are, of out food or medical attention. The occupants of and joy that make it or a military atmos- heavy wind pres- els. Now in organ course, those in which each of the voices is given many of the cars perished under the fiendish particularly suitable for phere can be injected sures that the playing there is a melody of sorts. It stands to reason, therefore, cruelties. But in the cars where someone started these trying days. into classics. singers are en- apt to be a con- that melodic clarity is essential to clear har- to sing, hearts gained sufficient courage to keep Pieces with pronounced For example, the old gulfed, or organs tinuous roar of monic texture. Too many notes added to the up the struggle for existence, and the people melodic sparkle and in- favorite, Schumann’s with lugubrious “vowels” from harmony spoil the melodic lines of inner voices. survived. triguing rhythmic mo- Happy Farmer, can be tones which make open pipes unless When organs are complete to 4', 2', and mixture Although living is more nearly normal in tives are desirable. given a modern inter- faces too long for the player learns ranks, chords can be sounded by depressing sin- America, we, too, need music. It vitalizes mind Compositions in fugue pretation. The teacher utterance. With the tricks of clear gle keys. This piling up of tonal levels brings and body, braces both enlisted men and civilians and sonata form might can introduce it like such organs, the articulation, with up the question of registration. for the conflict, and enables them to carry on also be included in this this: simple sugges- snappy attack I was once playing the organ with the San war duties with increased efficiency. Teachers group. These divert, be- “Johnny, imagine tions vouchsafed and release of Francisco Symphony Orchestra under Alfred who want their students to derive the most bene- cause it is impossible that you are a farmer here are more the key. Hertz, and to brighten up one passage added the ficial results from instruction should analyze the to render them without on the way home from pertinent than Another neg- Swell to Great 4' coupler. He heard it immedi- psychological effects of music and let the de- intense mental effort. work. are glad to You ever. lected instruction ately and objected that it was “too high.” A ductions from such study be the basis for pre- Soothing Music be through your labors, These sugges- book from which friend of mine was called similarly one time for scribing musical treatment to fit individual and are happy be- you tions are lessons in melo- playing the celesta in octaves, when single notes will influence selections, People pointed needs. Many factors the who are suf- cause you have a fine to a prime objec- dic phrasing are were written in the part. All orchestral conduc- but the general plan will be to reduce the amount fering from physical crop potatoes ready of tive possible is the tors would probably object to organ tone which of melancholy music to a minimum and put the or emotional strain will which may to send off to the out-piccolos the piccolo, and piles up duplicate emphasis upon compositions that are diverting, be helped by soothing be summed up in hymnal. Here army.” again, as in the chords on top of chords, but what would they soothing, or stimulating. music. For this purpose one word — clar- child play 16' Have one ity. “methods,” the le- think of the addition of the couplers, often it is best to use soft The singing the composition, while Memorial Church at Stanford University with 16' tone already on the manuals? Yet this Diverting Music pieces in organ must allow gato principle is slow tempo, to where Dr. Allen is organist. Johnny walks along to be over- is an unpardonable offense against clarity of Those who are worried and panicky will be with sustained and all voices to be apt the rhythm of the mu- un- harmony which is carried on in many churches helped by music that diverts the mind. Costume pleasing melodies. Sim- heard clearly exaggerated, sic, making whatever week after week. This is the surest way to kill programs are excellent for this purpose. When- ple diatonic progres- the voices of its own pipes and the voices of less we look at hymn music, not as chords one gestures he thinks a voices or orchestra. Combined with muddy tone ever a person attempts to impersonate another sions are more quieting choir and congregation. The organist has to work after the other, but as part-songs for four sing- farmer would use. for clarity in phrasing, ing voices. Perhaps a good rule in hymn playing color, these two factors have done everything character, he gets away temporarily from his than elaborate diatonic , three ways—in melodic After Johnny has im- possible to discourage singing in our churches own individuality and cares. Bright stage scenes or, chromatic harmony. in harmonic texture, and in tone color, or regis- is to keep at least one voice very legato—prefer- personated the merry and theaters. tration. Let us take each of these in turn. ably the bass (for firm foundation) , but to watch infuse gayety into the present darkness. Exam- Since high notes may be irritating to those in farmer, and his mind is interested by the bushels ples of compositions which add charm and color grief, and low chords articulation elsewhere, especially on repeated may be somber and de- of potatoes will Clarity in Tone Color being shipped to the soldiers, he Clarity of Melodic Phrasing notes. first measure of Sullivan’s Onward, are Minuet in G, Paderewski; and Minuet in G, pressing, it is best to keep within In the the middle probably interpret the piece with more abandon The same conductors who objected to super- (colonial costume) Danzas Espaholas, register of the There is a little volume known to every piano Christian Soldiers, however, the tenor voice can Beethoven ; voice or keyboard. Nature tone and more spirit. chords on higher levels have been known to tol- (Spanish costume) and By the Waters poems, lullabies, and student which is singularly neglected in organ ride along on a smooth legato in the left hand, Granados ; barcarolles are balm for instruction while the right hand and pedal play the repeated erate horrible tone colors in organ parts. This of Minnetonka, Lieurance (Indian) jaded nerves. Many hymns create inner —the “Two-Part Inventions,” by J. S. repose National Anthems of sensitivity. it Bach. It is remarked that notes with boldness, precision, and “punch.” seems to indicate a lack Can Music that is descriptive and imaginative has Restless or complicated rhythms, pronounced said that Bach once Every student should be required to memorize be that in our craze for volume and emotional therapeutic value. By arousing vivid mental pic- rhythmic or melodic figures, these were exercises in singing with the fingers. The genius of the organ is best suited for rapid changes of the national pieces thoughts anthems and to review these So they are, or should be. I recommend the “In- polyphonic music, with interweaving voices clear- intensities we have lost our taste for clarity of tures of pleasant scenes, depressing are time and register, strong accents, big leaps in regularly until he can render them for any au- tone color? There are two factors that have crowded out. Examples; the melody, and shrill instruments ventions” as melodic studies for the organist and like trumpets dience re- without advance notice. It is to be * - to this deterioration of taste: one Country Gardens, Percy Grainger; Harmonious and fifes, all such should urge that one rule be observed play them from - i contributed be avoided. Complex are — gretted that, although our national anthems is the overdevelopment of flute and string tone Blacksmith, Handel; Norwegian Bridal Proces- forms of music which require mental beginning to end without shifting fingers. Some effort for played for almost of Spinning Song, and Spring Song, their appreciation every gathering, thousands overedited versions actually recommend shifts, (closed tones and pinched tones) and the over-in- sion, Grieg; are not palliative, and should ORGAN people do not know the words and hence cannot dulgence in amplification. (Continued on Page 54) Mendelssohn; Troika, Tschaikowsky; Witches’ not be used when a performer or as if Bach’s melodies should be played without listener is ex- sing 24) with due reverence. ( Continued on Page 20 ”FORWARD MARCH WITH JANUARY, 1944 "FORWARD MARCH WITH MUSIC” 21 MUSIC THE ETUDE — — ”

Music and Study Washington, received his first Mr. Evenson, born in Spokane, Music and Study an accomplished pianist, musical instruction from his mother, with whom he studied the and later from Benjamin Klatikin, trumpet.

for a law course, he joined the In Chicago, while preparing School Civic Orchestra of Chicago, the Orchestral Training Delamarter, and con- conducted by Frederick Stock and Eric Advancing Organization trumpet under Edward Llewellyn. in tinued his study of the himself entirely to After leaving the University, he devoted Brinkman and theory under the study of piano under Joseph conducting the band and in- Leo Sowerby, at the same time Music the University of Chicago High School instrumental classes at in School Program structing Elementary conductor of the University of Chicago School. He was assistant Concert Band under Victor Grabel.

He then played with the Minneapolis Symphony Orchestra five teaching music in seasons under Verbrugghen and Ormandy, j^cittee (^vendon (jrentzer and continuing his musical studies at l>if l^ode Wane the Minneapolis schools the University of Minnesota, being graduated "cum laude" with a B.Sc. degree.

Subsequently, he studied the trumpet in New York under Max Education, Bachelor of Arts in par- alternative but to seek the cause of this in the Rose Marie Grentzer holds the degrees ol Bachelor of Arts in Music in the case of brass and reed instruments Schlossberg, and later in London under George Eskdale, first were carried on at the Carnegie Institute teaching to which they have been subjected. For Violin, and Master of Arts in Music Education. Her studies ticularly, reveals a real and embarrassing reason trumpeter in the London Philharmonic, and in Paris under of Technology. She was formerly Supervisor of Music, Braddock Public Schools, Braddock, Pennsylvania, and orchestras sound these topics definitely can be taught in classes. la Garde why many school bands University of Michigan, and Director of Vocal Music, Georges Seguelas, solo cornetist in La Musique de and at present is Instructor in Music Education, first the reasons for this situation one musically irritating. The of Michigan . Editors Note. Republicaine. Ann Arbor High School, Ann Arbor, does not have to look far to find. It lies in the ROSE MARIE GRENTZER It must be said at the outset that any mass 193S he was graduated from the University of Michigan In has enjoyed the success and attitude maintained by a great many school with a Master of Music degree. movement which Music School principals and super- URYTHMICS is an integral part of our phenomenal growth of At various intervals since that time he has studied orchestra- intendents regarding program because it is musically and edu- American school music tion under Lucien Cailliet, composition under George MacKay as E cationally sound, and itself to sense the mood of the music, to be conscious translation of music symbols into tone does not have music a subject in adapts to our will naturally at the University of Southern California, and conducting under present-day philosophy of of dynamic effects, to feel the accent and pulse necessarily indicate proficiency in reading. their curriculum. Un- education. Backaleinikoff. growing pains. Certain Vladimir fortunately, Musically, eurythmics develops a feeling for of the measure; also, to have a feeling for For example: If an intermediate grade is hav- shortcomings must be a substan- ing difficulty reading song, He is now a member of the Theory and Instrumental faculties tial majority of meter, accent, tempo, dynamics, rhythmic pat- phrases and phrase balance, to be familiar with a ask them to turn expected. It is easy to them their books face in the Eastman School of Music, and is solo trumpeter in the regard their school terns, and mood. It also contributes to an ap- the whole, half, quarter, eighth note, and dotted down and give you their atten- criticize. It is quite an- Rochester Philharmonic Orchestra . Editor's Note. for preciation and recognition of form and design, eighth and sixteenth by sight and by sound, and tion. Using the left hand to represent the staff other thing to build band as a device melodic line and rhythmic contour, harmonic to be able to recognize and use these note values and the index finger of the right hand to point constructively. One who putting on a show. To background, and an increased music repertoire in simple rhythmic combinations. to the line or space to represent the notes, lead has not good reason to them, the music de- through active listening. Socially, through its Since children are able to execute rhythms them through the song. Suggest that they sus- believe he can do both partment is an appen- UCH HAS HAPPENED in secondary school various activities, it develops poise and grace and to absorb musical experiences far beyond tain each note until you move your hand for the should refrain from dage to the athletic music since the first national contest was and provides opportunity for self-expression; their power of analyzation, the experiences which designation of the next note. Usually you will doing either. We are department. Their first M held back in June, 1923. America has through group participation it makes children we want them to analyze one year should be get a fine response. The children will have little concerned only with concern is to get a band forged ahead of the rest of the world in provid- dependent on one another, and tends to release presented the previous year through various ac- difficulty even with the intervals, which seemed emphasizing these with as large a person- ing free choral and instrumental instruction in their inhibitions. It develops the child by inte- tivities and without analyzation. In the case of so impossible for them when they read from the practices which are nel as possible on the its program of public education. In no other land grating his physical, emotional, and intellectual the second grade, we want them to be familiar printed page. Now have them read from their most effective in the football field as quickly can young students avail themselves of such an responses. Educationally, it serves as an effective with the quarter note, which they recognize as books. We find that again they have difficulty. hopes that they may as possible. To achieve opportunity to the extent that it exists here. It teaching device because the principle is that the walking note, and the eighth note, which Why? When they were watching the hand they become more wide- this they subject their is unique in the American scene. children learn, not by theory, but by doing. to them is the running note. Therefore, they had the rhythm of the song indicated to them, spread in their adop- band conductors to School music contests and festivals in recent Perhaps the most complete system of euryth- should have many opportunities during the first but reading from their books they had to get heavy, and often dras- years have provided convincing demonstrations tion. mics is that of Jacques Dalcroze, who was one grade to get the feeling for these notes through the rhythm for themselves. The rhythm inter- tic, pressure. They fre- of the superior quality of organization and in- of the first to translate music into the realm of activities. The second year, when the notes are fered with their melodic reading and meant A Curious Deficiency quently give no evi- struction. In some localities, notably in the Mid- personal experience of the child. His system, presented to them for rhythmic analyzation, not nothing to them. A better background of rhyth- In contests, at well- dence of concern over dle tradition of excellence in performance reading, they will West, a based on the innate rhythmic responses of the for melodic have experienced mic experiences is what the class needed, rather known summer music how seriously this proc- is carrying their bands and orchestras forward child, concerns itself with experiences only in these note values and the symbols will be more than drill in intervals. camps, and in the high ess compromises and to results that are by no means amateurish. PATTEE EVENSON so far as they aim at the final goal, music ap- meaningful, not in terms of theory, but in terms and colleges, even abandons a pro- Indeed, they are frequently distinctive musical schools preciation. of actual feeling. Intensity and Expression have heard a large gram of sound instruc- achievements. However, these constitute a small we Likewise, for successive grades, the rhythmic number of high school musicians, both as in- tion. They have little patience with an appeal The Objectives Outlined After we have determined our objectives for number of the total. Outside this category, the experiences of each year should lay the founda- dividuals and as members of orchestras and for the time and program actually necessary for each grade, we must be careful to select and quality of the results heard varies greatly. It We all use eurythmics to some extent in the tion for the rhythms which will be presented Almost without exception, we have been acquiring a correct musical foundation. This direct our activities so that they will achieve the must be assumed that individual differences in bands. teaching of kindergarten and first grade. How through melodic reading in the succeeding years. struck by a curious deficiency in their funda- curious indifference reveals the strong tempta- desired results. It is not only a problem of what musical background and environment, and in shall we go about organizing and conducting this After some muscular response to a new rhythm, mental musical training, both with respect to tion to exploit the music program. The principals we do, but also how we do it. Let us analyze an talent, account for a portion of this variety. type of program to make it more functional in the rhythm should be notated and the children technical knowledge of their instruments cannot resist it. As a result, the student pays experience in phrasing. children to de- That other factors enter more prominently into the all of the We ask elementary grades? To do this it is should learn to associate their physical reactions and their musicianship. the price. note phrases by making large circles with their the picture, however, is suggested by the fact important that we organize and outline the ob- with the rhythmic symbols. Each new rhythmic an average of thirteen out of fifteen in His teacher is forced to present him prematurely arms or we ask them to move in space to that for the most part the aggregate personnel When jectives for each grade, and then set out to reach pattern should be combined with note values al- groups gives no evidence of having been with parts to military marches and the admoni- denote the journey of the phrase. The important of these school bands and orchestras represents these our goal through a sequential development of ready familiar to the child, and the combinations correctly attack a note at tion to get the notes out some way as soon as physical sensation have section of musical taught and drilled to activities. gradually which we want them to an average nation-wide cross Without such organization the activi- should become more difficult. dynamic levels, or of having learned he can. Thus, his first contacts with his instru- is that of intensity, feel- Since the basis of different ties will so that they get a real talent in our public schools. not develop musicianship, nor will they We have suggested the stressing of rhythmic fundamentals of breathing and of tone pro- ment are fraught with hurry and confusion. He ing for the rise Arms choice attending one public school or the provide background for skills experiences in building for reading and fall of the phrase. between a the which we skill because duction, or what constitutes a daily practice is denied the necessary time and instruction in waving listlessly in the air are inexpressive and another is primarily one of geography and not are so anxious our pupils acquire. most schools, in grades beyond the second year, clear-cut objectives and a definite those specific items in fundamental technic of no value in the then, are the causes of routine with Every teacher will admit that children devote the greater part of the teaching of rhythmic feeling. of musical talent, what, correct enjoy music period to idea of how to go about achieving them; when which are imperative to his getting a There must an intensity behind movement, if the unusual differences in results obtained from rhythmic activities. However, too often these the development of that skill. They work intently say they have never been thor- start. He stumbles along. Faulty playing habits it is to be music? they repeatedly activities are carried on for their on intervals and use many devices expressive. It is impossible to convey public school instrumental own sake and to establish oughly instructed in solfege and the elements accumulate. They add to his frustration. In time, to the child the feeling of tell- To some people the question seems absurd in without regard to the building of a musical back- the scale and tonality. But proficiency in intensity by mere instrument entirely, con- the of rhythm, and are unable to play correctly the he either gives up the ing; the activities suggested should be that its answer, they feel, is to be found in any ground. We should have a definite reason for to him patterns after several tinues just for his “own amusement,” or inwardly those which uncontrollable cir- most elementary rhythmic our selections and not present an activity be- will give him a feeling of resistance one of several obvious and ’ in school organizations—then, there is no yearns for a good private teacher under whom against a force. The chosen cumstances such as poor talent, lack of public years cause the music is easy to play or the songbook activities should be he might learn the fundamentals which he could BAND, ORCHESTRA from the child’s own experiences, such as lifting, support, unsympathetic school boards, lack of is nearby. Only through careful and sequential just as well have learned in school, had the time pulling, or pushing. industry and ambition among students, and in- planning can we hope to achieve our aims. and been provided. CHORUS The following activity experi- adequate facilities. However, a close scrutiny of Let us outline the objectives, for example, in will provide an BAND and ORCHESTRA Among principals and superintendents, the ence in the feeling for phrasing. Divide the class much of the subject matter that is being empha- William 0. Revelli the second grade. We can say that the aims are: Edited by seeds of this paradox are buried deep in a in co groups techniques employed of twos ( Continued on Page 60) sized, and of the teaching 22 "FORWARD MARCH WITH MUSIC” WITH MUSIC 23 THE ETUDE JANUARY, 1944 "FORWARD MARCH s : i — 3 a —

Marching of the Troops, Op. 180, No. 1—C. W. Krogmann, Music and Study out of individual to use for various problems arising 2 Music and Study Regiment, Op. 143—0 C. Crammond. Gr. embouchures. Pride *of the 2V, differences in The Stars and Stripes Forever—John Philip Sousa of the necessary changes of fingering will be an any man can appear arrangement by John W. Sehaum. The time is passing when (simplified Gr. 2 > Preston. With Ukulele part. Gr. interesting problem for him. group with a patronizing an In Camv—M. L. 2 Vi fallacious conception of what a band or orchestra before a high school C. W. Kern. Gr. 2 Vi Call to Arms— No. 7, in D major. Originally intended as an part upon a gorgeous, broad 65—Cedric W. Lemont. Gr. 3 really is. Quite obviously it is first and last a group and rely for the most In Uniform, Op. the kids to The Buglers, Op. 65—Cedric W. Lemont. Gr. 3 exercise for the martele in the upper third of of individual smile and a disarmingly “nice way with of individuals. The quality and amount Off to Camp, Op. 217, No. 1—Bert R. Anthony. Gr. 3 generalities in 1 the bow and it is certainly one of the finest instruction more than any other single item deter- be successful. It requires more than March Militaire, Op. 116, No. —E.Poldini. Gr. 5 — The John Philip Sousa. Gr. 3 rehearsals to correct weaknesses and mistakes. The Aviators— Some Studies of Kreutzer this study cannot oe bettered as an exercise for mines what the organization will ultimately achieve. “Let’s go back over it The answer to this need is not more rehearsals, but man who simply tells them: the whole bow martele. When practiced in an smooth- 121 Richard Krentzlin. again and maybe we can do it better. Play it Tnxras On Parade, Op. — etude which skips strings, this bowing brings more time spent in technic classes getting acquainted the Air—Irene Marschand Ritter. Gr. 3 rhythmic blunders sail Squadrons of with the peculiarities and problems of the instruments, er”—while the most obvious Pride of the Regiment, Op. 143—C. C. Crammond. Their Application to Modern Technic into play all the basic motions of the right arm, unnoticed is only kid- Militaire—William R. Spence. and learning exactly how to go about dealing with repeatedly over his own head — March Our Invincible Nation—Walter Rolfe. and it should be part of every student’s daily ding himself. And the man who has nothing to offer them; more time in small ensembles—trios, quartets, practice as soon as he has a fair control of the en- other than monotonous exhortations with stock, re- g quintets—to become aware of what intonation, Arranged and harmonized It will lose their Our United States— by Leopold wrist-and-finger motion. should be played in semble, tone quality, and timbre actually mean. This peated phrases of a nebulous meaning Stokowski. Itf ^Jdarold dderhieij. this manner: is being done in some schools with outstanding re- respect. Piano Accordion: R. Anthony whose enthusiasm about music Salute to the Colors—Bert (arrangement by Ivor sults. It means that students can be given a correct Fortunate is the man Peterson) he Ex. 3 start on their instruments and the type of playing is such that he knows his scores thoroughly, that performances, Rhythmic Orchestra: experience which is most valuable for young players. takes every opportunity to hear fine Bugle Call—A. Louis Scarmolin. that he seizes upon every chance to learn instru- strength- Brass Choir: HE OUTSTANDING QUALITIES of the “42 In all of them, except Variant A, the bow should Time to Build mental technic from artist performers. He is , __ , Tap H. Engelmann (arrangement by Hugh Gordon) etc. ening the challenge which young — Studies” by Kreutzer are so well known be lifted from the string after each stroke. This should be carried on without administrative himself to meet minds are throwing down before him. “The secret of Orchestra Tthat there is little need to discourse upon The two aims of the player should be to produce pressure. The musician should be given complete Military March—E. Buecher. educating,” says Ralph Waldo Emerson, “lies in re- charge of his department with ample time to build Salute to the Colors—Bert R. Anthony (arranged by Chris- them here. For well over -a century teachers have a fiery, electrifying accent and a very rapid bow teaching lies in topher O’Hare) and should be held responsible specting the pupil.” The quality of had the Studies in continuous use, and most from the ground up, Up With the Flag—C. W. Bennet. stroke. Some time may elapse before a student, the kind and amount of our own scholarship and wis- for the musical results he obtains. Furthermore, one young students have looked forward to “Kreut- new to this bowing, can begin to approximate dom. Indeed, the Sage of Concord again deserved his man should not be required to conduct a large group zer” as to a peak from which they would be able these ideals; however, he should persevere with title when he wrote: and teach all the instruments. In a number of school to survey the entire realm of violin technic. all capacity, though so in it every day, there being no better exercise for systems, men who specialize in teaching one of the "We are wise in few energy. in a com- But the art of violin playing has advanced developing coordination of the entire bow arm. three groups of strings, woodwinds, and brass instru- There needs he but one wise man Recording on Wire pany and all are wise, so rapid is the contagion." considerably since Kreutzer’s day, and many of At first the pupil should content to take ments are employed to organize classes in all of the be the studies will have to be adapted, or practiced schools in which each instrument is studied in detail. only six or eight inches of the bow rapidly, slow- anted rranctS CooL At general rehearsals adequate time should be de- in ways not originally intended, in order to ob- ing the remainder of the stroke so that he can voted periodically to elementary theory covering in- tain from them the material required for devel- watch his arm and see that it is moving into IS POSSIBLE that new tervals, scale structures, the cycle of keys, and triads. T a method of record- oping present-day playing ability. It is striking the right position for the next note. As the up How seldom do we find a high school student who ing music on wire or metal tape may prove a Musical Instruction evidence of their vitality and inner soundness bow is completed', the right elbow should have gives anything but a blank look when asked for a I serious rival to the present method of disc that they are as valuable for the development of risen to the level of the frog; then the strings key signature beyond two sharps or flats, and its recording. Many years ago Mr. Theodore Presser the modern technic as they are for the acquire- are crossed to the lower note by curving the fin- identification with a major or minor tonality! After in Wartime accompanied me to a Philadelphia hotel, where ment of the classic style. The following notes, rolling a year or more of this type of routine, the student gers and the forearm—in the elbow joint the early model of the Poulsen recording device in the preparation of which the Ditson Edition slightly towards the player. At the end of the can be profitably entered into a larger band or or- (.Continued from Page 20) — was exhibited. During the I called chestra. But so long as principals and superinten- experiment up was used, have been made with these later de- down bow, the entire arm should drop, from the dents go for the big rehearsal and the quick concert a friend at a distance and the conversation was velopments chiefly in mind. It will be noticed shoulder, in order to take the bow to the upper If music teachers will impress their pupils with the and football appearances—to the neglect of the in- recorded on the magnetized wire. When it was that most of them refer to bowing technic. This string. A pronounced pause should be after story of how Francis Scott Key wrote The Star- made dividual musical development—public school instru- reproduced, the friend’s voice was recorded ac- will be understood when it is realized that the Spangled Banner while he watched men give their each note so that the player may consciously mental teaching will not change, and the casualties curately, but I could not identify my own voice. most significant changes in violin lives for this country, standing at attention to sing playing during prepare for the next stroke—for the bow must, in terms of wasted time, energy, and frustration of friend, the song will mean more than a gymnastic straight- The when he heard the recording, had a the last century have been in the art of bowing. of course, grip the string firmly before the stroke musical growth will be high. ening up. similar reaction, indicating that its tonal veracity Moreover, the student who is studying Kreutzer is Another area which should be marked for close made. The national anthems of other countries also pro- was most extraordinary. will find that existing editions cover most of the scrutiny and improvement is the training which the When a good control of the wrist-and-finger vide good teaching material. A soldier able to play the In article in issue of teachers themselves receive. Most teachers have, of an the September left-hand technical problems he will meet at this motion has been acquired, the study should be national songs of the lands across the seas where course, one instrument upon which they are pro- he Fortune magazine, the remarkable Poulsen in- stage of his advancement. played at the frog, using only this motion. is sent, would be a popular good-will ficient. ambassador. vention again by No. Their instruction in the teaching of other comes to light and is reprinted 2, in C major. Most editions supply this RODOLPHE KREUTZER No. 9, in F major. Many pupils look upon this instruments is usually received in “instrumental permission. Studio Liie One of the advantages of this system study with some forty or fifty bowing variants, as a “dull” study, and do not give it the care methods” classes. In most colleges and universities is that the length of the wire permits a very not all of them equally valuable. It is unwise to Also valuable for developing flexibility is the and concentration of mind that will bring about the real attitude towards the pedagogy of orchestral Bearing in mind that the studio should be a place much larger recording; that is, whole symphony inflict them consecutively the student; following where people will a upon bowing: the best results. If it is not practiced well, it had instruments is frequently indicated by the administra- want to go for escape from heart- or an entire opera could be recorded on one spool rather, many of them should be returned to better not be practiced at all, for tion of these classes. ache, everything possible should be done to give it a to play a study of wire. later cheerful atmosphere and to keep it attractive with when in the course of study a bowing prob- Ex. of this nature with a flaccid finger-grip creates A Teacher of Methods flowers and art objects. In the waiting room there The recording-on-wire principle was discovered lem appears to which one of them can be ap- a definitely harmful habit of technic. should be scrapbooks of musical jokes and anecdotes a generation ago by a Danish physicist, Valdemar plied. The classic bowings detache, martele, and Usually they are farmed out to someone who is However, a student’s interest may be aroused to relax the pupils, and inspirational mottos to Poulsen. probably sufficiently familiar with the instrument to plant He patented his idea in a score of coun- the simpler mixed bowings—should be studied if it is suggested that he play it without leaving the of seeds self-reliance and bravery. tries, in first; call it his own. Frequently, however, he is a man not which various companies tried to develop then Variant No. 14 (excellent as a prepa- any fingers on the strings; that is, lifting with Schedules should be arranged with a view to con- it for 19 qualified by a successful background of study and dictating machines and devices to record ration for the martele-staccato ) and Nos. alacrity every finger as soon as the next note is serving gasoline. For this reason some meetings may teaching experience comparable to the level of other telephone conversations. Perfected by research of and 21. stopped. be held in the homes of different members To do this at even a very moderate departments in the university to teach authoritatively of the class. the Brush Development Co., Armour Research tempo calls for thought and alert — Since many families have had to eliminate trips and an mind and that instrument. And no one should be hired to teach Foundation Ex. I other forms of entertainment, the alert of Illinois Institute of Technology, most students will take up the challenge. Inci- in a university who cannot give to the class a com- teacher has an opportunity to make the studio and Bell Telephone Laboratories, Inc., magnetic Here, only the wrist-and-finger motion should dentally, this method of practicing plete and thorough exposition of the subject matter activities fill this the study gap. The number of informal recording is being services. be used for the sixteenths, no movement being of the course. programs should be in- used by the armed induces strength and independence of the fingers creased. New things are always refreshing, When the civil- the arm. this bowing The class members meet with this instructor who hence em- sound industry can again sell to made with When can be much more quickly than the conventional, “hold- phasis should be placed on novelty.’ Games ians, thor- fluency, tells them how to blow the horn to get notes out of it. and con- magnetic-recording devices will be played with some Variant No. 30, on Page the-fingers-down” way of playing. It is, however, tests that provide both instruction and Then they all blow together, the ultimate objective relaxation oughly marketable. 4 of the present edition, should be studied, for more tiring, and the student should be warned should prevail. It may be necessary to reduce the being to “learn the fingering” and play the scales and cost In magnetic recording no stylus presses into it requires good coordination between the fingers to stop playing and relax his hand as soon as of refreshments and decorations, but if arpeggios. The real pedagogy of the instrument is ingenuity is a groove, no light beam falls on a film. A wire or of the left hand and the short bow strokes— he feels any sense of fatigue. used, the pleasure and profit need not be diminished. likely to be insufficiently stressed, for the fact remains tape, about moved point always to be borne in mind when bowing War stamps may be given for prizes. as thin as a human hair, is P After a fairly good spiccato has been attained, that an overwhelming majority of supervisors com- When possible, invite enlisted between the poles of an electromagnet at about exercises are being studied. the study should be used for further practice in plain about the inadequacy of these courses, and seem men who enjoy music to attend studio gatherings. Your one and one-quarter feet record- When the student is thoroughly familiar with that bowing, requiring as it to be at a loss for solutions to the various playing class will be pleased per second. In There is much material here for acquiring con- does a considerable to meet the soldiers, and the ing, the output this etude, it is a good idea to have him trans- problems their students present. Yet these problems soldiers will be refreshed electromagnet is connected to the trol and agility in the lower third of the bow, degree of coordination between the left and right by evenings away from the barracks. of an the pose it, by ear, into other keys; the working out can all be covered. Beginning teaching can be pre- amplifier. As the sound waves vary, a technic which is essential for the modern hands. At a rapid tempo it is extremely difficult sented in these classes with the effectiveness which a alternating current induced in the wire mag- violinist. The study should be practiced near the to play spiccato passage-work of this nature Here is a list of fine professional performer and private teacher would teaching pieces netizes it accordingly. To play back the record, frog, using the wrist and fingers only—the arm with consistent clarity. give. But it must be highly organized, detailed, spe- that have military atmosphere the magnetized wire is passed through another remaining motionless but relaxed. The foregoing VIOLIN No. 15, in B-flat major. This first-rate study cific, and complete. It should include daily preliminary Piano solos: er magnet connected to the input of the amplifi > bowings should be the first practiced in in short trills can also be made an equally good Soldiers At Play among Edited by Harold Berkley practice—routines and specifically outlined graduated —Louise E. Stairs. Gr. 1 where Soldiers Marching By—Pierre Renard. its magnetic impulses induce an alter- this way. study in long trills by ( Continued on Page 56) assignments with discussions of the proper material Gr. 1 Marching Together—Wallace A. Johnson. Gr. 2 nating 67) current, which ( Continued, on Page "FORWARD MARCH WITH MUSIC" 25 24 "FORWARD MARCH WITH JANUARY, 1944 MUSIC" THE ETUDE —

given rise to much tendency has greater Study Music and Study freedom of individ"al expression, and Music and the whole trend is toward the greater use of dissonance, with less emphasis on tonality and the freer use of the entire the ever-popular Marche Militiare, is known in What is the Correct Tempo/ chromatic scale; more freedom and con- countless transcriptions. greater flexibility Q. Will you please give me the metro- sequently and also Brahms’ first and only big work for piano duet nome numbers for: 1. No. 1 in the use of rhythm; German Dance Answers complexity less is his Variations on a Theme of Schumann, Op. in C major by Beethoven: 2. Liebestraum Questions and form; and a growing stereotyped ten- 23. The theme is Schumann’s so-called “last ( Nocturne No. 2) in E by Liszt?—M. L. Original Music for Four Hands dency ever since the later Beethoven thought” which he wrote when already mentally period to combine homophony and poly- A. 1. One well-known edition gives unsound, believing that the spirits of Mendels- Conducted by phony. J. = 66. You might, however, play the sohn and Schubert had sent it to him. Brahms' As for orchestras, I need only say that A Reference Article of Real Value to Teachers first seven measures of the introduction poetic, profound, and masterfu’ fine ones in the Variations are more slowly, and then pick up the tempo there are more United in all the rest of in construction. at the beginning of the dance proper. States than the world 'W. CelirLend combined, and that up to the beginning 2. I can find no metronome marking From the Master Brahms war the number was still growing. for this piece. It must, of course, be of the Eerieotuitz number of orchestras composed L RJA It is generally realized that the “Waltzes played quite elastically, but I believe you A en- not Doc. Mus. tirely of women have been organized, 39” “Hungarian Dances” were com- will find J = 60 to be a fairly good basic Op. and the tempo. sometimes being conducted by a woman original four-hand music, although to keep your ears open for modern de- Professor Emeritus posed as also. The virtuosity of the finest or- velopments also. And in your own com- Ralph Berkowih, successful Philadelphia pianist and teacher, is now on a trans- they are now better known in several other ar- College chestras is astonishing, and it posing I suggest that you write what Oberlin would rangements. The only other Brahms works for violoncellist, Gregor Piatigorsky . Editor's Note. have done the hearts of Beethoven continental tour with the noted Advice to a Young Composer you hear in your inner ear. What you and piano duet are the two sets of “Liebeslieder,” Brahms good to hear their symphonies hear inside will probably change and Music Editor, Webster’s New a quartet of voices Q. 1. I am a student of composition and Op. 52 and Op. 65. These have develop considerably as your musical played as the? are being performed to- would like some advice. I hear so much Dictionary are, however, not indispensable they are International lifetime the improvement which — talk of the problem of orchestration. To ideas mature and develop, so don't be in day. In my own The Prolific Melodist marked ad libitum in the first set—but, of me it seems this is no problem. I conceive a hurry to publish what you write. And in orchestral performance has been so EW PIANO MASTERWORKS are as little instrument and theme together. Isn’t this music gains much by a performance don’t make up your mind finally at this great that today hundreds of school and known as those for two players at one in- The Fantaisie in F minor, Opus 103 begins with course, the as it should be, or should one conceive the that you are going to college orchestras are playing as well as a theme which is perhaps one of the most haunt- with the vocal parts. theme as it be written stage of the game Fstrument. Many pianists as well as music would for piano and average orchestra attractive pieces in all the later study and orchestrate it? follow any particular school of compo- the symphony did lovers are probably unaware of the richness and ingly beautiful in all the wealth of Schubertian One of the most 2. Would you advise a young composer of the when I was a boy. scintillating Allegro sition. Keep studying the works original music for four hands, a reper- melody. The whole Fantaisie is an intensely mov- repertoire is Mendelssohn’s to recognize and pattern his work after variety of greatest composers of the nast. keen The most amazing thing that has hap- Brillant, Op. 92. He composed this strikingly the modern trends of form, harmony, and toire considerably larger than that for two pianos. ing and dramatic work, rich in invention and are tak- is enormous so on, as set forth by such composers as watching the developments that pened the development of effective work for a performance with Clara There is a peculiar misconception in most beautifully scored for the instrument. Another Stravinsky, Shostakovitch, William Schu- ing place in the case of music that is music in the public schools during the Variations Op. 83a concerning piano duets. These are work in which the theme itself is unforgettably Schumann. An Andante and man, even though he isn’t at all in sym- being written by modern composers, and past twenty years. When I first began people’s minds pathy with this movement and trend? This beautiful is that of the is the only other Men- write as you feel. my work as a school music educator, the generally thought to consist of orchestral and is very discouraging to me as I admire Variations in A flat delssohn composition most of all Wagner, Beethoven, Tschai- work in music was so elementary and chamber music arrangements, and, perhaps, some in this medium. kowsky, and Richard Strauss. It seems so poor in quality that it was scoffed at salon pieces by Moszkowski and Scharwenka. Op. 35. This is the best that these composers are criticized as Music for Left Hand Alone Like Brahms’ “Hun- and derided by “real musicians.” A few Most duet collections, as a matter of fact, are of Schubert’s five sets being “outmoded." Frankly, I don’t care Q. I was bom with just the left hand, and garian Dances,” Dvorak at all for a lot of this present-day dis- of them still scoff at it, but they are the of these very things. Yet almost all the of duet Variations and have been playing piano music for the left made up sonant, unrhythmic, eccentric music. Is ones who have remained blind to what composed his delight- hand alone. But for the last three years I great masters composed four-hand music; and is technically very ex- this "modern” music completely outdoing have been unable to find any more music has been going on in the schools. Those acting. work as a ful “Slavonic Dances” the other sort? I read books, hear radio in some instances one may discover truly re- The since foreign publications are no longer are delighted with commentators on this subject, but this only who know amazed and is with as original four-hand available. Do you know where I could get markable works in this medium. The finest of whole endowed adds to my confusion. I would appreciate the large number of really fine orches- some music around grade 8 and up, or a particularly enchant- music. These two cap- your advice very much. B. S. these compositions are much more than piano — where I could get some music written for tras, string quartets, and a cappella for larger than one pianist ing grace, but in some tivating volumes. Op. me? I can write simple things myself, but choirs that have sprung up. These or- pieces set a range A. 1. Your method of conceiving In- I want pieces that I can play in public. contemplative and 46 and Op. 72, are ad- ganizations perform—for the most part- can manage. The great piano duets are essen- strument and theme together is excel- —D. B. there mirably designed for serious music of high quality, and they tially great pieces of chamber music. grave passages lent, and I congratulate No question will be answered in THE you on knowing A. It is difficult to recommend Ameri- ETUDE of har- the instrument. Dvorak unless accom panied by the name often perform it with amazing skill and Let us make a brief survey and point out some are moments the instruments of the orchestra well full can publications to you, for I assume and address of the inquirer. Only initials, charac- deep sincerity of feeling. This develop- of the more important and interesting composi- monic boldness with maintained a enough to handle them in this way. or pseudonym given, will be published. that you know most of them. The follow- teristically high stand- ment of music in the schools is worth tions of this repertoire. For a truly rewarding which Schubert con- 2. I advise you to write as you feel. ing compositions, however, are good, and an entire essay in itself but I can give tinues to surprise us ard in his duets and Haydn’s style was different from Bach’s, there may be some here that you don’t experience pianists should, of course, play and Beethoven’s you only space enough for this hint. themselves. after more than a cen- they are a constant from Schubert’s, Wagner’s know: Elegy in C Minor, Op. 12, No. 1, study this type of ensemble music for And now for music in wartime. Many and Brahms’ from all tury. joy for four-hand play- the others; and and Etude for the Left Hand, Op. 12, No. arrangements for you. But if you have In addition to five duo sonatas, Mozart wrote musicians are, of the armed yet the works of all course, in ers. In addition to the these are being per- 2, by Gabrilowitsch; Prelude, Op. 9, No. 1, studied a reasonable amount of music a charming set of Variations in G, a Fugue in The “Grand Duo forces and of music formed and thrilled to today a goodly number “Slavonic Dances” his more than and Nocturne, Op. 9, No. 2, by Scriabine; theory, why don’t you try to do this minor, and two Fantasias, both in F minor. (Sonata) in C major, students have begun to work in war G ever before in spite of Stravinsky and yourself? It — Andante Finale from “Lucia di Lammer- should be much easier than These Fantasias, originally composed for a musi- Op. 140” is believed by works include the other moderns plants. There are other discouraging who follow an entirely moor,” Op. 13, by Leschetizky; Five Pieces trying to compose original music, for in musicologists to Legende Op. 59; From things in the situation, and when we cal clock, were arranged by Mozart himself for some different pattern from any of them. for the Left Hand, Op. 113, by Rhein - transcribing you do not have to furnish the Bohemian Forest, compare the fight for democracy and four hands, a setting more in accordance with be Schubert’s own Change is inevitable, but the mere fact berger; Left-Hand Studies, Op. 43, by the initial ideas yourself. universal brotherhood campaign Sonata” four-hand arrange- Opus 68; a “Suite”; that the new is different does not neces- Melody from “Oberon,” by with a their rich musical content. The “F major Hummel; Polonaise. sarily for a new concert course or some other (K. at the height of his creative ment of his lost “Ga- and a mean that it is better. Neither Weber, arranged by Kohler; Four Left- 497) , composed does it mean, What s musical development, it sometimes seems music stein” Symphony. But Many modern com- however, that it is inferior Hand Studies, by Max Reger; and Con- New in Music? life, is one of Mozart’s greatest chamber RALPH BERKOWITZ just because that the war and all that it implies is so authorities posers have sought to it is different from that to cert Valse for the Left Hand Alone, by Q. I have to write a paper on "What’s works. This “Sonata” is a veritable model for all since other which new in Music? ’ and would important that the arts, and even edu- possibilities we have become accustomed. As Paul Stoye. All of these pieces may be appreciate other four-hand music and is pervaded by that question that a so- explore the very much any help or ideas you cation, this a matter of fact, it is impossible to the publishers of might must take a back seat. But of duet-writing. Their variety and range of ac- obtained through The suggest Mrs. H. J. atmosphere of sublimity which is felt in Mozart’s called “Gastein” Symphony was ever written, the — H. is evaluate the new and compare it with a shortsighted attitude and I am Etude. greatest products. The “Sonata in C major” (K. matter is another of those intriguing problems complishment is highly interesting. From the the old because the new has not had a glad to be able to report to you that If you have not already done so, I A. This is really too large an order imagina- constantly confronts musical historians. large number of such compositions there is the chance for there are many, agree 521) is also a vigorous work; stirring, which to measure its quality by the test would suggest that you write to all the this department, many people who and unless you are is little doubt, however, that the “Grand amusing suite “Pupazzetti” by Casella; Rach- of time. with Alexander MacLeish his conten- tive, and rich in melodic beauty. There leading music publishers in this country yourself a musician who in is thoroughly is more orchestral in conception than any maninoff’s “Six Morceaux’, Op. 11”; and Stravin- All I can tell you is that the tendency tion that even more during war than Beethoven’s four-hand works were all written Duo” and ask them to send you a list of all conversant with all sorts of trends in during of Schubert’s other four-hand music. It is a sky’s “Trois Pieces Faciles,” and Francois for several centuries has been toward their piano music for the left hand alone. modern peace, we must emphasize the in his early years. These include the “Sonata musical development, I would greater dissonance, things of the both 6,” of symphonic proportions, and on Poulenc’s witty “Sonata.” Ravel’s famous “Ma more irregularity of There are many splendid pieces in for- say that the subject spirit, must educate Opus “Three Marches” and two sets of Varia- spacious work is an inappropriate young rhythm and form, and, in general, a eign editions, but as you say, they are one. and old to be fine, thoughtful, tions, one Count Waldstein’s and every page one finds some extraordinary touch Mere l’Oye” is also an original four-hand suite, At best I can give you only a few on a theme of freer style throughout, with less empha- difficult to obtain these days. Certain general beauty-loving people who will have such sets of of the inspired Schubert. There is a fine orches- and one of Debussy’s maturest works, “Six ideas, and I will group these the other on an original song. Both sis on rules ideals, habits, and convention and a de- companies do, however, deal widely in under four heads: and attitudes that they and spon- tration of this “Grand Duo” by Joseph Joachim. Epigraphes Antiques,” is a splendid example of (1) Composition; (2) Variations are filled with a delightful cided trend toward greater individuality will actually be able to build a world music published in other countries, and Orchestras; (3) Music in sense, And there is one of the F minor Fantaisie by modern craftsmanship in this medium. His in Schools; ( 4 ) taneous charm. They are Mozartean a of expression. for themselves is To close our eyes to this since there is not a great demand for Music in and their children that Wartime. Developments in but, early works, there Ernst von Dohnanyi. Conductors should occa- “Petite Suite” is better known in various trend pop- fit to live as in much of Beethoven’s and to cling solely to that to which left-hand music, it is quite possible that ular music in. Music has a large and im- might constitute a fifth head are the Beethoven of sionally permit us to hear these works. transcriptions. our eyes are accustomed is narrow in portant place in such the moments foreshadowing — they may still have a few copies on their but since this is a world, and out of my line I will It is possible to mention here only a few of the Finally, there is the Hindemith “Sonata,” a fact silly; but to consider Bach, 'Bee- hopeful thing in is that later periods. shelves from pre-war days. Your pub- not discuss it. the situation thoven, so many other Schubert compositions, which present a significant work. This is one of the newest addi- and Brahms to be outmoded lisher can usually supply your needs if As people continue to demand good Of all who composed four-hand music, Schu- to composition, the general tendency simply because one wants to music as a fill four wide range of form and style. Of the larger tions to the repertoire, and the product of an be “up to the desired works are available in this of the past fifty part of a normal life even bert was the most prolific. His works or sixty years is date” is monumentally asinine. country. still during wartime. nearly five works there is the tempestuous Allegro, Leben- outstanding musical mentality. continuing; namely, experiments volumes in Peters’ Edition and run to So advise of vari- My final will I you to continue to study I am afraid that I do not know of ous sorts with new bit of advice is that you make hundred pages. Here are compositions from every stiirme, Op. 144, and the charming “Divertisse- Perhaps this brief survey serve to indicate harmonic, rhythmic your the older composers, but while doing so anyone who would be willing to make and formal paper short and have it followed a la Hongroise,” Op. 54. Among the short- the scope and interest of original four-hand devices and principles. period of Schubert’s tragically short life, many ment This by a fine musical program! of them works of superb beauty and profundity. er works are the many “Marches,” one of which, music to those pianists ( Continued on Page 61) 26 "FORWARD MARCH WITH MUSIC’’ ETUDE THE JANUARY, 1944 "FORWARD MARCH WITH MUSIC" 27 Music and Study FLAMING DAHLIAS VALSE ELEGANTE Joseph M. Hopkins is a composer new to readers of The Etude. Flaming Dahlias is a waltz of the “lush” type, in which the opening melody is intro- duced as though played by a cello. The pedal,in a piece of this kind, is of. great importance. Play the running passages between two hands with great evenness. Grade 4. Americans Want American Music! JOSEPH M. HOPKINS

A Conference with

Sie(jmeis ter Distinguished American Composer,

Founder and Director, The American Ballad Singers

SECURED EXPRESSLY FOR THE ETUDE BY STEPHEN WEST

AR-REACHING RESULTS often spring from give concerts “for the people.” His group included accidental causes. If Elie Siegmeister had garage mechanics, house-painters, clerks, busi- F not been convinced that success, for a com- ness people, and professionals, all of whom pos- poser, means something far deeper than press- sessed greater zeal than vocal polish. Together encomiums and royalties, the American people with several other young composers, he hired might still be waiting to make the acquaintance halls or empty factory lofts at two dollars an of the rich sources of their own folk music. The evening and gave concerts of new American story of how this source was discovered goes back music, prefacing the performances with explana- some ten years when Mr. Siegmeister came home tory talks and requests for what it was that the from Paris, where he had been studying with people liked to hear. At one of these concerts, a Nadia Boulanger. Then in his e&rly twenties he sturdy looking woman with gray hair rose from believed, as most young artists At first, he found Aunt Molly Jackson’s songs do, that he had only to set hard to set down. She sang them with variations down the notes of a worthy from the rhythmic beat, and from fixed intona- and sincere work to have the tion that seemed like mistakes. After hearing public come rushing to ac- more than a score of them, however, Mr. Sieg- claim him. He set down the meister realized that these peculiarities repre- notes of several worthy and sented the essential style of true folk-music. sincere works, but he found There is no fixed bar line; intervals that an- that the public did not come nounce themselves in the major may be repeated rushing, because a composer’s with a shading off into the minor; and the story access to that public depended of the song is so much more important than it upon a series of middle-men is in classic Lieder that the emphasis of a single in the form of publishers, key-word can change both rhythm and into- performing organizations, and nation. the like. It was—and is—im- Taking his own enthusiasm for these folk songs mensely difficult for a young as criterion, Mr. Siegmeister began an important composer to get his works shifting of his musical approach. Instead of won- heard. Music that was ac- dering why Americans felt alien to music of cepted and even launched by European inspiration, he made considerable re- some group might be heard searches into the origin and background of perhaps once a year and then American folk tunes. shelved. Mr. Siegmeister pon- “This real American folk music,” states Mr. dered this phenomenon, and Siegmeister, “is as composite in origin as America here is the point at which to AMERICAN BALLAD SINGERS itself. Its roots are English, Irish, Scotch, Negro, explain his personal concep- Left to right: Thomas Edwards, Rebekah Crawford. German, French, Spanish, Because tion of success. Helen Yorke, Elie and Dutch. Siegmeister (conductor), Earl Waldo, Emile Renau, and Ruth Fremont. of the predominance of British of the At no time has Elie Sieg- stock and English language, however, the British strains meister felt that mere self- first formed the expression pattern. By about the time of or critical acclaim could satisfy a cre- her seat and, with great seriousness, said, the Revolution, strains ative artist. however, we find these Art exists to be enjoyed, and no “You folks say you want to write music for the taking on a characteristic native flavor, and the creative work can reach completion until it also people. Have you ever heard the music of the humor, the strength, the feeling, and the vigor reaches the people—not the music lovers, or the people?” of the American temperament themselves critics, or a group, but the mass of the people assert in a distinctly American music. This folk music, themselves. Thus, Mr. Siegmeister began to won- Genuine Music of the People I believe, is the living art der what there was about the formal, link between creative studied The woman, Aunt Molly Jackson, was a miner’s and the people. I should like to see more and compositions of the day that failed to attract wife, and proceeded to illustrate her remark by more Americans a that mass of the people. turning to it—although, as He came to the con- singing a Kentucky mountain song. Fascinated ma.tter of fact, it has never waned. In our large clusion that most native composition reflected by the vitality and the national authenticity of cities of European influences cosmopolitan influences, the tradition —at that time, notably the song, Siegmeister asked for more. The con- of imported, ‘cultured’ music has persisted. But Schonberg and Stravinsky—and he determined cert ended by Aunt Molly’s offering to sing “a in the wider reaches to of the land these common explore thoroughly American tastes and cur- hundred more songs” if Mr. Siegmeister would songs have always lived and enjoyed. Just rents of thought. write them down. been That was the beginning of Elie now, when What he did all of us are especially conscious of was to gather together a group Siegmeister’s notable compilations of genuine our Americanism, the desire more of of young amateur singers and to go forth and American folk music. to know Copyright 1943 by Theodore Presser Co. British Copyright secured our national roots is ( Continued on Page 54) JANUARY 1944 29 28 "FORWARD MARCH WITH MUSIC” THE ETUDE Pia lento 5 Z2

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LONELY DANCER Mr. Ralph Federer, whose compositions are winning him an ever-increasing circle of friends, presents a new work with an interesting rhythmical treatment. Do not. apprehend the triplet mark over the quarter notes. It is just as though the measure was divided into halves. In the first half, count three, and in the second half, count two. Grade 4.

JANUARY. 1944 . 3

ROMANCE . in The tu eil )a ~ composition. It has not appeared ' O After the Melody inE, Rubinsteins Romance in E-flat is his most popular . , . and climax. e an e j 10 lls on the have for the work. Rubinstein had afine sense of proportion formances air renewed a demand t i„ i.„j. 1 . ui shades off to a delicat epiamssimo es. work, in which the tonal construction is augmented until it reaches the.^f’passages and then Grade 5. ANTON RUBINSTEIN, Op. 44, No. 1 Andante con moto v * 4 a_ 4 3 44543

J Ped. simile

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JANUARY 1944 THE ETUDE VALSE CHRISTINE One of the most melodic of all Jiving composers is.the Czecho-Slovak-American virtuoso pianist, Rudolf FrimJ. This charming Valse Christine has been extremely popular and is arranged also for piano duet. From a keyboard standpoint it fits the fingers so that it virtually plays itself. Grade 4.

Tempo di Valse m.m. J.= 72 RUDOLF FRIML

t

Copyright 1923 by Theodor* Presser Co. International Copyright secured JANUARY 1944 35 — — —

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37 JANUARY 1944 LONDONDERRY AIR DANSE ARABE IRISH MELODY For left hand alone OLD William H. Thompson Grade 5. Arr. by

British Copyright secured Copyright 1943 by Theodore Presser Co. 39 JANUARY 1944 c — — —. * — — A — 1 — — — V ECHOES OE VIENNA ECHOES OP VIENNA SECONDO N. LOUISE WRIGHT PRIMO N . LOUISE WRIGHT Arr. by Geoffrey Montrose Allegro moderato m. M.J-=B6

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January mi TEACH ME THY WILL Words and Music bv HELEN JUN Moderato con moto MARTH P,

i « 0 © Jtx Teach me Thy will, that I shall be with Thee; l -# -G G G- i wt i 77 rp* » nvp i * FT P * f * f TFT grKr 4 g =TT m G &G 3X i 77 m mP cresc. wk XE i Show me Thy way, and I will walk with Thee. If I should fal - ter in my steps to - day,

Strength-on me; Lord, lead Thou the way.

O - pen my eyes, dear Lord, Thy love to see; Make me a pat - tern, Lord, like un - to Thee.

Light- en my bur - den, cast out all sin o - pen my heart and en

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THE JOLLY FISHERMAN Grade 1. MARGERY C j g M nyc | HAI p Moderato m. m. J = 152

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Allegretto M. m. J = 84 ELIZABETH HOPSON

Copyright secured 48 British International Copyright secured Copyright 1943 by Theodore Presser Co. 49 THE ETUDE JANUARY 1944 = - - .

UM PRELUDE . U f page. 1944 Calendars for Music Lovers With lesson by Dr. Guy Maier on opposite The Technic nf the Month E CHOPIN, Op. 28, No. V; H Following the wish expressed by many who were en- thusiastic over the calendars we put out last year, the Allegro M.M. J=80-84 Conducted by later 1944 calendar for music lovers is produced in the same 4 5 ,5 4 Gu»w< group of composer portraits. 5 5 5 4 style with an entirely new 4 , „ 4 composers whose portraits are reproduced on the 2 i*- 1 -0- -0 3 - 2 The • m- r- calendar this year are: Tschaikowsky, Sousa, Gounod, Rachmaninoff, Brahms, Grieg, Foster, Rubinstein, Nevin, "b Weber, Paderewski, and MacDowell. It will be noted s£n- composers that four very highly esteemed American portrait appears are included. For each month a new folded back. The best = mm as the previous month's page is — in E-flat Minor, Dp. 28, No. 14 portraits have been used with the reproduc- Prelude available being warmed pesante tion in first class lithography, the portrait by a second color tinting it.

3 Frederic Cdh~ i hj op biograph- - — Beneath the composer’s portrait is a short » *W which includes the date and place of his -# 2 ; 1 2 A 2 4 3 3 ical skitch Beneath Price, » Hands and the date and place of his death. TP ‘i-J x 9 birth calendar of the current \ this aopears a legible size 10 cents Schumann’s It should be practiced single handed against with a slightly smailer O YOU RECALL flat month preceding-cedm^monthmonth andand^thetne each side, one giving the each, “Preludes?” in impulses (See Ex. 1) succeeding month. 5 4 comments on the half-measure wall. Size ap- other giving the 4 „ L 5 or $1.00 a sketches, practice in whole-measure im- con- D He wrote: “Here are Now very fortunate under these war-time 5 3 5 5 2 4 5 2 4 proximateiyDroximatelv We are a dozen, 4 2 i 4 ^ able to o£fer this calendar at such ruins, eagles’ feathers, all pulses; then in half and whole meas- same identical quality as studies, 45/r" y ft" bargain and almost in the postpaid 4 7 X calendar of 12 sheets comes In all of ures with hands together (all with- 8 last year’s calendar. Each strangely intermingled. envelope. 5 in its own individual SI 1 — them one recognizes Chopin by his out damper pedal). * Further Printings Will be * pauses and by his impetuous respi- Often practice the Prelude two When Present Limited Stock Is Depleted No V ¥ i Only While Stock Lasts. t W boldest, proud- octaves apart; also in upper portion Made and Therefore Orders Can Be Accepted 5 — ration. Here he is the time. To be sure, of the keyboard to keep it “clear in w est poet-soul of his the book contains some morbid, fe- your ear.” traits but everyone Sometimes work at it in straight Pictures verish, repellent j Presser's Musical Instrument 5 2 4 ^ JptiP will find something to eighths, thus: PS fcLfLlJ ciJF- dLn^d^ looks who hundred i 3 1 "a 4 4 10c a copy; $1.00 a dozen; $7.50 a 1 3 enchant him.” and descriptions of all the instruments that the “Pre- Ex. 2 An 8-page publication giving pictures Liszt observes also symphony orchestra and the concert band, their ranges and the method of the appreciation 4 over- of holding them. These are of a size suitable for use in music ludes” are “marked by an 3 etc. various scrap books. There also are little pictures of performers holding the 1523 325 4 set-ups. \ \ orchestra seating Q 11 p excited sensibility, a morbid irrita- instruments and these may be used for making information for concert-goers and radio listeners. tir painful intimations of Interesting and helpful r f r r bility, giving Although Chopin has marked the hpf 1 rfTTHu 1 exhaustion.” ffp 1 suffering and M 1 f Chopin’s Prelude legato, do not strive too hard All of which, applied to the entire * * bi * 3 to bind individual tones, but rather THEODORE PRESSER CO., Philadelphia 1, Pa. / set of “Preludes,” may reek with try to achieve a legato “feel” of each 1712 CHESTNUT STREET but certainly the Prelude hyperbole, hand motive of six tones. Often give in minor is an example of — =j— E-flat sharp stresses on the first notes of f b J 4^=5= in one of his feverish, de- Chopin the third beats of measures. Avoid a 9 9 spairing moods. The extravagant 2 H 3 l crescendo to the fortissimo in 13 2 1 2 9 2 long THREE EQUAL FIVE! 3 *1 Huneker calls its key “sinister,” and TWO TIMES Measure 11 which should be attacked If your child was taught a false multiplication table lie would its triplets “heavy and sullen- arithmetic, wouldn’t subito. A gradual diminuendo from have a difficult time adjusting himself to true octave of child who learns music on a false piano; false in arched.” Its whirling, empty indicated, with he? What a here to the end is pitch and touch? Think of the painful readjustment he shapes might well have been a study tone, possibly a brief, dry pause before must make when he finds that his sensitive hearing has been for the Finale of the “Funeral March carelessly mistaught! those abrupt final E-flats. purse consult your Sonata.” For the sake of your child—and your — Over the first measure Chopin has tuner-technician today. pesante, meaning heavily, Inc. Ex. 1 written The AMERICAN SOCIETY of PIANO TUNER-TECHNICIANS, ponderously; therefore ominously, correspondence to 6747 N. Sioux Avenue/ Chicago/ III. out Address Right hand rotation aspect toward fifth finger. portentously. The terrifying of the Prelude will be emphasized A DEAGAN MARIMBA m swift PLAY Left hand rotation in by sudden crescendos and toward thumb. smorzandos; also by blacking-out Easy to master . . . 3M Pianists—Send for free booklet show- damper ing how you may greatly improve your the use of half and quarter always popular . . . technic, accuracy, memorizing, sight- pro- pedal, which, combined with clear richly satisfying. reading and playing thru mental The Prelude, with its parallel muscular co-ordination. Quick results. Practice effort articulation, will bring a minimized. Used by famous pianists, teachers and gressions, is excellent finger Write Dept. E. in and out, an students. No obligation. quality to the texture. impulses. weird, eerie Broad well Studios, Dept 64- A Covin*, California study in opposite rotational J. C. DEAGAN, INC., CHICAGO

Answering Etude Adver- SWING PIANO tisements always pays Home Learn to play real Swing Piano. Send for free i business offer ft the reader Studv Folder. TEACHERS: write for and delights } CHRISTENSEN STUDIOS, 52 Kimball Hall, Chicago 4 An Easter Program

8) ( Continued from Page

B-flat, and I transposed the It was as if all the voices had declaimed solo was in same key: one reason being in one single sentence, “Shall all be made chorus to the highest notes within the alive: Hallelujah!” The natural relation- to bring the soprano. Then, too, the ship of the keys—A major, followed by reach of every to an unrelated key was D major, made an entry most grateful ugly progression a strong feeling of unity to the ear, and the whole effect was avoided, and voice finished with positively electrifying. maintained. The solo Divine!” with the cho- The other members were Granier’s fine “Hosanna! King answering with “Unfold, solo Hosanna! and the chorus Unfold, Ye rus, as it were, Everlasting! With Welcome Portals. These were used also in such a Ye Portals Ascending on High!” way as to give a sense of continuity. The to Receive Him 50 51 JANUARY, 'FORWARD MARCH WITH MUSIC” the etude 1944 , ” ) — :

the eastern part oi and try to pass them off as Cubans ness; and, as has been noted in Delibes’ dance, created in and popular in Cuba for a Brazilians, earn only resentment French Art-Song art, and equally in that of Bizet, a the country and from There is a long the native artists coming to our “highly distinguished” line of melody. quarter of a century. shores a four-measure, con- under the impetus of the Good Bizet and Delibes were mainly occupied solo passage and Neighbor by a chorus. Policy Composers Before with works for the stage, and it is for trasting refrain repeated these that they are chiefly remembered, (Listen to Suavecito .) as might but their songs, though few in number, The bolero-son is a mixture, Faure and Debussy over those of be guessed, of the bolero, a Cuban varia- How to Make a DOUTY are plainly an advance nimcrJ !,,, DR NICHOLAS the J most of their contemporaries and ex- tion on the old Spanish dance, and rhyth- hibit their receptiveness to the new musi- son. The combination starts with a Music Manuscript (Continued from Page 19) pattern based on the bolero, but then cal thought of the day. mic name in ETUDE unless accompanied b.y the full takes up the four-measure contrasting No question! will be answered THE (Continued from Page given, will be published. 17) and address of the inquirer. Only initials, or pseudonym The French Tradition refrain so characteristic of the son. musical figure which recurs constantly (Listen to Dolor Cobarde .) throughout Another who showed daring and fear- a slur; thus., V is preferable to t. the accompaniment and conga, like the samba, is carnival (ty 4j. P. 4jojallni less departure from habitual musical The The normal position of rests which is the last left is’ upon thought by the its rhythm the parades or of his music. To immediately below, or times in the Century catalogue. voice; usage time was Emmanuel Cha- adjoining, the appears many the entire question lies in the a sort of idee fixe which evidently streets in you see this name you may be sure Value? 3. The crux of brier, comparsas dance through the third line of a staff but Each time Absolute Pitch: What Is Its learn witty Villa- ; good to whose charming and when more' melodic, is well written, and Words "at all times." Surely it is functions to intensify the element of than that the piece is absolute pitch. She btj feichtet costume. It is a two-in-a-measure dance in way Q. My daughter possesses voice by nelle the little is most one part is expressed across its pedagogic purpose a your songs without straining your of Ducks the upon a single staff puts piano, plays the with grief. It seems like the mournful tolling list contains a few of is getting college credits for of is surprise to many who don't keep up based on a pattern of two measures. that children like. The singing new songs and exercises at the top a celebrated of his few songs. With Bizet or when a rest comes and works in between Century Edition . . . like has a good sense of rhythm, Edition. With so many of her of a bell during the lament sung by the grouped the Hopkins pieces in violoncello, your power. When you have learned the words, Century (Listen to One-Two-Three, Kick! or Ay pieces, they are 15c a copy. exceptionally well. In high school priced editions they had no idea Miss and Delibes, Chabrier may be said to notes of varying pitches, this rule all Century reads music all the nuances of expression high voice. This song works up to fine dra- must the tune, and represented in the Century Si, Ay IVo.) if Like) to go into Public School Music, Richter was so well have instilled red blood and life into the be considerably modified. (With Words to Sing you she was urged from memory, you should occasionally sing matic proportions before it ends on a (Rhythmic Legato) that her major interest. Of what catalogue. The rumba, which is confused with the 2740 School Pictures, C-l. ... and finds the songs -.^exactly as you hope to sing them often-too-sugary song of his day. Before In writing key signatures Covered Church, C-l teacher again that final repetition of the theme of the toll- the signs 2742 An Old Moss value is absolute pitch? Would a voice as well This gives us a chance to tell you conga by the unmusical, is for partners, Notes) before your audience. Use your brains the earthly careers (Double able to help is one of the world's of Bizet, Delibes, and should be spaced sufficiently apart so (Melodic Legato who places no value upon it be at 15c a copy Century ing bell which reverberates softly in the that 2746 A Little French Doll. C-l, as your voice at all times. Bonds whereas the conga is danced in a line. To (Left Hand Melody) as one who finds it of great bargains . . . second only to War Chabrier ended, Big Bass Fiddle, C-l. . daughter as much final had a rich outpouring no two signs fall over each other. Acci- 2750 my measures of the accompaniment. 2747 Watching the Soldiers, C-l and Stamps. of some North Americans it is monotonous Development value? Impairment of Voice After a Severe Cold modern French art-song had begun; dentals should, of course, be ( Forearm Berlioz, here, used methods far in ad- written in (Double Notes) Have Words To Sing) because there is only one eight-measure 2974 Old Cathedral, G-l Q. About two years ago, I lost my voice (These Piano Pieces .an outpouring which followed upon the the space, (Double Notes) mean, I suppose, of his same- upon the same line, 2975 Shoogy Shoo, C-l A. By absolute pitch you Indian Boy, Em-2 (Alternating Hands) vance time. or (Left Hand Melody) after a terrible cold. My original range was 3452 theme which is repeated almost inces- 2978 My New Saxaphone, C-l, correctly the pitch of tones Aboard. G-l (Legato) heels of important instrumental and exactly opposite the notes B!ynkum,F-l, (Melodic Legato) the ability to name above High-C. 3158 All they affect. 2979 Wynkum and from F the first space, to B-flat 3459 When My Birthday Comes, C-l santly. (Listen to El Maraquero or Rumba Twinkle Toes, G-l (Finger Technique) sung or played, without referring to an instru- orchestral developments in France, which Dots must be placed directly 2983 teacher said it was a very rare and bril- (Finger Technique) In Contrasting Vein after, and Little Injun Brave, Am-1 faculty is well developed, the My Tambah or The Lady in 2984 ment. When this I can only 3458 The Snowflake’s Story, C-G-2 Red.) Development 1 coloratura. Nowadays were first noted about the mid-nine- not some distance from, ( Forearm notes of a four- liant type of (Alternating Hands) the notes they Old World Village, F-l student is able to name all the treble A very different song from the lamento 2985 In An reach G, the first note above the staff, 3169 Pussy Willow, C-2 (Finger Technique) teenth century, and which led to a sig- (Rhythmic Legato) value is self-evident. It enables augment. If the affected note is in part cord. Its that throat was full 3166 Bounce the Ball, C-2, (Forearm Development) is the first in the group “Les Nuits d’ Small Drums and a Come and Play. G-l. ... (Rhythmic Legato) clef. A doctor told me my Staccato) nificant and native musical art, “re- Large 2996 the singer to sing in tune and helps him to de- 3451 Hiking, C-2 (Finger a space, the dot is placed in 3000 My Little Goldfish, C-l, (Left Hand Melody) which dropped down onto the larynx. (Legato) fite”; it is called Villanelle. that space; playing or singing out of musus, 3159 Jolly Santa Claus, G-2 This is a 3001 The Captains March, C-l (Time Study) termine when others are tone (Legato) capture of the French tradition” after When- it comes to instruments, the but if the Would that affect my range and my 3160 Guess Who, F-2 note is on a line, the usual 3003 My Pretty Cello. C-l... (Left Hand Melody) This "sense of pitch” is of great value (Legato lovely song of spring with a chordal ac- (Rhythmic Legato) of tune. there any exercises for such a 3457 See Saw, F-2 Waltz, C-l. . many years. These developments, co- Latin nations have more in 3004 The Garden conductor quality? Are the Go Round, C-2 .(Legato) common than practice is to write the dot in the C-l (Double Notes) to the choral and the orchestral 3453 On Merry companiment of shimmering, iridescent, next 3007 The Big Soldiers, case? throat around the larnyx is very The Dream of Little Boy Blue, C-2 inciding with the appearance of they have even in and Dance, F-l (Rhythmic Legato) daughter desires to make a My 3449 a great musical forms. Drums space 3039 Skip alike, and if your sing Technique) ' above. to (Finger . A repeat is better and whenever I try , delicate color ( sempre leggiero) indicated Little Boy Blue, C-l... (Left Hand Melody) sore and painful, and a lyric 3046 success in Public School Music she should cul-, 3455 A Riddle, G-2 (Finger Technique) French poet in the person of Paul are basic in virtually all the orchestras Santa Claus. (’-1 (Finger Technique) the it tightens up immediately. by two large dots than by a row of four, 3050 a note above G 3456 The Robin’s Song, G-2. .. (Finger Technique) melody that seems to take wings and 3051 My Little Pet. C-2 (Double Notes) it assiduously. Verlaine, of tivate I sing a certain note, Imp in the Clock, G-2 provided the musical and poeti- these countries, ranging from Peru, Breast, (Finger Technique) Also sometimes when 3163 The with one in each space, as was formerly 3054 Robin Red F-2. . would be illogical for any teacher to Technique) 2. It (Finger . soar aloft like a bird. L’lle Inconnue, with ear close up. Are „ , cal means necessary where only 3058 Fairy Wish, G-2 (Finger Staccato) it seems to make my left (Finger Technique) to the production one small one will be used, done. Italian Technique) deprecate a sense of absolute pitch in a singer. 3167 The School Bell. G-2 its rocking, terms, organ registration, 3061 Christmas Is Here, Pr2, (Finger any books which would help me to rid Ride, D-2. (Alternating Hands) barcarolle rhythm, has an (Alternating Hands) needs to there 3165 An Airplane of a fine body of art-song. to Haiti, where the drum has the place 3101 Little Red Skin, F-l* Whether or not the singing teacher Echo, C-2 (Staccato and kindred matters should be written Moonbeams C-l (Double Notes) myself of this condition ?—E. H. 3454 The Playful eminently fitting musical setting for the 3109 possess this fortunate faculty might be a matter 3460 The Woodpecker, C-2 (Staccato Legato) l » I. By the end Of the century there had of honor and the bands use all sizes. Its 3111 In the Country, F-2 (Rhythmic OKA Tkrt Clanhaw- X _ T TX Cl /C7fort,*afr\l between the two staves in value it, be- light keyboard music ( Legato) he does not and playfully tender nature of the 3117 Out On the Ocean, C-2. . . Rhythmic of opinion. Perhaps A. You need the help of a very competent emerged a notable French song with varieties are arranged much as are Scouts, (Finger Technique) when referring to both staves or hands; 3119 Boy F-2 cause he does not possess it himself. than a singing teacher. poem. Au Cimitiere suggests the later 3580 The Bold Knight. F-2 (Finger Staccato) throat doctor rather such masters as Faure, Debussy, Duparc, violins in a symphony orchestra: first severe cold has but above the staff when referring to 3582 Careless Mary. F-2 (Finger Technique) The infection from your very French Impressionists in the wavering, an (Staccato Study) Chausson, Ravel, and others in drums, second drums, 3583 Old Man Winter. Dm-2 Registers: into the nasal cavity, the frontal whose and so on. Some upper part, and Valentine,- (Finger Staccato) spread evanescent quality of its melody, and the below the staff when re- 3584 My G-2 Mezzo? into for Century Music. If lie works The Big Clock. C-2 (Time Study) Is She Soprano or sinuses and through the Eustachian tube Ask your dealer we rejoice today. Yet the song drums never are beaten with sticks but ferring 3585 order direct pale, misty coloring evoked by the to a lower part, either vocal or fourteen I sang successfully Acrid mucus has fallen down on cannot supply you, send your chang- creations Ask your dealer for Century Music. If He Q. When I was the left ear, of Berlioz, Delibes, and Bizet simply caressed with the fingers to pro- voice. both to us. Our complete catalogue listing over ing harmonies of the instrumental. cannot supply you, send your order direct with a naturally clear lyric-coloratura to the lamx infecting and inflaming accompanying numbers is FREE on request. should not thereby have lost caste. duce a sneer or a moan. catalogue listing over voice seemed to grow the muscles that move them. 3700 chords. Big drums are The observance of the foregoing hints to us. Our complete As I grew older my the cords and Among these are gems entirely called bombos, 3700 numbers is FREE on request. high tones lacked the ressonance and The wonder is not that you sing badly, but singable the small Cuban one is a will make for lower, my CENTURY MUSIC PUBLISHING CO. Thus we find Berlioz, celebrated as a accuracy and elegance in and low ones. Now, at all. You say that you and truly worthy bongo; fullness of the medium that you can sing at N. Y. of a place among rep- other countries call the small CENTURY MUSIC PUBLISHING CO. a careful 254 West 40th Street New York 18. daring explorer and innovator in the musical manuscript. These desiderata ac- seventeen, I sing coloratura songs easily in have discovered an excellent and resentative French songs. version 254 West 40th Street New York 18. N. Y. a caja. voice but my lower and medium must, if you really want to be field of orchestral composition in France, quired, speed will follow. The writer of a high soprano , doctor. You The guitar good down to ET below treat your throat regularly also probably is the second most musical tones are exceptionally cured allow her to a pioneer in the composition of manuscript intended for per- and most long period Bulletins popular Latin Middle C. I have a radio program and thoroughly through quite a Our Monthly Break instrument. It has many formance bring you original arrange- French art-song. Into the last entered or publication should remember listeners prefer my mezzo songs. From time. You should have had these treatments names. In Bolivia of my of ments for building up extra and Peru it is a suppose voice is a you first contracted the PIANISTS! all the current Romantic play of color, the words of Sheridan, to this effect: EUGENE FEUCHTINGER this description, do you my two years ago when choruses of popular hit-tunes with novel breaks, tricky charango but it has a still fact that I sing coloratura you now will be much more bass figures, boogie woogie effects, riding the melody, of light and shade, tinctured with strong different name "Easy writing’s curst hard reading.” mezzo, despite the cold. To cure etc. Send a dime for sample copy. . Your Good Neighbors' according ease? difficult and will take a much longer period to its size, a four-stringed in- songs with CHRISTENSEN STUDIOS. 75? Ki-nball Rail, rhra-o 4 HRnr> S emotional content, and withal distinctly STUDIOS three little or that there are exercise can do you strument being .2 I have been taught of time. Vocal French in a cuatro. Harps, violins, placed can the read- feeling and expression. Berlioz definite registers in which all correctly no good until you are better,. nor and pipes of all sorts are common. but our school the use of the voice. Your did not institute an era of French song, Music Rat- tones lie: chest, facial and head ; ing of books upon tling Exclusive teachers of the famous contralto bad cold however; and grating instruments are native Speeding Up the vocal teacher maintains that a true present condition is the result of a due, undoubtedly, to the un- Feuchtinger scientific method of chest Indian contributions. In places her tones in the medium instead of plus neglect. fortunately hostile feeling his ( Continued from Page 8) Cuba a dried tone works at Isn’t it knoiqn that a good low squash with slits DEVELOPMENT register. first aroused in It is scratched with VOICE resonance? Voice Breaks During Speech in his own land, and also Sixteenths must lie in the chest for maximum His hardwood, two short sticks are Studios in taught to practice softly at years age. When I use Protects Your to the fact that he composed relatively Of these, the maxixe, tapped, 3. I have been Q. I am eighteen of marcha, and and gourds rehearsing a song for perform- length time in normal few songs. His influence are shaken, giving us the NEW YORK PHILADELPHIA all times unless my voice for any of made itself only samba have been well liked in the learn a song in- irregular times. north. giiiros, claves, and SAN FRANCISCO LOS ANGELES ances. Is this right? Can one talking, it breaks or cracks at Precious indirectly felt when French maracas that now are Stein degrees art-song There are two varieties of the W. SAINT PAUL MILWAUKEE terpretation by singing it in varying When I was thirteen I sang in a choir and samba, the a part of most big reached its full stature in last North American dance instead of in the wide range from used voice very often. The rehearsals the half rural and the urban, but both are carni- For further information address of softness my bands. Marimbas, A simple in the music ? This has hard. Through them I might of the nineteenth century. val mandolins, and reed way to help young piano soft to loud indicated were long and rhythms and used for group dances. St. to do.— sometimes flutes are MAIN STUDIO 18, 64 E. Lake particularly hard for me strained voice . My voice After Berlioz used also. Peru still clings pupils to play short always been have my SHEET came Saint-Saens, Gou- In popular to sixteenth notes I form, the samba is in two- CHICAGO, 1, Illinois breaks when I just begin to speak. have very old instruments designed B. S. nod, Massenet, Godard, and other in- four meter. by the enough, in measures such as the one gone through a period of voice change, but (Listen to Tamborim.) Incas; the ocarina and shell to decide whether day it takes on dif- strumental and operatic composers of trumpets given below, A. It is not possible for us at different times of the The zamba, on the other hand, is a is to have them practice MUSIC are typical. North coloratura or a mezzosoprano without pitches. Do you know what my trouble the time who added to the general body dance form American orchestras TRAIN you are a ferent found in Argentina, playing these exactly as , from your TONKabinets for Bolivia, differ less and sixteenths a personal audition. For us to guess is.—M. L. of song literature in France, but less from those of Latin un- sheet music give their and Ecuador and is thought to be based if they were grace notes; description in a letter would be completely America as these instruments results. We suggest many possibili- it the protection contributions were not outstanding ex- on a Peruvian are added scientific and might have very bad A. Your questions dance several centuries to From by of specially de- our own, for fundamentally Tramp, Tramp, Tramp that you sing for the best-known ties. The voices of most hoys change at about cept perhaps in individual instances. old called! a the major would suggest signed drawer- zamacueca. At sometime this horns, famous singing teacher thirteen or fourteen. Then they should rest strings, George F. and the most trays ; give you Gounod and Massenet are and percussion instru- Root. musician | credited with word was split—zama and cueca Results GUARANTEED! Put your problem up to them their voices for three or four years until the the convenience —and ments are in We build, strengthen the vocal organs you can contact. instituting the musical Ex. 1 sui* sang too file a school of song in which two dances were organizations not with singing lessons—but by sound, fairly. Ask their opinions and adult voice appears. Perhaps you of a handy produced; a letter b vocal exercises, frankly and of both continents. entiflcally correct silent and were fifteen or even sixteen that keeps every the melody functioned as the expressive was added and absolutely guarantee complete satisfaction abide by them. long, until you and the zamba became Argen- with results. Sent to no sheet in place and North Americans Write for Voice Book. FREE. in the chest, head, or face. or seventeen, and injured the vocal cords. feature, and the accompaniment who wish to solidify one under 17 years old unless signed by parent. 2. No tone lies EASY TO FIND. too tine and the cueca Chilean. The mechan- possibility immediately suggests itself. It zamba the growing PERFECT VOICE INSTITUTE, Studio 5511, 54 E. Lake SL, CHICAGO are produced by the same This Finely crafted often was merely what the friendship between the All tones name implies. is in six-eight meter Pan- action of the breath upon could be determined quite accurately by a styles for schools, (Listen to La American nations need The sixteenths changed to grace ism; namely; by the Sometimes it showed significant work- to do more than Resonance, or if you prefer thorough laryngoscopic examination by a homes, studios, Chachita ) and has a traditional dance the vocal cords. know a little bit notes. Or it might be that etc. Illustrated manship, but rarely stepped out of about the music of the another word, tone-reinforcement, occurs in competent throat doctor. its figure; the woman waves her scarf high BUY AND that the Style 678,capac- various countries, however. Ex. 2 WAR BONDS and cavities of chest, head, and face you have some nasal catarrh, and chief role—that of support for the voice. Movie-makers the bones ity about 800 around her partner’s head with her right proportions in different parts of the mucous has fallen down, especially at night and operators of night clubs in varying sheets. Ask your In Georges Bizet (1838-75) and Leo hand, and slightly should stop STAMPS FOR VICTORY individuals. No two during sleep, upon the vocal cords and the lifts her skirt with making a scale and in different dealer. Delibes jumble of Latin ways sing- muscles that move them. This would certainly (1836-91) we have two whose the left as he pursues her. and cus- voices are exactly alike and therefore no toms, particularly the alike. His Interfere with the control of your voice. A TONK MFG. CO. songs at this time present, as a whole, music. Hollywood ing teacher should treat them exactly Cuba has fewer dance or song patterns If the in their with doctor could easily discover this also Chicago recently distributed a movie children do this method of approach should differ slightly throat a high level of excellence. They are for- in which INCREASE YOUR is than some of the other countries, but slow still the same general princi- and treat It. A third suggestion that you Betty Grable, for example, practice, the sixteenths will each voice, although mal in design and yet touch hands danced a ! teaching them all. may be speaking badly, using the tongue and with they are highly original if not indigen- conga INCOME ples should be retained in (a distinctively be short and crisp the tempo stiffly and tensely, thus the Romantic era in the Cuban form) as if when Easily—Substantially Pleasantly have the theory of resonance thor- the throat muscles greater rich- ously Indian. There are sharp differences — You should it were a native Argentine is increased. hours of — practically explained to you so making your speech difficult and uncomfort- ONKabinets — Take Subscriptions for and T ness and color they display. These ex- dance and Even a few oughly between the dozen forms found on to able instead of easy and pleasant. In this lat- that wore a.rumba costume! that you may sing your tones from top pressive, romantic qualities are Night-spot mana- such work will put a new sparkle THE ETUDE MUSIC MAGAZINE lessons from achieved island, so long called the sugar bowl of with comparatively little change of ter case you need a course of gers who hire girls from bottom by harmonic and rhythmic resourceful- the world. Manhattan who into the pupils’ playing; and, best — Write for particulars — volume throughout your entire someone who understands the correct use of The son is an original Cuban certainly quality and for Sheet Music are not Latins from 1712 CHESTNUT ST. PHILADELPHIA, PA. the voice. Manhattan, of all, the youngsters enjoy doing it- range. 52 "FORWARD MARCH WITH MUSIC "FORWARD MARCH WITH MUSIC" 53 THE ETUDE JANUARY, 1944 ' —

madrigal groups generally the feeling that music is stand, existing close to MS ' songs, common life; a —M— base themselves on the English means of expressing ri only now versal humanity and put in an American tune through American THIS that! cents. It brings the and Choir Duestions T MISS and then, if at all. Let’s reverse composer much Organ Organ and Voices r ourselves on our own native to the people that mass of Let us base the De °ni the for whom, after P music. It might be helpful to outline all, he must EXTRAQUALITY ( Continued from Page 21) writp ? American Ballad know that my contact kinds of songs the with folk mu • Singers use in building their programs. has influenced my composing There is no genuine substitute stvle ^ .Answered HENRY S. FRY, Mus. Doc. for open, organ pipes, with the detriment it is bound Lf same to “First, we have a group of early Amer- to do the same for unimpeded tone, either in singing othel or in taste in tone color. As in the case of I feel my music ican songs. These include songs of the is clearer, more Amer? • Mail coupon today and see how organ-tone. The good, old-fashioned the crooner, the basic tone to be built Revolution, early psalm tunes, and bal- can, more easily from fundamentals, from understandable th- No questions will be answered in THE ETUDE unless accompanied by the full QUALITY rings and echoes ppp Dulciana to ff up is almost, if not entirely, inaudible. lads. Especially popular is Springfield before-for example, my the inquirer. Only initials, or pseudonym given, will be pub- Diapason with a balanced score for sl,u name and address of every page, every feature. hierarchy of With all the increase in intensity and Mountain, written in Massachusetts in Lancourt’s play, “Doodle lished. Naturally, in fairness to all friends and advertisers, we can express no opinions mutations and mixtures to corroborate, Dandy of th volume, the timbre, or lack as to the relative qualities various organs. of it, remains 1760, the first original ballad, it is be- U. S. A.” my Ballad of Douglas of not to exaggerate, the upper partials the same. Mu An electronic instrument lieved, down in America. It is Arthur, “Walt Whitman For Your Money are the pipes which sing to be set Overture » More and encourage should never ’ ™a be called an organ. There it tells a story, others. mass singing. These have a typical ballad in that Has that EXTRA value which distin- too often given is no substitute for the latter when it has many verses, and carries a repetitive Further, a closeness to extra way in modern organs to hooty flutes our folk music guishes a superior product — comes to the kind of cumulative volume character releases the and nasal “strings.” refrain; but the American has natural creative songs, extra indexes, extra respon- The stopped flutes needed for impulse ir accompanying the voices of already imprinted itself on the song with all of us. Not only permit our are very useful and they do we touch Will you suggest a list of stops for a The policy of The Etude will not sives, extra care and quality in work- have a place a great congregation. tho i Q Multiplication of the result that the traditional melan- early forefathers of ours otgan? The church is large, and answering your inquiry as to certain makes of extra in the scheme. This place should be a who worked anc two-manual manship and materials. And electrical units and further amplifica- capacity of between seven and instruments. choly of the old English ballad gives pioneered, and sang besides; has a seating Gift or Memorial book modest one, however. Unfortunately, they we begit like a list of stops service in tion of synthetic tone results in eight hundred. I would also aggres- way to a fresh and hearty Yankee humor. to feel that, if these contemplat- “Finance Plans” and extra became for a while the most important unlearned folk- three-manual organ. We are organ plates, free sive tonal thumps which for a Q. 1 am trying to rebuild a small reed stops in literally take Also, it is sung with the real Yankee singers could compose such new pipe organ. Would you advise THE binding for “Home” copies the organ, because they save the fine songs ing buying a and need a number of parts for it. Will you colored wind out of singers. we, or -E. H. L. space and money. twang! The shape of the melody will too, might try to express either a please send me information concerning new at quantity rate. While the stopped When Walt our con- SERVICE pipes Whitman said he heard remind you, perhaps, of hillbilly music. temporary scene in parts, tools, and so forth? Also, in the near monopolized the basses and mid- music. Folk music the following specification America singing, he meant A. We suggest future, 1 expect to build a small pipe organ. dle, singing—with The difference is that hillbilly music is brings the people Sample Copy the open but pinched-up “strings” close to their own two-manual organ: too. HYMNAL Mail Coupon for FREE the open throats, the tra- for the Would like similar information about that monopolized open pipes, the a somewhat watered-down kind of folk ditions. As Americans, the upper voices, to the open we want to know —E. M. M. brasses, the open strings of Ameri- music detriment of singing all around. “String” —most of the original rough edges how those who came before us True to its name, “The SERVICE can music-makers, with thought 16' 85 Pipes A. We suggest that you state your needs to lusty voices sup- have been smoothed away and felt Contra Gemshorn of the Hope Publishing tone from open and ‘improve- and courted 8' the demands pipes of comparatively ported and worked and 73 Pipes the firms whose names we are sending you by Hymnal” meets ESTABLISHED 1891 by organs, bands, and orchestras. Open Diapason broad scale give the finest kind ments’ have been added, in line with fought for freedom; it 8' 73 Pipes mail. hour with new, inspiring material for of sup- Sometimes is exciting to Harmonic Flute onfy the best in song books they were out of tune, but 8' 73 Notes l¥lf port to solo voices and small choirs; cheapened, commercial tastes. Folk mu- learn that their way and our Gemshorn every use in all denominations. With but that didn’t way aren’t 8' matter so much. He would sic 85 Pipes the thin, pinched pipes of movie itself retains its vitality through so different after all! Dulciana Q. Will you tell me how to do the Andante this complete service book you need West Lake Street Chicago 44, Illinois organ have been disgusted 4' 73 Pipes 5737-A4 with what goes on all its Flute Harmonic Recitative from the Mendelssohn “First Please “strings” are too razor edged mutations, and reflects the actual "I should like to 4' ( ) books in one. need new song books In onr Chnrch. and cut- today, with see the best American 61 Notes ” organ? no other— 3 We all of our streamlined Gemshorn Sonata for Organ —on a two-manual send free sample of “The Service Hymnal. ting to offer sympathetic sub- life of the people from whom it springs. folksongs in all 4' 73 Pipes support for stitutes for our schools, as the very Octave F. J. S. Here is a hymnal your Church will what he called singing. 4' Notes voices. “Our second group is called ‘Americans first musical 73 Singing friendships our children Dulciana be proud to use. And priced so you Official in our schools is too 2%' 61 Pipes list of the stops of the two- Amplification often left at Work’, and here we include make. Twelfth A. Not having a ruins modern musical to work I should like to see them in 2' 61 Pipes will omit SAVE! Still has the unique advantages expert choirs that try to imitate our Fifteenth manual organ you have in mind, we taste as surely as ro- chants and trade songs of the homes, overly potent cocktails mantic men and as the sort of music our 3 Ranks 183 Pipes the naming of stops and suggest that you use of tarnish-proof gold stamped bind- organs and humming orchestras people Mixture spoil the appetite for and appreciation women who built this country. The sail- turn to when 8' 73 Pipes the Swell organ for the first three measures, 510 instead of singing speech they seek recreation or Trumpet ing, lacquered for long wear. mu- of on pitch. Con- ing ships ite Expression Box Great and Pedal ready for Measures 4 fine cooking. Mediocre, breathy voices are represented by the fine, entertainment for having Scripture Readings. State gregations sing well in themselves and their reduce the Great to con- sical numbers, 67 City are built inverse ratio to virile sea chanties. and 5. For Measure 6 up over a “mike” by sound en- There are also rail- friends. And I (right 100 only $67.50 not prepaid. Member their fashionable respectability. should like to see our ORGAN trast the left-hand part with the Swell Price per Church and Massed road ski p, gineers so that the public is fooled songs, songs of the cotton pickers composers 16' 97 Pipes beginning of Measure 10 return into singing in our armed study them as a means of Bourdon hand). At the thinking forces has been and 8' Pipes combination (the PUBLISHING COMPANY that a singer is being heard. lumbermen, street cries, and cowboy learning what Geigen Diapason 73 the Great organ to original ff HOPE negligible so far compared kind of music our people A ddrcks — to what was songs. 8' 73 Notes chord of the soft part is included in the St.. Chicago 44, III. Pastor The result is a host of overpaid, under- Even the American shoemaker want to hear. Stopped Diapason last 5737-A4 West Lake done in 1914-1918. and Americans want American 8' 73 Pipes At the beginning of Meas- fed, female the medicine Salicional Great organ part). torch-singers with harsh, barker have their songs! music!" 8’ Pipes Measure 6. The best hope for reviving Voix Celeste 61 ure 12 reduce the Great organ as at raspy voices and a singing “In third place 8' Pipes combination. no fundamental tone, America comes the Melting Pot Aeolene 73 At Measure 16 restore Great to ff TWO OUTSTANDING HYMNS ATTENTION is in the churches the and male crooners and schools group, which is especially 4' 73 Notes (The soft notes are again included.) On without any voices' that interesting in Stopped Flute tfje ®0orlb MARIMBISTS—XYLOPHONISTS possess fine organs and 4' 73 Pipes play the right hand on (gob of at all. These leaders who that it consists Geigen Octave last count of Measure 17 Favorite Melodies: puny excuses for singers of songs that stately and vigorous in style—Musical Courier Four- Mallet Arrangements of do . . are still on fire with two 2%' 61 Notes Swell (Swell open), and close the Swell . broad, “Beautiful make Whitman’s ideal. things; Nazard Flute the “Aloha Oe,’’ “Long, Long Ago,” John Charles Thomas sound they reveal clearly the Good 2' first count in Meas- like If we cannot use national Neighbor Records Flautino 61 Notes by the time you play the and Peace f&z IHnto Pou Dreamer,” “Songs My Mother Taught Me.” Ar- our organs for their strains Superman. Is the dramatic singer of the immigrants Ranks 305 Pipes 18. Reduce Great to contrasting combina- L. Wise ranged by an Experienced Instructor. with great power in reviving who brought Mixture 5 ure By Rev. Judah a magnificent religious zeal and them over 8' 73 Pipes Measure 22 restore the Great organ Stuyvesant Ave., Trenton 8, N. J. Price 50c Each Postpaid diaphragm a member of human here, and they show the Oboe tion. For 700 fellowship, a new race of 8' 73 Pipes combination. (The lower soft notes', while Solo choir 15 f EVAN A. HALLMAN a vanishing race? Puritans process of Americanization Lead Trumpet or Cornopean to ff 40 C may come in the way 8’ 73 Pipes appearing in the chord, are sug- Inquire at your music dealer. 1052 SPRUCE STREET READING. PA. along some day and throw they Vox Humana not actually The electronic instruments are adapt these native 4' Pipes objectionable, the left hand using them out where strains to the Clarion 61 gested.) If this is amplification they will not be very American (Continued from Page 13) on the second count as a substitute for singing scene. Here we have Enclosed in separate Expression Box can go to the Swell organ greatly missed. Irish prepared for Scotch, Creole, of Measure 21, the Great being Negro, and Pennsylvania as ORGAN Measure 22. Treat Measure 23 the same Dutcn songs all masterpiece, but PEDAL LEARN "SWING" MUSIC with an American one unfortunately not 16' 32 Pipes Measure 24 as Measure 14. On Open Diapason Measure 13 and Quick course to players of all instruments—make your flavor, ail distinctly as widely 25 the left of choruses, obuligaLos, part of our r. dtion appreciated as it might be. Bourdon 16' 32 Pipes the last part of Count 3 in Measure own arrangements “hot” breaks, organ, restoring embellishments, figurations, blue notes, whole tones, etc. Our fourth The point is, 16' 32 Notes hand may go to the Swell group called ‘American so many amateurs tackle it Contra Gemshorn MODERN DANCE ARRANCINC 16' Notes Measure 28 iff). Play left hand Legends is that Lieblich Gedeckt 32 Great organ for and ensembles special choruses largely drawn a lot of musical listeners have the 29 Duets, trios, quartettes — from songs 8' 32 Notes Swell organ at beginning of Measure MEMBER? suspensions anticipations that I Still Gedeckt cn the ARE YOU A —modulating to other keys— — have written in absurd Measure 29. effects backgrounds folk style to cele- illusion that it is a work for Gemshorn 8' 32 Notes —treatment of Measure 32 same as —organ points—color —swingy Americans brate or- invited Write today. Want American national heroes amateurs. 8' 32 Pipes 36—third count—play on Swell All Organists are Music! who, for some odd There is a subtlety of shading Cello At Measure ELMER B. FUCHS that Swell is closed reason, have 16' 13 Pipes gan (box open) closing so members of the 335 East 19th St. Brooklyn 26, N, Y. never been included in and a fine feeling for the songful char- Contra Trumpet (Ex. Great) to become the 8' Notes count treat Measure 38 in the ( Continued from Page literature Trumpet 32 on the fourth — 28) of folk-songs. In this acter of the music here never Swell box might group which have Trumpet 4' 32 Notes same way. In Measure 40 the GUILD comes Johnny Appleseed, before slightly) to offset the AMERICAN in honor of the been fully realized on records. Flute 4' 32 Notes again be opened (at least bringing our folk music legendary figure controlling organ. During the first two counts more than ever as who planted the There is poise in Two separate Expression Levers “loud'’ Great pioneers in a type of singing trees- and tonal beauty organ to contrast- OF ORGANISTS into the spotlight of that Boxes of Measure 41 reduce Great PI AN interest. In the gives the flghtin Szigeti’s artistry two separate Expression for mem- OPULAR lich pleasure to all six S Pioneer; which may well be the combination. In Measure 43 the left hand No examination is required Library of my singers Paul Bunyan, ing Authentic, individualized Congress there are over twenty the giant lumberjack- envy of Swell organ so that the Colleagues are Helen Yorke, Ruth Fremont, and every student of the violin. He For third or manual we suggest the might be played on the bership as Colleagues. HOME-STUDY COURSE. thousand Rebekah Lincoln CHOIR with every lesson as taught of these folk tunes, both Penny, which prepared for the ff com- Examina- New songs in Crawford, Thomas tells of Abraham is ably assisted by following: Great organ can be eligible to take the Associate by our New York Studios. Write today Edwards, Emile Mr. Foldes. played 1-E. published form and in recordings, Ren- tocoln in terms bination. The last seven measures can be eligible for the for FREE BULLETIN to Dept. many au, and Earl of the fact that Gluck: tions. Associates are Waldo—who come from dif- his Alceste- Divinites du Styx; and organ stop and we suggest that of which would well repay investigation. ® h s been Placed on CHOIR ORGAN on a soft Swell Choirmaster and Fellowship Examina- EASTERN SCHOOLS OF MUSIC ferent parts of the f the penny, the Meyerbeer: Le (Swell pedal) begin at once, ex- STEINWAY HALL. 113 W. 57th St. I do not suggest country, and are in owhestf Prophete—Ah, mon fils; Dulciana 16’ 97 Pipes the crescendo that an interest in our com of all we have, including the first count of tions. NEW YORK CITY 19 themselves a cross-section of the cohi sung by Rise Stevens (mezzo-soprano) Open Diapason 8' 73 Pipes tending to and BERNARD SPENCER. B.S., M.A.. Dir. folk music should displace American that everyone diminuendo might be in- 1944 EXAMINATIONS the classics— life. knows and has with Concert Flute 8' 73 Pipes Measure 53 when the for his orchestra conducted by Erich Leins- last meas- (Choirmaster) far from it. own. It 8' Pipes lasting to the end of the May 3 The two types can develop sings of Lincoln, the Flute Celeste 61 troduced, “It would be an excellent common dorf. Columbia disc 71486. beginning of last movement of the 25 and 26 (Associate and Fellow) together; indeed, they should, thing if every Dulciana 8’ 73 Notes ure. For the May if Amer- organ (full), Swell to York or community had a singing Both vocally and stylistically Miss Unda Maris 8' 61 Pipes “Sonata” add to Swell These may be taken in New ica is to attain the full musical group who Groups like before be- Schools—Colleges develop- these—or a briefpr 4' 73 Pipes Great coupler having been added Chapter throughout the might carry our own music mm Stevens deserves commendation for her Harmonic Flute in any other ment of which she is capable. to our own bination of play Measure 46. These suggestions people. them-could furnish Octave 4' 73 Pipes ginning to Country. In old England, madrigal singing cent magnm" performances here. Naturally, she does more liberties with the score song material for Dulcet 4' 73 Notes include taking SCHOOL was one of the home and ami' not efface custom. In Measure 9 of the An- OF An Unusual Singing Group means of social inter- teur singing memories of some of the great Dulciana Twelfth 2%' 61 Notes than is our AMERICAN GUILD course; companies all over the last count—the left hand part is CONVERSE COLLEGE MUSIC when people visited each the Tides of previous artists as Dulciana Fifteenth 2' 61 Notes dante— Dean, "Some three other of country. My experience days—such organ in the Lemare Edition, Lrnst Bacon, tipartansburg, S. C. years ago, I organized a an evening, has been Clarinet 8' 73 Pipes given to the Swell the madrigal books that Schumann-Heink, Matze- break the con- OF ORGANISTS group of excellent were these folksongs Onegin, and 8' 73 Pipes arid while we do not like to professional vocalists passed release something - Trumpet membership of 6000, around—and anyone who per nauer, but her defi- the part, the suggestion is a help to The Guild has a as the couldn’t sonai and performances are (May be borrowed to Great) tinuity of Department of Music American Ballad Singers. participative in for Meas- from coast to coast. We have read the notes the listeners change of the Great organ and 100 Chapters KNOX Galesburg, lllino.s or keep his part was feat no other nitely those of a decidedly gifted operatic Separate Expression Box controlled by enable the toured the country presenting entire pro- form of music the lack of contrast is not too marked Become a part of this great movement James MacC. Weddell, Chairman socially out of things. can quite singer. 1 separate Expression Lever ure 10. If Why should we not match. In our Alceste s famous aria is naturally that quality, the Swell COLLEGE Catalogue sent upon request. grams of these native folk-songs, concerts, 16' from this in passages calling for for the advancement of our profession. and have such pleasant I fee l a perfect A Dulciana may be borrowed activity today? There union sung a whole tone written, coupler might be used throughout the since the songs represent, between singers lower than Choir Organ to the Pedal Organ, and the to Great For pamphlet, "Are you a Member", actually, the aie dozens of and audience cause the heavy pas- collections of American complete a but Miss Organ may movement, and this will Requirements, previous test CONSERVATORY life and development of sense of all Stevens proves that a mezzo- Trumpets included in the Pedal Examination our people, and folksongs, from belonging on the Great organ actually to include the OF MUSIC which splendid programs together soprano be borrowed from the Choir instead of the sages further information, com- W&aa E. Miller, Prea- since they are readily A closer acquaintance can render this air quite as ef- endings of the contrasting papers and any SHENANDOAH understood by all and repertoires could with our Great Organ. soft notes of the Courses leading to be built. This sort folk music own fectively as 22 which was men- municate with National Headquarters, kinds and classes, our group has has many a soprano. It is unfortunate are in- passages except in Measure B. Mus. Ed. degrees. Kates been of singing should be advantages, Discreet unification and duplexing the Filth Avenue, New the B. Mus., and especially useful to is for i that the earlier in this answer. If preferred, Room 1708, 630 successful—not a democratic ’ orchestral accompaniments are cluded in specification, which may be tioned reasonable. In tbe heart of the Shenandoah merely as performers but school music one that „ . this Swell organ and college groups. As things not include the left hand may be played on the York 20, N. Y. Valley, Dayton, Virginia. our tradition of freedom. better realized; they lack precision omitted if funds are insufficient to It encourages in Measure 21. 54 and contour. pipes necessary. "FORWARD MARCH WITH MUSIC” "FORWARD MARCH WITH MUSIC” 55 THE ETUDE JANUARY, 1944 ) . .—

the crossing to HlUolLcU IlUVCibj — uuiween If the extensions are to be made with string. If this is done, two measure can be strings, was well received. One - Some Studies of Kreutzer ease, and true intonation the last eighth of the string consistently the plea of a YOU KNOW WHAT with clarity. If, on voiced passionate lover DO maintained, it is essential that the player made smoothly and ASSOCIATED OContinued from Page 25) finger tries to The second string gave voice to Violin Questions have his left thumb lying backwards the other hand, the third the time comes tender sentiments of a young A VIOLIN IS WORTH? along the underside of the neck, the “hop” over to the C when the woman PUBLISHERS, INC. changing the rhythm as follows: to make the The Princess Elisa informed Paganini MUSIC knuckle of the first finger away from the to play it, it is impossible in “KNOWN VIOLIN MAKERS” without sound- her most gracious manner, “You neck, and his elbow brought forward and transition smoothly and have 200 pages ot valuable informa- This book contains present just performed the impossible. brief biographical sketches of all well under the violin. This position ing an extraneous note. Would tion Includes HAROLD BERKLEY well as contemporary American -Answered Lj first notes not one string be sufficient for the old masters as should be kept throughout It be remarked that the your characteristics of the study. may violin makers; distinguishing the B-flat and D talents?” their present day market val- The student may find difficulty in mak- of the second measure— their workmanship; No questions will be answered in THE ETUDE unless accompanied by the full name John Fairfield, Associate in EASY WORKS FOR etc. Compiled by with the fourth and ues be published. ing the extensions, or may show a ten- —should be played Violin Dept, of the Rudolph Wurlitzer Co. and address of the inquirer. Only initials, or pseudonym given, will fourth Composing for One String the Rare dency to lift his and not with the fourth finger when third fingers, Beautifully bound in two-. one cloth—$2.75 $4.00 VOICE AND PIANO trying for them; in such cases the study and second as given in the present and Paganini was delighted with this idea. De Luxe edition stamped in 1 4K Gold— When he is to practice it in this way, He promised to make the attempt, should be taken extremely slowly—with some other editions. a flUDOLPH WURLITZER CO. arrangements—from the student THE QR Haydn-Such; “Six Easy Pieces,” Nolck; Valse BROWN— should be advised to play Kreutzer studies few weeks later he composed St-, New York, N. Y. Fingernails and Violin Playing a separate bow to each note, if necessary. It will be seen that the his “Napo- 120 West 42nd Gavotte, the repertoire of Marian An- it at Sentimentale, Tschaikowski; Air and first quite slowly and to lift the resources for the leon Sonata,” for the fourth, WARREN —Rare Violins C. L. W.—If it is true that there is a falling An interesting fingering device may be offer almost unlimited or G string HI KENNETH Handel-Such; Adagio, Bargiel. For more ad- derson and Paul Robeson Elvd., Chicago, III. off in city of violin students of the fair trilling finger as high as he can. This ~ 28 East Jackson your the noted in Measure 5 and similar development of violin technic, Italy then being subordinated vanced technical studies, I would suggest 4 Negro Folk Songs. . .each .40 measures: specialized to the sex, it may be due partly to the fact that the will help to develop reserve strength and few “Twelve Exercises, Op. 54,” Dotzauer; “Twen- the six we have discussed being but a rule of Napoleon, the sonata was played fingernails of the left hand must be kept com- .25 independence ty Exercises, Op. 11,” Merck; and the “New Early American Songs in the fingers. Later, as the adapted to mod- the Emperor’s birthday. paratively short. The left-hand fingers should of those which can be on Paganini was School of Cello Studies, Book 4,” Percy Such. speed of the trill increases, the finger fall in a perpendicular manner, striking the DE FALLA— ern requirements. Comments on some of elated with the success of his composi- These studies introduce the thumb position, will not be lifted strings exactly on the tips. With constant prac- 7 Popular Spanish Songs as much. appear in a later which is what I imagine you mean by “the the other studies will tion. His predilection for the G string Violins tice the finger tips become calloused on the . . 2.50 When the study is being Hare incc IS74 periling a Clientele to demonstrate for a student if he thinks that a crescendo leading to each dience. The ugly cries of a hag or the violin music. I heartily endorse your suggestion a street in the city of Genoa, nervously so doing he can teach the student some- N on projected music, whispered Papers; violinists should devote by forte; as follows: JDtScdmtnattng String that our American braying of a donkey were used with equal of thing. I can understand that it made you feel the twenty-seventh of October, 1782. At tales of melodies to be heard, that were more time to violin music composition. effect, But each tone was clear, BOWS, REPAIRS etc. a little self-conscious, but you should not let the age of six, Niccolo already had mas- of a satanic inspiration. People beauti- SPECIALISTS IN VIOLINS, lined the REQUEST it worry you nor should you think that any ful, and produced with an artistic CATALOGS and LITERATURE on tered the rudiments of the violin, under streets de- To Appraise a Maggini intended. If it happens to watch Paganini leave the personal slight was WM. S. HAYNES COMPANY liberateness. Of Paganini’s numerous F. The name of Maggini, violin maker your director takes the tutelage of his father; and when he theaters. If the violinist accidentally S. — again, just be glad that honor of works, perhaps his “24 Caprices” the andSon of Brescia, stands high on the roll of enough interest in you to want to help you. Flutes of Distinction was fifteen his professional debut was brushed them with his cloak, are IVilliam- c£eiVt&— they had Italian violin makers. His violins are very As you do not quote the passage in ques- made, with sensational most memorable. Wabash Avenue—Chicago 4, III PLATINUM a success. It has only one alternative, to implore the 207 South scarce. They have a fine tone of a rich, somber tion, I cannot say whether more or less bow STERLING SILVER—GOLD— ONLY JOURNAL and are valuable. They formerly sold However, I do know that been mentioned that Paganini’s entrance blessing of the saints. PUBLISHERS OF AMERICA'S character, would be better. Catalog on request AND ITS LOVERS depreciated some- more to first DEVOTED TO THE VIOLIN in the thousands, but have most violin students try to produce the rank among violinists, as a Paganini was unmindful of these wild what of late years. I cannot say whether your tone by pressing the bow more heavily on Massachusetts Avenue, Boston, Mass. very young man, was an almost imper- fabrications 108 of his collusion with Satan. "VIOLINS AND VIOLINISTS" violin is genuine or not without seeing it. For the strings—thereby sacrificing quality of tone ceptible Inexpensive Studio Signs Doring The great value of this etude as transition. It enhanced him with a mysterious Edited by Ernest N. an opinion, send your violin to some of the to m^re, quantity. Perhaps that is what you an per- Issues for $2.50 exercise The name Specimen Copy 25c— 12 violin dealers who advertise in The Etude. were doing. When you want greater volume in bowing lies in the manner the “Paganini” was a common sonality and increased his box office re- or intensity of tone, try to get it by bowing in Italy, crescendi are played—they should be pro- one meaning little pagan. But ceipts. His fame as by (jerci feline -^5 fern faster a violin virtuoso Violoncello Material nearer the bridge or by taking a bow. AUGU5T GEMUNDER Si 50N5 duced by increasing Niccolo Paganini, as spread produces the effect the speed of the an acknowledged to points distant from Italy, and Mrs. R. D. H.—The child of whom you If neither of these means 53 W. 56TH ST.. NEW YORK a slight increase bow on each stroke. At first the violin virtuoso, was an endless source of he played concerts write seems to be doing extremely well for you want, you can then try VIOLINS OLD & NEW student in Paris and London. Almost every budding music teacher Expert Repairing, Send for Catalog E not increase j I hope she continues to make of pressure. But be sure you do should use the entire length of the speculation. Paganini, her age, and bow; however, was offended when is interested in securing an attrac- Judging from the com- the pressure if you are bowing near the I giving equally good progress. about an inch to the first Paganini was a tall, thin person, Satan was fingerboard; if you do, you will get a thick, note, given credit for technic which tive, but inexpensive, music sign for positions you say she has played, I should about mwien/ that neither you nor anyone else two inches to the second note, four afflicted with a stomach ailment; and he had required think most if not all of the following pieces throaty tone many years of constant his studio. CHICAGO, ILL. or 28 E. JACKSON suitable for her: “Concerto No. 4, will enjoy. Elsewhere in this issue of The five inches to the third, and the rest had an unhealthy complexion. He be- practice to would be perfect. He was anxious to APPRAISALS Allegro Appas- Etude you will find some remarks on the de- of the This problem worried one of my HILL PRODUCTS .... in G major,” Goltermann; bow to the last note. came known as “wraith-like, cadaverous.” destroy the of tone which may be of help to Mephistophelean Paganini Repairs by John Hornsteiner sionato,, Saint-Saens; “Sonata,” Peter Hollen- velopment Too much importance The violinist never walked on the stage; older students who needed two such Adagio Contabile, you. cannot be laid legends. At Prague the master employed dall; Arioso, Bach-Franko; on the ability to control and vary the he slid forward, or glided in, spectrally a literary signs. Painted metal, glass, or wooden man to write the story of speed of blending his the bow within a single stroke: with the wavering shadows of life. He even signs were out of the reach of her produced letters from his it is one of the the feebly lamp-lighted bases upon which all stage. mother to prove he was pocketbook, so I suggested that she «g£S§: of natural origin. expressive playing rests. The CLASSIFIED ADS fabrications of a sinister Paganini secure the handsome, artistic signs, and C The student should therefore persevere A Severe Test personality F continued. And Paganini’ one bearing the line Instruc- with the study He “Piano Violin. toue until he can play it Paganini mentions in his journal, how became addicted FOR SALE: Matthia Albunus rat to patent medicines in tion” and the other “Music Studio,” House, 32b Bridge, (.Continued from Page 10) through with evenly controlled the Write West Side Music leirtweit’ crescendi. on day of a concert he accidentally an attempt to cure his Later stomach ailment. which were Grapd Rapids, Michigan. he should play it, at a stepped on a nail. At put on sale by the pub- quicker the concert the Paganinis fondness for tempo, in the playing the lishers of will show how the These notes are interesting from a separate halves of the bow. violinist walked on to the stage, limping. violin with The Etude at a nominal fingerings below one or two strings point of view, almost When it becomes easy for The audience was cost of thirty WILL MISS ETHELDA J» thumb almost invariably falls upon band and orchestra him to pro- greeted him with laughter. another source cents each. The teacher Dept. J. zi, inn of provocation for kindly communicate with all of the orchestral instruments being duce a well-graduated crescendo, The moment he began his can these keys in running the scales. to play, have Pa. . he the tapers, audiences. Seme attributed his name finely lettered on ETUDE, Philadelphia 1, this :? should reverse the uniqu- f » pitched in F or C. The band instruments expression; that is, he providing illumination, fell from his mu- talent to either sign for These many years of imprisonment thirty cents. are pitched a whole tone below these should make a diminuendo sic stand. Fresh Ex. 2 on each laughter from the au- where a parsimonious cardboard signs, have 90% of the vio- stroke. jailer allowed when framed, VIOLIN REBUILDING— notes in E-flat and B-flat. For pur- dience! After he had the linsure faulty in tone. Violins retonea Dy — played a few meas- violinist only one string a finished ADD YEARS to the life of your band instru- The value for his instru- professional appearance. me excel in power of tone ami tonal beautj poses of color and effect, some band of the . . That’s exercise cannot be ures of music his upper string broke, regardless ment! It must last for the duration . ment. - of violins over-estimated; This young teacher’s total cash for —the vast majority instruments are used in orchestra, and why you need this new and helpful book, the time spent on ac- which provoked the audience of age, or price. Rebuilt violins for to riotous Paganini, in his journal, make “How To Care For Your Instrument.” In no quiring the necessary offers a more each attractive sign was sale. ,.Send for treatise. Ralph, Coss, Har- vice versa; these include oboes, clarinets, and ability will be merriment. When he had finished play- satisfactory other book can you find such valuable explanation. He vard, Illinois. saxophones, comets, and trombones. helpful information. Covers all makes and saved tenfold when the technic of expres- ing the piece was to con- Card .30 on the three strings, how- duct a concert $ types — wind and percussion. 40 pages of at a court and are two of the related keys, i sion becomes the main object salon. A F C instructions, illustrations, to help you of the ever, the ridicule changed to shouts of Princess Ehsa, Lettering 30 46 for whom Will pay your last longer. Worth pupil’s study. enthusiasm. Paganini had WANTED: Good used Harp. the dominant of F being the tonic of C. make instrument an affection, Frame 1.75 cash. Write giving full particulars to many times its 10c cost. Get one at your No. in was to be present. 33, F major. Professor Auer once Some of Paganini’s biographers On a Marion M. Carter, 903 Holland Ave., Sagi- Cono dealer’s store or send 10c to US. have previous occasion Paganini said that he considered this had promised naw, Michigan. Special Henning iolin the finest speculated on how it was possible to the V Princess Elisa $2.35 " single study ever written for a musical composition ENGRAVING C.G.CONN, Ltd. 113 Conn Bldg. Elkhart, Ind.,n the violin. “break or cut” the string in full If MUSIC deep - Mellow - Soulful view which would bear she had me copies of “How To Care For Your Instru- If he was referring an allusion to spent twice the amount, INTO Piano, Band, Orchestra and Octavo work. We For a limited time you can pur- Send to its value for of the audience. then- YOUR VIOLIN TRANSFORMED is lOcin coin or stamps for each copy. “Or did he pull out a respective chase this high-grade violin, with ment. "Enclosed positions. she might not better. A or no pay. You be the in book work; also engraved titles. training the left hand and arm At the concert have done any MUSICAL GEM, specialize the qualities of the finest, at a price to take peg while pretending to tune the in- judge. Schwenk, Paganun announced Information free. V. L. for estimate. far lower than ever asked for such an NAME- a correct position, there is no doubt a musical noveltv’ * * Send your mss. that strument”? * Richmond, 111 . instrument; made possible by our The cry became “Pity! Pity! entitled ‘Scene he was right. As a study in Amoureuse.” A. C. NULSEN many years of experience in violin sustained he has broken a string. That He also There OTTO making. Satisfaction guaranteed. comes of e e SUrPriSe is no greater harmonizing influ- r Ue tone, also, it is almost by displa P. O. Box 774 GUSTAV V. HENNING unequalled. his constant an in- jo r pizzicato.” ^ ence than SINGING Book one dol- Place Cincinnati, Ohio Seattle, Wash. strumentl music choral , MADE EASY— Government 301 Fischer Studio lL\bearmg only two —particularly Pa. 124 Information strings. The music.” lar. Eastern Studios, Chambersburg, 56 —Gen. Coleman Dupont ''FORWARD MARCH WITH MUSIC” "FORWARD MARCH WITH MUSIC” 57 THE ETUDE JANUARY, 1944 — ; —-

holding the rhythm while the left hand denotes start a JIT course for music teachers! Cymbals: Take one cymbal, imiiNiimmmmmmmimn a tap with the shading and gives the cue to the The Teacher’s with the left hand, and play dif- Published! which is held ferent instruments when to come in. Just Published! Just After lying awake half the night and a rhythm or drum stick Later cymbals may In public performances the orchestra practicing most of the day, I was finally with the right hand. \ VOLUME 8 of the Distinguished Radio City Album Series Round Table up and down members must be in their places on Newest Volume in the able to “teach” a simple, reinforced slip- be played by the pair, using the stage and ready to play before the knot to be used in tying together pesky strokes of the arms. con- Volume 38 (.Continued from Page 16) quality is ductor comes in. Then he appears, bundles of awkward-shaped airplane Tone Block: The best tonal walks this block midway to the center of the stage, bows to the parts. pupil was good-looking obtained by striking HAMPTONft My a dame audience, turns, faces the told that any job could be taught quickly between the two slots, holding the striker orchestra, and who mastered it instantly. . . . Boy, was takes up his baton. He holds the and well. I could scarcely wait to scan she fast! I loosely. baton MOUSSORGSKY never really knew whether in the air until l^liniature Sorrow Scores such an extraordinary document! Drums: The snare drum is the type suspended every child she learned it because of my superbly Piano Compositions The is ready and then, after giving the Selected clear presentation, or through her own best suited to the rhythm orchestra. “go” short is usually too heavy. The signal—a upward stroke—the or- composer's masterpieces. . . . competence. But I do know that class bass drum RUSSIAN-BOHEMSAN WORKS The finest collection of the famous An fair sub- chestra starts playing as his hand Amazing "Textbook" make . and teacher withered me by their canny snare boys or tom boys comes $1.25 Especially adapted for teaching and home use. . . Carefully stitutes for the snare drum and pro- down. After the number is finished, the including criticism of my teaching methods. . . Free catalog of Radio City Albums One side of the card is devoted to edited and fingered. . vide an outlet when more than one boy conductor lays the baton on his music RIMSKY-KORSAKOFF SMETANA IPPOLITOW-IWANOW “How to get ready to instruct.” There And now if you think I’m going to sent upon request. they are lighter and stand, bows to the audience, and walks (Svmphonic Caucasian Sketches humiliate wants to play, for Coq d’Or The Moldau Poem) are explicit directions: the instructor myself by giving a blow-by- From Bohemia's Fields and (Symphonic Poem) Price 60^ Net more than one can be used. The drum- off the stage. The orchestra members wait (Symphonic Suite) must have a “time-table;” blow account of the following night when Forests (Symphonic Poem) he must until the applause is over, mer should strike so that the sticks re- and then they At All Leading Music Stores or Direct decide beforehand “how much skill he I disgraced myself by trying to learn Write for Complete Catalog of HAMPTON Miniature Arrow Scores bound at once. The notes must not be rise and leave the stage. the simple process of expects the worker to acquire, and drilling, you are • City • New York = struck with too much force or they will If you do some of your own music ar- EDWARD B. MARKS MUSIC CORPORATION R. C. A. Building Radio sadly mistaken! . . how soon.” (Music teachers, how much . But I’m happy to drown out the other instruments. ranging, keep the arrangements simple. thought have you ever given to this?) report that in the end all tests were Instruments which might be added are See that different instruments will be lint The instructor must “break down” the passed, if only by the skin of my m\ Elllllllllllllilllllllllllli the xylophone, rhythm bells, bird whistle, used in different parts of the piece. job by “listing and stressing the prin- teeth—and now I proudly sport a JIT sand block, and clappers. Whatever you Where the rhythm needs to be stressed, all mankind. Columbia’s American University of the Air presenta- cipal steps and key points.” In other certificate. consolation to all use, get good instruments, not just cheap work in of the instruments. Where is a program dis- tion heard Thursdays from 11:30 to words he must have a definite plan, a Principal Piston Invitation to Learning toys of any kind. all the instruments are not in Making the Rest of the four programs use, a It has been aptly described 12 : 00 midnight, EWT, has logical procedure, a clear objective for cussing books. Be certain of your players before rest of more than eight measures should as “the pearl scheduled for January. “The Earth and each student. (How many teachers take recently by Time Magozine making permanent assignments. The not occur, as the children lose count rrtj j-^atterion programs.” It brings Its Riches” Is the title of the program such pains for their pupils? How many btj Ala Alopbini of all educational drummer should be one of your most and become careless. Sunday, from 11:30 to of the 6th. It will feature music of miners, keep lesson-by-lesson records of each to listeners each reliable players. To the younger pupils We must not forget that the are not particu- scholars who lumberjacks, farmers, and plantation pupil, and spend an or The Lure of rhythm MANY organists make their stops are present, they 12:00 noon, distinguished hour two on the are given OO the rhythm sticks, castanets, orchestra, especially if taught in whole resources of the of various workers. “The Rivers of America” is the Sunday or Monday carefully planning public main combination for general use, larly needed. The informally discuss the merits bells, cymbals, and so on. It is wise to classrooms, includes children times, with dis- subject of the broadcast of the 13th the week’s lessons?) from every or for congregational singing, with- instrument may be used at books. The five books scheduled for have a responsible pupil look over each T living- type of home. In of the influence of rivers on ways of Rhythm Orchestra some these homes sufficient consideration of proper the volume subdued by closed shades. cussion during January are: “American The reverse side of the card deals group of instruments. Children out like to there is little or no musical environment. blend (Jan. 2) “Way in North and South America. On the balance and beauty of tone, or of the All Celestes are beautiful and Thought” by Parrington ; with “How to instruct,” admonishing ( Continued feel responsible better from Page 4) —and work is ob- We should make every effort, therefore, Butler (Jan. 20th, it is “Streets and Market Places,” continual purpose it serves. with the foregoing set-up. The Vox of All Flesh” by Samuel the teacher first to “prepare the worker, tained from the orchestra. peddlers Latin to arouse the interest of each child and too, be occasionally added; “Boris Godunoff” by Pushkin (Jan. itinerant hawkers and — Most organs have at least one master Humana, may 9) ; put him at ease, get him interested, more carefully. all, Above they have a see that music becomes an active factor if it is Frazer (Jan. 23) American street vendors’ cries, and so performers generally set and a 16 ft. stop is acceptable, 16) ; “Golden Bough” by make him comfortable, put him in cor- Let piston on which musical quality which leaves a lasting the Children Conduct in his life; thus laying a firm founda- Wordsworth (Jan. 30). forth. “Ways of the Sea” is the title of up their most used combination. This soft enough, though by no means neces- and “Poems” by rect position.” (Piano teachers, again effect upon young ears. In public playing, have one of the tion for any future study or self-ex- convenient for Then there shopld be no use of 4 Folkways of Music, an NBC Inter- the program of the 27th. take notice.) Then, in presenting the group is the one most sary. Begin instruction with the rhythm members conduct the orchestra, baton pression, as well as developing the social instead of 4 ft. stops. Real “operation,” the teacher must “TELL, Johnny-on-the-spot work; but often it ft. couplers sticks. Usually each child is given one in hand. In. training the pupils for this, side of the child. It is important to re- than a substitute. SHOW, ILLUSTRATE, and QUESTION, represents a jumble of indifferent and color is always better plain and one notched stick. These may ask them to give you some meter signs. member that your own attitude will de- carefully badly selected stops, without regard for So far the pedals have not been men- and patiently.” (How about it; be Write the diagram termine tapped on the desk or chair on the of direction of each your pupil’s attitude toward pedal stops are but do we use all these methods constantly? balance or tone. tioned; but, as most first beat in the measure, and tapped meter on the board as studied. Take music. it must be borne in mind that continuation of stops on the ... I doubt it. . . . Let’s memorize the Now a downward across each other on the other beats in up 2/4 first as this is the simplest. Play Let us endeavor to establish strong formula now, a when this set-up once is made it becomes manuals, couplers will often suffice. A and stick to it.) the a piece in this measure. Another effect is obtained meter, directing it your- feeling for rhythm, balance, and unity work. the mainstay of all the performer’s small 16 ft. Diapason, or a 16 ft. Bour- The teacher must instruct “clearly by rubbing across the notched stick with self to show the movements. Then have which will go with the pupil through base, at least one 8 ft. Diapason and patiently,” For a don, is a good support for this combina- taking up one point at the plain stick of the right hand. This the children direct with you, holding all his musical life; for without these one or two 8 ft. a time. is necessary, at least without danger of overbalancing Then—note carefully—comes the is used on the weaker beats of the meas- their pencils for batons. When they elements we know that Shakespeare was tion, flutes, an 8 ft. reed (Oboe or Clarinet), "try-out performance” during understand set-up; and both blend well with which the ure. Teach two-four, four-four, and thoroughly, each child should right when he said, sour sweet the “How and an 8 ft. string stop (Violin or Sali- student TELLS and SHOWS the teacher three-four meter before leaving be given the baton and a such a combination. the chance to lead music is when time is broken and no make a cional) . These four qualities how to perform the skill, while the in- rhythm sticks. the other members of the orchestra. proportion With such a preparation, when a hymn kept.” On the other hand, good foundation. structor “asks questions and corrects From time to time Jingle sticks or clogs select the children when music is rightly played agree or the Doxology is announced, But- may be taken we this little added brilliance is errors.” (An admirable practice, who respond To a recom- up next. For beats, strike most naturally, letting them with Auerbach 1 be pressed with the the clog, which who said, “Music washes needed, for which selection can be made ton No. may mended to all music teachers.) Now conduct alternating is held in the right hand, against the numbers. Let the away from the soul the dust of everyday confidence that everything is properly comes right from several four ft. stops (Octave, Flute a point with which teachers sel- open left hand. hand, holding the baton, indicate life.” or Violin . though other ready. dom concern themselves: “Continue un- Diapason) Even The triangle is played with a metal til YOU know HE knows.” (If we fol- beater. Hold it with the open corner lowed this rule, our own students would toward the elbow. Roll effects are to be quickly learn how to study, how to cut • VJ . 1712 Chestnut great /” from St.. PHILA. 1, PA. distress, books and music offer REHEARSE Industry. . . . Someone ought to and upward. Mendelssohn and the Romantic Move- "FORWARD MARCH WITH MUSIC" 59 58 "FORWARD MARCH WITH MUSIC" JANUARY, 1944 THE ETUDE ” ! .

of isolating rhythm from melody. A little MacDowell Moon Pictures Op. 21 Piano Duets. Edited by L. B. Ellert. child should be encouraged to sing a Original Music For Album. Tomorrow’s Symphony of Nations Four Hands Grieg Concert Overture Op. 11 Sousa Four-Hand melody spontaneously on a given rhyth- Grieg Two Symphonic Pieces Concert Duets for the Piano: Classical is innate and mic pattern. Since rhythm (Continued, from Page 27) Grieg Four Norwegian Dances and Popular. Eurythmics in the Continued from Page 3) is so much a part of the child, he will be ( Grieg Waltz Caprices Op. 37 Brahms: Hungarian Dances. stimulated by it, and the melodic re- Arensky Six Pieces Enfantines Grieg: First Peer Gynt Suite. sponse will not be as inhibited as if the each drop far left undiscovered this Saint-Saens Dances. your sphere will be a notable and needed an alloy— of which becomes who have thus Berceuse Op. 105 Bruch Capriccio Op. 2 Moszkowski: Five Spanish child were asked to compose a tune. Elementary School calling. like every other drop. Nothing in nature great field of their art. Debussy Petite Suite Weber Six Easy Little Pieces Op. 3 Czerny: Practical Time School, Opus 824. Note values in relation to each other necessity list of Debussy Marche ecossaise Overtures: 9 Overtures by Bellini Music has been found a real is exactly identical. Here is an excellent four-hand Weber Six Pieces Op. 10 Italian should also be experienced in movement revealed as a vastly interest, from the Bizet Jeux d’Enfants Op. 38 Weber Eight Pieces Op. 60 and Rossini. in war. It will be “The Interfaith Movement recom- albums of popular and can best be worked out by groups. the future that Gilbert American Dances 35 Operatic Four -Hand Album. Program greater life requisite in — catalogs of various publishers. Sinding Suite Op. For example: Divide the class into three mends substituting the symphony or- radiant future that will come to all of us Sonatas Godowsky Miniatures Classical Album: (Haydn, Mozart, Beet- Scott, Cyril: Three Dances. chestra in place of the melting Clemen ti Four groups, each group representing a note once pot as Rubinstein Bal Costume Op. 103 Four-Hand Exhibition Pieces. when the jangled souls of men Haydn Variations in F hoven, Clementi, Kuhlau, Weber) ( Continued value. Number One will be the whole the symbol of America. The more Pieces. from Page 22) again are tuned harmoniously to con- Schumann Oriental Pictures Op. 66 Respighi Six Short Pieces Everybody’s Favorite Piano Duets: Edited Original Four-Hand note, Number Two the half note, and varied the instruments, the struction. better the Twelve Duets Op. 85 Reger Six Burlesques Op. 58 by Maxwell Eckstein. Music Lovers’ Duet Book. Number Three the quarter note. The Schumann and give each group a piece of rope or We have just scanned one of the fine orchestra. No player finds fault with Ball Scenes Op. 109 Reger Six Pieces Op. 94 Piano Duets the Whole World Plays: Concert Duets. children in each group select a move- Schumann clothesline about eighteen inches long. national magazines which, in its adver- the instrument used by another, and Schumann Children’s Ball Op. 130 Moszkowski Spanish Dances Op. 12 Edited by Albert E. Wier. Borodine, Cui, ment which will represent their note Rim Paraphrases on a Well- After the children decide who will be tising pages, reflects the staggering in- each makes his individual contribution Schumann Eight Polonaises Moszkowski New Spanish Dances Op. 21 Strauss Waltzes; Edited by Frederick Liadow, value, and also the instrument which sky-Korsakoff known Theme, Number One and Number Two, they lis- dustrial activity of our country. In one to the perfection the En habit de cheval Moszkowski New Spanish Dances Op. 65 Block. will best suit the movement. The whole of melody. Just Satie ten to the music. the first phrase. hundred and seventy pages of magnifi- Collection of Famous Piano and Stcher- On as in the symphony orchestra there Satie Apercus desagreables Moszkowski Polish Dances Op. 55 Mammoth note might be represented by a large is batcheff. Number One designates the length and cently prepared advertising, much of it Feuillet d’Album Op. 81 MacDowell Three Poems Op. 20 Duets: Edited by Hugo Frey. circling movement of the arms, and ac- room for the melodious expressions' of Saint-Saens the contour of the phrase by pulling the in four colors, at least ninety per cent companied by the gong; the half note by all instruments, so in the symphony of rope. Number Two, who is holding his has nothing whatsoever to do with the shifting the weight forward to the right end of the rope firmly, allows his arm to immediate sale of goods. At this time peoples in America there is room for foot and raising the arms forward above follow, but with resistance, so that Num- the industries have nothing to sell but the social expression of all peoples. the head on Counts One and Two, and ber One must really pull. On the conse- instruments of war. They are advertising “Harmony is essential to the sym- back to position on Three and Four, this quent phrase, Number Two draws the for the great future that they know defi- phony orchestra; movement accompanied by the drum. harmony is likewise rope and Number One allows his arm to nitely is coming in the wonderful to- The quarter note, accompanied by the essential to a symphony of people. follow. Throughout the musical selection, morrow that cannot arrive too soon. America, the symphony wood block, might be designated by mov- of peoples , has they alternate. Number One representing They are advertising to keep before the ing the arms like the lever on the wheels a theme—easily understood and readily the antecedent phrase and Number Two public mind, precious trade-marks and of a steam engine. attained. That theme is—‘America the consequent phrase. Besides the ac- firm built for If there names up by years of good is not sufficient room to have all anti all for America.’ ” tual experience in the intensity of move- will, good service, hard thinking. all the children participating in the and ment in phrasing, some very interesting At a modest Of course different peoples will have activity using the selected movement, a estimate, this advertising group-effects their own personal ideas about life, will be achieved if the chil- few cost upwards of a million dollars in one re- may come to the front of the room ligion, dren are directed to make use of the issue of single and the State, precisely as na- while those remaining in the seats clap a publication. That is the three spatial planes, high, middle, and tions will have their strong convictions the notes. At a given command the faith that American industry has in the low. about the conduct of their political and groups should exchange note values; tremendous future that will provide jobs We should build also a rhythmic as economic affairs; but that does not mean however, each group should have pre- in new undertakings for millions of men well as a melodic appreciation of ante- and women. that in the symphony of peoples, they vious instruction as to the note value it cedent and consequent phrases. Children, Properly should all rise and cut each other’s should take. Group One may take the enough in this amazing dis- by using percussion instruments, can throats at the slightest provocation or at half note; Two the quarter, and Three the play are musical devices which will affect University Extension Conservatory have rhythmic conversations between two the instigation of some mad mullah who whole note. And in like manner they can the lives of people all over the world and instruments such as: has hypnotized will have a significant part the public into following MUSIC - 1943 be shifted again so that everyone has an when once 1903 - THE WORLD'S LARGEST HOME STUDY CONSERVATORY OF his fanatical theories. We have yet to Ex. 1 opportunity to experience each note more civilization throws off the shackles hear of a riot in a symphony orchestra, Wood-block value. The instruments should continue of Mars and returns to straight, rational thinking. followed by a mass murder. (Some of the j to represent the note values for which From such a harmonious, hu- n j j j modern music in truth n sounds like a for Degree i they were selected. man understanding will arise that love No entrance requirements except musical Extension Courses by noted teachers, leading which leads benighted men riot but that is neither here nor These are only a few experiences. and women Credits by using your spare there.) Bachelor of Music. Courses. earned There is no end to the many activities a away from the evil and wickedness which to Diplomas, and Degree of j ji j j In little n j creative teacher has been the curse of so lives. Switzerland three peoples, for advancement. | can devise and use in a many time In the Middle with distinctively different racial ances- program of eurythmics. Eurythmics is a Ages, war was accepted as You can prepare yourself for a better position tries, speaking three wholly different Triangle creative activity and there can be no an inevitable commonplace. With its in- lan- Catalog and illustrated lessons sent without guages, have lived at your convenience by the Ex- cut-and-dried method of teaching explicable tragedies breaking into count- side by side with by studying j. it. below. >j j |j j j Children’s less innocent, bewildered amazing success for centuries. The Swiss obligation to you. Check coupon 1 responses are unpredictable homes, it was Method. Federation, founded tension and, therefore, stimulating; and the looked upon as an unavoidable curse. in 1291, and the Helvetic Republic, erected are teacher must be prepared to make the Everyone knows that this war, like all in 1793, among the most n j j |j J necessary adjustments to meet others, ere long will become ancient his- hopeful examples to the n the re- INSTRUCTION | STANDARDS OF MUSIC rest of the world. OF ARTIST TEACHERS — HIGHEST sponses of the students. tory, and the world must start to build A DISTINGUISHED FACULTY In isolating rhythm from melody we Meanwhile, the Even though eurythmics is a special- again what Man, in his desperate strug- United Nations have must be careful that there is a style to an ugly surgical POSITION This is Your Opportunity—Mail the Coupon Today! ized subject, no grade teacher need feel gle, has destroyed. operation to perform EQUIP YOURSELF FOR A BETTER our rhythmic pattern. Clap the WHAT PROGRESS ARE YOU MAKING? following that it is But the in removing the cancer of hate, as it beyond her ability to conduct a global situation is by no means A proof of quality is important for one inter- rhythm or play it on a drum at a mod- must program of rhythmic a hopeless one to be removed if civilization is to sur- and in- EXTENSION CONSERVATORY, Dept. A-405 experiences. She those who see straight Your musical knowledge your position ested in further musical training. Our courses offer UNIVERSITY erate tempo, correctly in time, but with vive. Let — may not be able to carry out and think straight. The first us pray that the tentacles of 1525 E. 53rd Street, Chicago, Illinois. a program step is the result of the training you the same high quality of preparation which no dynamic change: this horrible come today—are the you to the same extent that a specialist could. annihilation of hate, intolerance, malignancy may be cut out send catalog, sample lessons and lull information preju- Additional train- and trained many successful musi- Please me as soon as have given your natural ability. has developed Ex. 2 On the other hand, if she keeps in mind dice, and persistent personal and inter- possible, so that we may all regarding course I have marked with an X below. teachers in the past. the work for the ing will open up new fields, new opportunities, cians and aims and objectives for each grade national jealousies. What is at the base glorious harmony of to- Piano, Teacher's Normal Course Voice J nj j and develops the activities in sequential of all this disharmony? The morrow, when the spirit in man will rule greater income and higher standing in the musi- HOME STUDY COUNCIL Choral Conducting |nnj Honorable NATIONAL Piano, Student's Course order, always over his baser remembering, in the selec- Jonah J. Goldstein, Judge of the Court motives. cal world. Clarinet It is as lacking in interest as listening The Council is an Association of which we are a Public School Mus.—Beginner's tion of music and activities, that of General Sessions, Borough Again, let us say that in this new to a person converse with no the of Man- outstanding correspond- Dance Band Arranging modulation day, Extension member. It includes the Public School Mus. Advanced criteria is music appreciation, she will hattan, in a recent radio address music and music workers will play This valuable training, through our — in his voice. Now clap the same rhythm, over with headquar- Violin develop the an increasingly ence schools in the United States L] an interesting and worth-while Columbia Broadcasting System beneficial role in the Courses, may be taken at home with no interfer- Advanced Composition being careful not to accelerate the made Members are admitted Guitar program. these sage remarks: Symphony of the Nations. ters at Washington, D. C. crescendo. ence with your regular work just by devoting to Ear Training & Sight Singing * only after rigid examination of the training courses Mandolin » * * “Years ago, the late Israel Zangwill self-study the many minutes each day that ordi- History ol Music Saxophone 3 offered. Ex. termed the United States a melting pot; narily go to waste. The progressive musician, as Harmony Piano Accordion Has It a Meaning? giving instruction in and this label, unfortunately, caught We are the only school j busy as he may be, realizes the value of such Cornet—Trumpet Reed Organ 0,1 anl^ stu°k. Happy New Year music by the Home-Study Method, which includes i n “So remember that great music is He did so because being he was positions Cornet Banjo q study and finds the time for it. Well paid necessary to ob- Advanced d written all the courses today and will be written to- impressed by the way people in its curriculum from all to them. Immediately it takes on a different morrow, and Etude Friends are available to those who are ready for Bachelor of Music. Name Adult or Juvenile be ready for it with a wel- lands came here and became Americans. tain the Degree of character and becomes more meaningful. coming mind. Despise nothing because Human beings are not like Street No Music is metals Everywhere A Diploma Is Your Key to Success! made up of rhythm adorned it is new, nor yet because it is old. YOU can do it too! It's up to YOU! Judge thrown into a melting City State with melody, if pot to produce and we can get a real each thing by itself, asking simply: ‘Has feeling for the rhythmic contour, teaching If so, pupils have the it a meaning? What is it trying to say? Are you now? how many melodic contour will be less difficult to How effectively, how sincerely, with what Conservatory you? Do you hold a Teacher's Certificate? achieve. University Extension novelty is it said?’” brat Uld be pped hl ihc bud Have you studied Harmony? Would you like to earn. However, we must not make a fetish ° ’ for gradually the tremolo, and , , 4 0 5 ) CHICAGO. ILL. —Rupert Hughes "eveneven mworse « developedf° r 1 5 2 5 EAST 53RD STREET (DEPT. A- from it.”—Lilli Lehmann. the Degree ol Bachelor ol Music? 60 • "FORWARD MARCH WITH MUSIC THE ETUDE MARCH WITH MUSIC’’ 61 IANUARY, 1944 "FORWARD — 2 ° ”

ROBYN ROTE CARDS MODERN everywhere, use this book of musical funny-pictures Teachers, the pre-school especially designed for use with piano pupil. Contrary Motion in Scale Playing These explain abstract notation principles in a concrete way and they are particularly valuable for class work. This work ears and fingers Educational Works helps the coordination of eyes, at the key- Lit dement dlntroLui JLarris Piano sight-reading board and leads to organized habits from the music page. Price. 75 cents HESE ARE DAYS in which little both hands when such a distance apart. heed, is given to convention. If Before going farther it should be Robyn HIGHWAYS IN ETUDE LAND proves Louise practice By T some time-honored pointed out that the bare term, “con- (The Child's Hanon) unnecessary or useless, we discard it with trary motion,” is not sufficient for all of Pedagogical Works for the In- sniff. A Singularly Successful and Nofable Group By LOUISE ROBYN a perhaps lightly contemptuous purposes. In contrary motion the hands Pupils the of Young Musicians, Founded are, therefore, no apologies needed may be either approaching towards or struction of Piano and Development Includes 12 exercises, with applied etudes necessary in the There drop a small bombshell into departing from each other; and a term upon the Author's Wide Experience as Child Educator and Psychologist. fundamental technical training of the child begun in Technic if we here old schemes of teach- is to distinguish between the Tales, Books One and Two. Each exercise has been "brought some of the hoary needed playing in similar to life” with a descriptive story element. Helpful explanatory ing two-handed scale two. For years we have used the term TECHNIC TALES • Book One KEYBOARD TOWN notes and photographic illustrations. Price. 75 cents motion, before it is taught in the con- “outward motion” for the direction of form. the hands when parting from each other field in the child’s early training, trary be used in conjunction with any This book covers a new May in both major and minor scales —the right hand ascending and the left for it supplies a link that coordinates eyes, ears and fingers, Now book for the first grade instruction with white key of the in- hand descending and “inward motion” and enables the child actually to read notes fluently within BYWAYS IN ETUDE LAND beginning a — piano. It contains the fifteen essential surprisingly period. Beginning with MIDDLE C the with the exceptions of P and for when they are approaching each a short By LOUISE strument, principals in first year piano technic, ROBYN note-names are introduced with the story-element which per- B, with the addition of E-flat major- other. This nomenclature is easily un- building up the child’s hand so that his pedagogic and splendidly prepared sonifies each note with its own note-name. The This well selected album of piano eleven in all—playing them in contrary derstood and is strongly recommended finger dexterity equals his music-read- plan avoids the use of counting because of the "one-unit” study material is intended to enlarge the technical scope of motion is easier than is the similar. The for general adoption. aiding his interpreta- system employed throughout. More than seventy-five little the child piano pupil progressing in the second grade, and ing ability, thus reason is obvious: if the same fingers melodies are included in this unique book. Price, 75 cents it has' been prepared particularly for use by young pupils Combined Contrary and Similar tive powers. Each principle is intro- be played simultaneously in both hands, who have completed Miss Robyn's very popular Technic Motions duced in story element, a feature that say from the thumb to the little finger, Tales, Books One and 1 wo. Some etudes have been selected appeals to the child's imagination and move, in contrary, on a horizontal The first scale which is learned in from Czerny, Lemoine, Kohler, and Burgmiiller, alternating they creates interest. Price, 75 cents basis—right to left, and left to right— both contrary and similar motion opens with ten exercises selected from Friedrich Wieck's Album of difficult than playing with the way to the alternating of the two in TEACHER’S MANUAL TO TECHNIC TALES—BOOK ONE THE ROBYN-HANKS HARMONY Piano Technic. Wieck had extraordinary success as a piano which is less manner which will carry the player teacher. Schumann, von Billow, Spindlcr, Merkel, and others different fingers. a is an indispensable book for the teacher. Price, 75 cents keyboard to its BOOK ONE were his pupils as also were his two daughters, Marie and from the bottom of the Clara, both of whom were successful concert aiv ms. Clara top, and back again. This is very much By LOUISE ROBYN and HOWARD HANKS p Ex. 1 \| became the wife of Robert Schumann. Price. 75 cents more interesting to the player, than is \ A junior course, for students of any age, in written har- the usual practice of confining the range mony, keyboard harmony, and ear-training. It is suitable to the middle two or three octaves of the / \ • alike for private or class instruction. A Master Key for e TECHNIC TALES Book Two keyboard. Also, it equalizes the wear and ® the teacher is included as part of the book. The nature THE ROBYN-GURLITT \ tear of the piano, of which the central of the lessons is that of a chain of fundamental har- Paul A continuation of Technic Tales, Book 1 for the second 85 Etudes to Develop Sight Reading. octaves are frequently worn out at the RS I TY •i \ additional tech- monic facts, each necessary to complete the preparation UNI VE year of study at the piano. It contains fifteen Pedal Techniques and Rhythm the extreme ends have t for the mature study of harmony. Collaborating with same time that CHICAGO \ nical principles, including the trill, arm attack for single With / Miss Robyn in the preparation of this work was Mr. annotations and explanations for the teacher, ibis book been almost unused. It will interest tones and triads, various crossing problems, alternate wrist introduces OF 77th ANNIVERSARY YEAR Howard Hanks, teacher of the subject in the school of a much needed department for the piano pupil: young pupils too if, during the alterna- THE SCHOOL / \ complete school of music, dramatic action, finger staccato, melody tone, marcato chords, repeated Rhythms of three A music conducted by this eminent American educator. against two and two against thru This is similar and contrary motion, we tion of / art and dancing. Courses lead to degrees. \ notes, two-note slurs, etc. Teachers find these works abso- the only book which sets Price. 75 cents forth these rhythms suitable for call this scheme “A Game of Ebb and Mlusic Special students may enter at any time. indispensable in correlating the musicianship studies early training. Pedal patterns \ lutely also are definitely presented. Flow.” / SECOND SEMESTER of the modern instruction book with the technical develop- Price. 75 cents Offers accredited courses in Piano, / Opens January 24 \ Price, 75 cents ment so essential to satisfactory playing. Aguilar very truly says, “At- The Rising Tide Write for catalog. Emanuel Violin, Organ, Public School Voice, 2650 Highland Ave. Cincinnati, Ohio. \ THE ROBYN-HANKS HARMONY tempting two-handed scales in early 1. Place both hands on the lowest C V TEACHER'S MANUAL TO TECHNIC TALES—BOOK TWO THE ROBYN-HANON Music, Theory, and Orchestral In- childhood is so great a strain on the but one of the keyboard. is published as convenience to the teacher. Price, 75 cents a BOOK TWO 25 Exercises with Special struments. Annotations valuable, yet delicate and rare, powers 2. Play one octave in outward contrary By LOUISE ROBYN and HOWARD HANKS From Hanon, Miss Robyn has selected exercises especially of attention, that the difficulty of si- motion, which will leave the hands two OSMOPOLITAN A.B., adapted Confers degrees of B.M., to training young pupils in fundamental finger multaneously bringing mental power to octaves apart. SCHOOL OF This book continues the development of the material in and M.M. MUSIC technic. Each exercise lends itself signatures, touch and similar Book One and also includes a Master Key for the to a different technical bear upon notes, 3. Play one octave in ascending SHIRLEY GANDELL, M.A.. Oxford principle, University. England, President. using the various touches, is, of Distinguished Faculty teacher. Years of pedagogic experience have gone into dynamics, weight and time, is materially increased.” He motion, with the hands remaining two 40th year. Accredited. Offers courses CHORD CRAFTERS pressure touches, slurring, preparation this phrasing, etc. All are one measure similar motion to in all branches of Music. Certificates, the of work, the collaborating authors course, speaking of — octaves apart. Desirable board- phrases confined entirely diplomas and degrees. to white-key positions. accommodations. Located in down- • having devoted years to the musical education of Amer- contrary motion of the scales mentioned, 4. Play one octave in inward contrary ing Technic Tales Book Three town musical cemer. ican youth. Definitely deciding that Price. 75 cents Registrar Bulletin the study of har- this remark would not apply. This rule motion. Address for Box E. 306 S. Wabash Ave., Chicago. mony is absolutely essential for The tremendous success of Miss Robyn's Technic Tales, future musicianship. applies, exceptionally, to the scale of At the end of this fourth “motion,” DePAUL UNIVERSITY Miss Robyn and Mr. Hanks have prepared these Books 1 and 2 is undoubtedly due to the feasibility with vol- E-flat major, because the black keys will be on the C an octave both thumbs MUSIC A professional music school umes for the particular use o.f piano students at an SCHOOL OF which the study of them can be accomplished in conjunction used happen to occur in the same order higher than the one from which the OBERLIN in an attractive college town. early stage of their development. Price, 75 cents By JOSEPH HAYDN Room 401, 64 East Lake Street Thorough instruction in all branches of music. Special train- with almost any course for the piano. Naturally, the results both ascending and descending. start was made. The formula is now ing in band and choir direction. 46 artist teachers, unsur- Chicago, Illinois passed equipment (200 practice rooms. 23 modem organs, etc.) achieved caused teachers to request a continuation of the Arranged for Two Pianos This applied repeatedly rise of an octave has been by LOUISE ROBYN plan has been complete; a Degrees: Mus.B., School Mus.B., V. 15 . with music major. Frank H. Shaw. Dir., Box 514, Oberlin, Ohio. experience is needed is to Catalog. work. The new and augmented edition of this Book 3 in- As here presented, this classic in the writer’s teaching attained; and all that gem, Haydn's Conn 1 m in D. troduces the twelve fundamental chord-attacks—marcato, has given unbounded pleasure sometimes with very young pupils—and repeat the formula till the thumbs meet THE ROBYN-HANKS to young pianists everywhere legato, staccato, hammer, arpeggiated, sforzando, pizzicato, HARMONY " aS Proven n ideal two-piano never has it failed in bringing about on the highest C but one of the key- ? number for pupil recitals. Tell your Music Loving Friends about THE ETUDE and ask them to give Where the music is pupils will have touched accompaniment, single finger melodic, melodic high and low BOOK THREE desired before each pupil, 2 copies are good results. On the other hand, board. (The right hand you the privilege of sending in their subscriptions. needed since the printed music have been constantly de- C, but will have descended voice, passage, chord, and alternate chords. These may be gives the 2 piano parts in found to be the highest Catalog Rewards for subscriptions you send By LOUISE ROBYN and HOWARD HANKS Scorc Ask for of given to students about ready for grade 4. ' Price, 75 cents lighted to discover that they were much an octave to meet the left hand again.) Price, 75 cents THE ETUDE 1712 Chestnut Street Philadelphia, Pa. This more recent work in the series of practical har- more advanced than had been imagined. mony study for piano pupils was produced by the Ex. noted ** o “ . authors as a result of a demand created by the publi- KINDER CONCERTO Blindfold Playing O cation of the first two books and their Seventy-seventh Year regular use by By WOLFGANG AMADEUS MOZART The playing of scales in contrary mo- % » « many successful teachers. It, of course, THE takes up the tion has an advantage over similar Outward Contrary Similar, Ascending SNOW QUEEN the second Arranged for Two Pianos by LOUISE ROBYN work where volume leaves off and it takes ° motion, which is too often overlooked. o the students further u A Story Cycle of Piano Pieces for Young Players much than originally intended. In This is an adaptation from 11) ° the great Concerto in B-flat and One of the most frequent and fatal CHICAGO MUSICAL COLLEGE fact, it leads ambitious pupils to a a i where they are ready t^e ei^ ltor s * n er>uity Music by P. I. Tchaikovsky fi has been drawn upon to "round 2 Octaves lower (Founded by Dr. F. Ziegfeld) « t. faults of the elementary student—not to take up four-part writing. p r i off the ce , 75 cenls corners so that no "sharp edges” of great technical Story from Hans Christian Andersen demands always overcome in later life—is that of D.C.&va higher Member of the North Central Association of Colleges and Secondary Schools will exist to over-tax the hand of the young Adaptation by Louise Robyn student excessive looking at the fingers. If this - Price. 75 cents fault becomes fixed, good sight-reading RUDOLPH GANZ, President It is suggested that teachers use this book with Chord Croft- is out of the question. Scale playing in ers—Robyn's Technic Tales, Book 3. The adaptation of An- contrary motion is a good preventive of SECOND SEMESTER OPENS JANUARY 31 dersen's favorite fairy tale to the delightful music of Tchai- this condition, especially when the and Students may enroll at any time for private instruction kovsky’s Album the Young supplies the story element, for scales are done over three octaves in and the music material, with which to develop the artistic keyboard and regain Address the Registrar for further information each direction. In fact, it supplies all To descend the application of the twelve fundamental chord principles of Oftuer note from which a start was made, its the advantages playing, the CHICAGO ILLINOIS a on Co. of blindfold 60 EAST VAN BUREN STREET 5, that technical work. on Page 64) Price, 75 cents THEODORE PRESSER since it is practically impossible to watch (.Continued, CO„ Distributors. 1712 CHESTNUT ST„ PHILA. 1. PA. 62 "FORWARD MARCH WITH MUSlc "FORIFARD MARCH WITH MUSIC 63 ” THE ETUDi JANUARY, I5>4v ' 4 Li 6

from G-sharp—A-flat, and Musical Quiz equidistant The Etude therefore a start may be made on them; Count—Prepare—Play and E. for instance, on C WHERE SHALL I GO TO STUDY? ly Cliariei 2). Perlee CONSERVATORY i, gur m Sun PEABODY REGINALD STEWART DIRECTOR The consistent and intelligent D. “The Tales of Hoffmann” Private Teachers (Western) (New York City) REPARING the fingers on the keys BALTIMORE, MD. Private Teachers listener of to-day knows almost as 5. A sharp I is half the battle in getting young as the average A. Raises the following note one- much about music crisp clear student an opportunity for many- H. FREDERICK DAVIS MRS. HENRY HADLEY (Inez Barbour) piano pupils to play FFORDS to the young Responsible for the dis- half a tone musician. staccato tones. The hearing of master com- Teacher of Many Successful Singers Soprano . sided musical intercourse. of all this musical in- B. Lowers the following note A semination one- All Branches of Singing Taught. Beginners Accepted In measures like this taken from Gay- Authority on the Art of Singing, Oratorio, Concert, half a tone positions of different epochs presented at the numerous Studio: 606 Templeton Bldg Salt Lake City, Utah Recital and general repertoire. Will accept a limited formation are radio and its com- nor’s March of the Wee Folk, teach the It should be observed that two white Phone 3-0316 (or 4-5746) for appointment number of talented students. the advantage of mentators, excellent instruction in C. Raises the following note a black one pupil to place his fingers on the next recitals by the greatest artists of the day, Write for Free Circular THE HENRY HADLEY STUDIO keys followed by a the increased full tone keys to be played while he is counting classes, ensemble 15 W. 67th Street New York City our public schools, and playing with and before others in the By Appointment Only. Sus. 7-0100 them: LUCIA O'BRIEN LIVERETTE number of fine books and articles on D. Lowers the following note the half beat directly preceding a Ex. rehearsals and students' recitals, the lectures, the pleasant VOICE music. How much do you remember? full tone MARGARET HENKE spirit all tend to stimulate Graduate of Samoiloff's Teacher's Course musical association and the class points for each correct 6. Which one is not a modern Reasonable terms. Voice Physiologist Count two com- interest and to establish a high ideal of excellence Phone NO 2-1030 EX 1141 Teacher of the "Bel-Canto Art of Singing". answer. Fair: 50; better than aver- poser? a healthy 616 N. Normandie Ave. Los Angeles, Calif. well-equipped Con- Overstrained, defective voices adjusted. age: 60; good: 70; excellent: 80 or A. Vaughan Williams by means not obtainable outside of a 610 Riverside Drive—New York—EDgecombe 4-2388 EDNA GUNNAR PETERSON higher. B. Deems Taylor servatory. ALBERTO JONAS 1. Who did not write a piano con- C. Robert Russell Bennett Concert Pianist—Artist Teacher PREPARATORY DEPARTMENT Celebrated Spanish Piano certo? 22? So. Harvard Blvd. Los Angeles. Calif. Virtuoso D. Henry Purcell are fingered in the same way in all 21 E. Mt. Vernon Place Teacher of many famous pianists FE. 2597 A. Grieg Virginia Blackhead, Supt. 19 WEST 85TH ST., N. Y. C. Tel. Endicott 2-8920 7. Which one of these Lehmanns three systems. LAZAR S. SAMOILOFF B. Tschaikowsky On Thursdays in Philadelphia, Studio 407, (none of whom are closely related) Voice teacher of famous singers 1714 Chestnut St. Tel. Victor 1577 or Locust 9409 C. Schumann Not connected with any Conservatory. composed In a Persian Garden? TERM BEGINS FEB. 1st From rudiments to professional engagements 2nd D. Palestrina “Music is the common tie between races This method of practice trains the child Beginners accepted. Special teachers' courses A. Lotte Year Book on request Dr. Samoiloff will teach all summer at his Studios. EDITH SYRENE LISTER 2. Which of the following women and nationalities, and recognizes no to look ahead and prevents him from Write for catalogue—Special rates for the AUTHENTIC VOICE PRODUCTION B. Lilli musicians is also a symphonic con- caste.” —Jacques L. Gottlieb striking wrong keys. duration. 405 Carnegie Hall, New York City C. Liza 610 So. Van Ness Ave., Los Angeles, Cal. Collaborator and Associate Teacher with the late W. ductor? 8. Franz Liszt Warren Shaw and Endorsed by Dr. Floyd S. Muckey A. Ethel Leginska was born in ELIZABETH SIMPSON Wednesday: Troup Music Studio, Lancaster, Pa. B. Myra Hess A. 1738 Author of "Basic Pianoforte Technique" Thursday: 309 Presser Bldg., Philadelphia, Pa. C. Oiga Samaroff Stokowski B. 1811 AMERICAN CONSERVATORY Teacher of Teachers. Coach of Young Artists. (FRANK) (ERNESTO) Pupils Prepared for Concert Work. Class Courses D. Kerstin Thorborg C. 1887 in LA FORGE-BERUMEN STUDIOS CHICAGO Technique, Pianistic Interpretation, Normal OF MUSIC— 3. D. 1889 Methods for Piano Teachers. Voice—Piano Handel was born in Offers courses in all branches of music and dramatic art 135 artist teachers 609 Sutter St., San Francisco: A. 1776 9. A bitter rival of Gluck was Faculty of 2833 Webster St,. Berkeley Cal. Member of National Association of Schools of Music Building, Chicago B. 1685 A. Piccinni Send for a free catalog—Address: John R. Hattstaedt, President, 570 Kimball 1100 Park Ave., Corner 89th St., New York C. 1800 Private Teachers (Mid-West) Tel. Atwater 9-7470 B. Pinza D. 1570 RICHARD McCLANAHA¥“ C. Puccini DR. FRANCIS L. YORK 4. Hans Sachs is the beloved char- Representative TOBIAS MATTHAY D. Tosti Advance Piano Interpretation and the T heory work Private lessons, class lessons in Fundamentals acter in the opera required for the Qlrbrlanisjhstitirtr nf (T)uatr degrees of Mus. Bach,, and Mus, Lecture-demonstrations for teachers Mas. A. “Die Meistersinger” 806 Steinway Bldg., New York City Answers DETROIT CONSERVATOR f MUSiC OF B. of Music Degree, Master of Music Degree, Artist Diploma Detroit, Mich. “The Bartered Bride” f Confers Bachelor •V—6 :g—8 ‘D— of Faculty W. J. RESZKE C. “Wozzeck” WARD LEWIS, Dean the :a—9 :v—s :v—* :a—s :v—z -a— Director (on leave of absence) 3411 Euclid Ave., Cleveland, O. EVANGELINE LEHMAN, Mus. Doc. Voice Instruc+ion Beryl Rubinstein, Composer and Vocal Coach 2122 Bethgate Avenue, New York City Dr. Lehman has coached some of the most famous Tel, Sedgwick 3-4042 singers of the Paris Grand Opera. Appointment by MONDAY: Trenton. N. J. WEDNESDAY: Perth correspondence. Amboy, N. J THURSDAY: Allentown, Pa. V JV BALDWIN-WALLACE Studio: 167 Elmhurst Ave., Highland Park (3) Contrary Motion in Scale Playing CONSERVATORY OF MUSIC ((Detroit), Michigan EDWARD E. TREUMANN enwood (v BEREA, OHIO (suburb of Cleveland) Concert Pianist^-Artist-Teacher ( Continued from Page 63) $ Affiliated with a first class Liberal Arts College. Private Teachers (New York city) A .. » P p) ML CONSERVATORY OF MUSIC Four and five year courses leading to degrees. Faculty of Artist Teachers. Send for catalogue or informa- Divisionof Lindenwood College all that is T tion to: necessary is to begin one octave V for Women. Thorough prepara- FREDERIC FREEMANTEL New York City The Chromatic Scale s ALBERT Rl EM ENSCHN El D ER, Dean, Berea, Ohio below the top one on the keyboard and tion for careers in music under ® faculty. B.M. Voice Instruction to There are three methods of fingering a distinguished repeat the formula, with the certificate and diploma exception A 1 A degree, Author of 24 home study lessons, the - ? chromatic scale. In all of them simi- 7 in piano, voice, violin, organ, "The CRYSTAL WATERS that “movement three” will consist M P Fundamental Principals of Voice Production and of one harp, other instruments, pub- ' lar motion, if at octave Singing"; also "High Tones and How to Sing octave of the interval of an theory, har- MILLIKIN CONSERVATORY OF MUSIC Them Teacher of Voice descending similar motion in- f 5 lic school music, Studios: not if at the third is mony, history and appreciation 205 West 57th Street Radio, Screen, stead of the ascending — or sixth— some- ^ DECATUR, ILLINOIS Concert as before. music. Well-eauipped stu- New York City Phone Circle 7-5420 what easier This of Opera, Pedagogy than contrary motion. dios, beautiful buildings on Offers thoro training in music. Courses leading to is because [7 138 acres near St. Louis with Bachelor of Music Degree. Diploma and Certifi- 4 >t. New York City black and white keys are W its frequent concerts, operas, in piano, Voice, Violin, Organ, Public cate School Tel. Vo. 5-1362 Ex. 3 MARIA CARRERAS played simultaneously by both hands, * ' ‘other musical attractions. For Music Methods and Music Kindergarten Methods 2 Octaves higher on view book, write Renowned Pianist modern "C"piano though h r catalog and p the same fingers are not neces- Bulletin sent free upon request "INTERPRETATIVE Harry Morehouse Gage, Pres. AUTHORITY" f sarily — ^ used on them. But, witli all the Box 1243 St. Charles, Mo. W. ST. CLARE, MINTURN, Director 1 N. Y. Herald-Tribune f' I Teacher of successful concertising pianists. c " °“0- three fingerings, contrary motion is Accepts talented students. ^ Outward ^ easier than similar motion, if both hands the Banks of the Wabash Contrary . ^Similar, Descending On 169 E. 78th St., New York City Tel. Bu 8-0311 e | begin on the middle of the three black = keys, FOURTH WAR LOAN DRIVE G-sharp—A-flat, or on any two DETROIT INSTITUTE notes equidistant from this key. The OF MUSICAL ART Buy More War Bonds and Music Lovers to earn LIBERAL COMMISSIONS reason is that in this case the two hands Since 1914 has prepared ambitious young people for careers in music, dancing dra- securing subscriptions tor irJf play black and white keys simultaneous- Stamps for Victory THE ETUDE. Par* or art. All instruments, voice, theory, matic - t) ° u ly and with the same fingers. finger- composition, sacred music, conducting, cam full time. No Cost or Obligation. Write for com. ] The panology, radio technique. Accredited. Di- \ Inward, Contrary ings in the apply NOW! E plete details TODAY! Address: following example plomas and degrees. Faculty of 70. Catalog. T p_ <» Ave., Detroit, Mich. |w A N [ equally to both C. Jackson, Bus. Mgr., 52 Putnam CIRCULATION DEP; T hands. THE ETUDE MUSfC MACAZ-NE 1712 CHESTNUT ST., PBTLA., PA, D.C.S va lower Ex. muSic at ^Jlighest For convenience, the Key of C has been chosen; at its highest is the will of man made manifest, and one MUSICAL FLARES but when the formula has been “Pure music once learned that will becomes fully manifest in any other of his crea- it can, and should be, ap- may doubt if Three Negro singers, according to Variety, earned over $100,000 each plied in all keys, major and tions. It compasses all his actions, all his thoughts, all his feelings; it last year. They are Paul Robeson, Marian harmonic Anderson, and Dorothy Maynor, minor his dream; it satisfies his insatiable curiosities; it justifies his (the Melodic Minor Scale does translates Fortune Gallo’s San Carlo Opera Company has given nine thousand not lend itself so well to contrary pride (as he himself never does); it makes him the god he would be; it performances in thirty motion years, playing to an estimated audience of nine- study, in mystic depths the whole in and it should be reserved for is like a crystal ball whose of life moves teen million people. quite Each couple of simultaneous notes in advanced study). a shadow fantasy.”—Thomas Whitney Syrette the preceding examples is, of course, The Sidewalks of New York 64 "FORWARD MARCH WITH MUSIC’ 1 MARCH WITH MUSIC" 65 THE ETUDE JANUARY, 1944 "FORWARD ,, —

(2) Start the tone with the tongue. Recording on (3) Follow with breath. Wire (4) Pull the tongue downward Questions as you 0Continued from Page 24) INSTITUTE OF MUSIC Band attack. CURTIS (5) Do not permit the face muscles loud-speaker convert neath scratch the amplifier and a harsh layer of needle Answered move, either when starting ZIMBALIST, Director Select Just the to or sus- sound waves. Because mechanical and surface noise. Low notes, if they EFREM into taining the tone. Repeat this procedure contact between wire and magnet is could be heard at all, most often were on B-flat (second slowly line) until you to a tiny area, surface noise is hollow and unnatural. Only lately have Lj. WJiKicun 2b. IZeueUi limited can perform this tone many times improved high-fidelity, with- negligible and the wire is subjected to records and COURSES OFFERED Music Y ou Need out faltering. As you acquire control you wear. The composition of the wire sound-reproducing systems been on the little can draw the tongue back so that it is and the grain size of the metal also keep market. A man could buy comfort for eventually behind the upper teeth when undesired noise. If a recording has his ears—but only for a fat fee. He Misses Notes out Composition Organ . . . • right in your own articulating. Slow practice will improve usefulness, the magnetic im- The flexible nature of magnetic re- outlived its in high school. I have been the rapid passages. Q. I am a junior Read the article by pulses can be blotted out magnetically, cording makes it possible for anyone to a member of our high school band and or- Voice Harp Mr. Evenson in this month’s issue of The and the wire can be used over again. select the quality he wants in a record- home or studio! chestra for the past three years and played in- Etude. Foundation is making its mag- ing he makes from his radio. Assuming for two years in the junior high school Armour Flute French horn Piano strumental classes. I play the netic recorder in a compact, portable that the radio is a good one, high and and our band and orchestra conductor is very Clarinet Quartets form for the Army and Navy, and Gen- low-frequency response in a recording- • Through the conveniences of “Presser Service” MUSIC TEACH- complimentary of my playing. My tone is gen- Violin Oboe into mass pro- will depend chiefly on the speed at ERS and others active in the Music Profession may order mate- good. I read very well eral Electric will soon go erally considered very Q. Will you please suggest a few good clari- rials for examination with privileges music not used. technic. Although I have of these units. Brush, likewise, which the wire is passed through the return on and have a fair net quartets for four B-flat clarinets? We are duction Clarinet practice two Viola This permits the selection of music, at your leisure, right in your never had any private lessons. I moderately advanced and have just organized makes recorders and other devices for magnet. For the best recording of or- hours daily and am much interested in con- t own home or studio, without expending any money before finding our quartet. We find it very interesting and services and plans to develop them chestral music, where high and low tinuing musical education after I gradu- the Bassoon suitable materials for your needs. (Ask for details of our examina- my practice four hours each week.—D. G., Illinois. Violoncello chief difficulty is commercially when the war is over. Ac- overtones are important, it is necessary of “Presser ate from high school. My tion privileges so that you may know the liberal terms of many A. lack of assurance and the missing Congratulations, that is fine keep cording to Brush’s President, A. L. Wil- to pass the wire through rapidly, at Double Bass French Horn Service”.) notes. I seldom play a passage without miss- it up! You will not only have many hours liams, the Brush recorder bears as little about three feet per second, but for ing some of the tones. What can I do to of pleasure, but will also acquire Poulsen’s early devices as ordinary speech recordings a slower become more accurate and certain in my play- some resemblance to suffice. magnetic-record- & String Ensemble, ing?—C. C., North Carolina. musicianship and “ensemble feeling” the modern home phonograph with speed would A Supplemented by Chamber Music, Woodwind which baffled permitting higher speeds (and you would never otherwise experi- crystal pickup and properly loud- ing unit Class, Vocal Repertoire, Diction, Languages, Elements A. First, you must remember you are Opera ence. I suggest the following numbers for speaker hears to Edison’s first gramo- requiring more wire and better-related playing one of the most difficult of all of Music, Dramatic Forms, Orchestration, Counterpoint, Har- your group: phone. equipment) presumably would cost more. PRESSER'S wind instruments insofar as mastery of Academic Tutoring. Adagio from “Sonata Pathetique,” by There is another aspect to the mag- But to the man whose nervous system is mony, Solfege, Secondary Piano and control and accuracy is concerned. Many Beethoven-Renard; Sarabande, by Han- netic-recording idea- range. As recently shocked by the boomings of juke boxes professional hornists experience consid- del-Liegl; Petite Quartette^ by Crosse; as a decade ago, even the best phono- and the screeches of $20 radios, the "ON APPROVAL' erable trouble with the same problem. Pastorale, by Scarlatti; “Twelve Quar- Tuition Free tettes,” by Artot-Harris; and Serenade, graph records left much to be desired. added expense might well be worth Yet control and assurance are two by Haydn. High notes were generally buried be- while. Auditions will be held in April 1944 PACKAGES primary requisites of the competent hornist. Practice slowly on daily studies for the 1944-45 Season

Examine this music at your piano, make your of intervals. Begin with seconds, then Concerning the Marimba selection and return to us the music not wanted. thirds, fourths, fifths, and so forth. Prac- Catalogue upon request to Secretary of Admissions, Full credit will be allowed for returned music, Q. I play the marimba and have done con- tice first, articulate and this, may be any or all of the music you them slurred at then siderable solo work In both our local commu- Slow Study and Fast Study Curtis Institute of Music, Philadelphia 3, Pennsylvania receive “on approval”. You pay only for the them, accenting each tone. The When mak- nity and surrounding cities. While I enjoy this Any of these packages will music selected and retained, plus the nominal postage cost of sending the music you. ing the change of interval avoid moving experience I would also like to do some travel all the way to you to Spe- cial packages covering individual needs, as you the jaw too much. Hold the embouchure ensemble playing, such as band, symphony hj 2br. Arthur Oiafl nderien that you may inspect the describe them, will be made up cheerfully and orchestra, or radio orchestra. Is the marimba as quiet as possible. Have the tongue as- contents if you simply will sent for examination at your request. ever used in such ensembles is its usefulness m , or sist in the interval change by producing mark those you wish to see confined to solo work?—J. R. W„ Indiana. The actor has a way of referring to himself as “a fast study” Philadelphia Conservatory sign your name and the syllable "tah” on the low tones and BOSTON UNIVERSITY . A. The marimba is primarily a solo or “a slow study," depending upon how quickly he can memorize. of Music address on the coupon THEODORE PRESSER CO. “tee" on the high tones. This action of instrument and is most effective as such. COLLEGE OF MUSIC 216 South 20th Street and mail to us. 1712 CHESTNUT STREET, PHILA. 1, PA. the tongue will cause it to raise and fall Maria Ezeiiman Drake However, many composers often use the preparation lor careers in as the intervals are being voiced. The HE MATTER of determination in hour, or even a longer period of time. • Thorough Managing Director marimba in music. B.Mus. or Diploma in Voice, Piano, writing for band or orches- Little little such practice brings ac- Faculty headed by ear must follow faithfully all of the in- practicing is a big factor in the my Organ, Violin, Cello, Brass, Wood-wind tra. It is very effective in some dance worth-while results. A stu- Instruments. B.Mus. In Olga Samaroff, Mus. D. tervals and you must be able to hear Tsuccess of mastering an instru- cumulative, and Percussion forms, such as the rumba, Composition, Church Music, Musicology. to the note mentally before guaracha, and performance dent who does not have enough interest Courses leading Degrees you voice it ment. To some students B.Mus. and M.Mus.Ed. in Public School other South American dances. It is a reveals with the instrument. Daily practice in comes -cry easily. To others, it is a mat- or desire to practice voluntarily Music. A.M. through Graduate School. J ^dpprot/a practical substitute for the harp if the should be Glee Club, Orchestra, Band. Fac- J-^reASer On (’’PackaqeA singing your horn studies before playing ter of grind. One student learns quickly, a phase of his nature that Chorus, distinguished musicians Includ- range and idiom of the music are ap- given serious consideration. This may ulty of OF MUSIC them will do much in the training of the another slowly. The slow student may ing many Boston Symphony Orchestra R1VERDRIVE SCHOOL & ARTS NO. I EASY PIANO TEACH- NO. 8— propriate. It can be used in tremolo ef- PACKAGE — PACKAGE Excellent PIANO ear. The ear must hear and you must learn thoroughly than the speedy mean that his desire to become a per- members and the Stradivarius String ING PIECES. Contains approximately one STUDIES in the medium grades to use more 84 Riverside Drive fects and in colorful variations to a passing fancy, born Quartet. Cultural opportunities of Bos- dozen first grade pieces, one dozen second as supplementary material to cover specific voice the tones before producing them one who, because of his gift for absorp- former is merely one dozen third grade ton. Attractive dormitories. Catalog. New York City grade pieces and phases of technic. melody. However, I do approve of enthusiasm without pieces. on the horn. As soon as possible seek a not be as careful a iij a moment of and PACKAGE NO. 9—One dozen satisfying tion, may not prove to Alfred H. Meyer, Dean FREDERICK G. KOEHLER, Director NO. 2—MEDIUM GRADE its constant use as PACKAGE SACRED SONGS. Indicate which you pre- competent teacher of the French horn. a member of the wind performer as the former. Then, again, full knowledge of what the learning of an 53 Blagden Street Boston, Mass. PIANO TEACHING PIECES. Contains fer—High, Medium or Low. Dormitories approximately fifteen third grade pieces or string families. It is a “color” or “ef- instrument entailed. He may resemble the PACKAGE NO. 10—Ten we have the in-between student, who and fifteen fourth grade pieces. ANTHEMS FOR Catalogue on request Special Summer Session VOLUNTEER CHOIRS. Effective, but not fect” instrument and Its overuse in en- was asked if he could play the 3 manages to keep up a desultory amount man who PACKAGE NO. —Contains around thirty difficult anthems for the average volunteer Tuba Difficulties Revealing New Book in Two Parts fourth, fifth and sixth grade PLANO choir. semble merely weakens its effectiveness without the violin. He replied that he did not know A PIECES. of practice and gets by PACKAGE NO. II—Ten ANTHEMS FOR in RHYTHMIC COUNTING tOLL G us,c Q. I am the first-chair the ensemble. mate, or the because he’d never tried. Now that the PARAGON OF PACKAGE NO. 4—Contains one dozen fine LARGE, PROFICIENT CHOIRS. tuba player in our thoroughness of his slower COMBS i£fr.°^ SONGS; excellent for teaching purposes, I that hard, FOR ALL RHYTHMS 12— school band. have played for three" years, but brilliance of his gifted companion. While student has tried and found Complete musical education. Preparatory or as light recital numbers. Indicate which PACKAGE NO. CANTATAS FOR m have never had any department lor children. Teachers’ training you prefer High, Medium or Low. SCHOOL CHORUSES. Delightful cantatas formal lessons. My tone is plus flair for the chosen PARAGON OF HARMONIZING — supervised practice is the ideal way to serious work, a degrees. for two and three-part treble voices, not fairly good, I courses leading to diplomas and PACKAGE NO. 5 Approximately twenty but have much difficulty with applied to Philadelphia, — difficult, but brilliant and melodious in instrument and natural musical ability 1925 Chestnut St., Pa. good VIOLIN TEACHING PIECES in first tonguing. The tone does not A Bassoon Method begin a student upon an instrument, character. start when I FOUR KINDS OF HARMONIZATIONS position. tongue. The staccato passages, are needed, his enthusiasm begins to dim therefore, are this, for many reasons, is not always explanatory circular PACKAGE NO. S—Fifteen PIPE ORGAN PACKAGE NO. 13—Fifteen EASY CHO- Q- I have past Send for RUSES FOR SCHOOL USE. Two-part not clear. Can you suggest anything 1 can do studied the piano for the practice becomes irksome. He should NUMBERS for teaching and recital use. six practicable. Home supervision of prac- and EFFA ELLIS PERFIELD choruses for treble voices. to help my attack? years. I am sixteen years old and wish to ^ PACKAGE NO. 7—PRACTICAL ELE- —C. W. M., Iowa. advised not to continue to waste his New York City study the bassoon so that in our tice is generally measured by clock hours, be 103 East 86th St. (Park Ave.) flftiene X TKeadre I can play / MENTARY WORKS FOR USE IN PIANO PACKAGE NO. 14-A dozen CHORUSES ^ Singers coacned for professional Screen, Radio, INSTRUCTION that every teacher should FOR MIXED VOICES. Four-part, choruses A. First, I suggest that you high school band and orchestra. We have no the keeping time, his money, and his teacher’s Acting, Musical Comedy and Opera. Broadway also seek a com- parent and the student both Summer Stock Theatre Appearances assured. Many gradu- know. for the repertoires of active choral societies. bassoon teacher suggest petent brass instructor. There are in town. Will you account of time. This last patience. ates outstanding stars. Spring, and summer course open- many a bassoon the passing ings, write Sec’y Schubert. 1780 Broadway. N. Y. instruction book for me?—H. V.. of what practice makes, SPECIAL PACKAGE things that could be wrong with your Nebraska. variety of practice occasionally may The old adage " “ ( Indicate above any special needs you may have.) point that the " articulation; hence any attempt to diag- work out, but the better way is the still holds good, to the JUILLIARD SCHOOL OF MUSIC A. I would suggest the “Weissenborn is t the fullest ex- nose your troubles without personal ob- project practice or the accomplishment perfection achieved THEODORE PRESSER Bassoon Method.” Since you have had the student shows him- CO. servation is hardly possible. However, of one definite technical attainment at a tent of which ERNEST HUTCHESON, President considerable study of the piano, your 1712 Chestnut St., Philadelphia 1, Pa. the following suggestions time, whether hour, a full self to be capable. may prove major it takes a half valuable. problem will be the acquisition of : OF MUSICAL ART plan, INSTITUTE fientlemen Send me, in accordance with your “On Sale” the packages — the correct embouchure and fingering. I indicated. In ordering these packages I am to have the privilege of examining 1. Your tongue might be too low when they and for only the music I use and return- suggest GEORGE A. WEDGE, Dean the music contain, keeping paying articulating. that you take a few -lessons from ing for credit the balance. This will often retard the a good bassoon instructor to be certain response of the tone. Individual vocal and instrumental instruction. Classes in Theory, Com- of the correct approach. If is not 2. The tongue might such be too far back ^l//}oclern Opera. position, and all branches of music education. Name . possible clu in the then consult your. high school Oon ctincf mouth when attacking the tone. band conductor leading to diploma and B. S. and M. S. degrees in instru- This will also for advice on fingering Courses cause inconsistency in by Dr. George Berg and embouchure. Most of the modern mental, singing, and public school music departments. Address. articulation. I suggest that Royal Opera House in Vienna, you practice beginners’ Frank Schalk, former conductor of the as follows for methods include a reliable a few minutes each day. was ultra-modern opera when he interrupted the orchestra Catalog on request. fingering chart that will be of great help. rehearsing an (1) Place the tip of it wrong, it io the tongue between and said. “Gentlemen, evidently in this score, if sounds If your band conductor is not familiar Room 122, 120 Claremont Avenue, New York the teeth, so that the tongue touches with the bassoon he right; and if it sounds right, it is wrong.” the upper teeth. fingering, I am sure can assist you in deciphering the chart. 66 "FORWARD MARCH WITH MUSIC” " FORWARD MARCH WITH MUSIC” 67 THE ETUDE JANUARY, 1944 — :)

to The Junior Etude will are grouped according Why I Like Music Class A, The Story of Bells award three worth while Junior Etude age as follows-: (Prize Winner in Class B) of Bells fifteen to eighteen years of The Story prizes each month for the I have studied music for six years and to to fif- it hobby . twelve I consider ( Continued most interesting and orig- age; Class B, me. it is a lot of fun. my it will bring me great last month) teen Class C, under twelve and relaxation and I feel ( Continued from inal stories or essays on a ; Contest pleasure in my future life. It has brought and should tell your club years. Names of all the today, but you given subject, and for cor- will continue to bring me in contact with appear Valley Forge. Do you rect answers to puzzles. prize winners will many people who are worth knowing. I am of the one at PaJ issue of The good in school work and I am sure I owe it reading about Valley Contest is open to all boys and girls un- on this page in... -a future remember partly to music, because it refreshes my mind whether a Etude. thirty next best contributors Washington der eighteen years of age, Ju- The gets me ready to take in other subjects is the largest bell e where George and ’” said Bobfe y’ “Where in the Forg Contestants given a rating of honorable mention. ncle john spent the cold win- nior Club member or not. will be well. “T t asked Bobby. and his army to younger brother and I “don’t forget you promised world?” I teach piano my | Uncle John. hope to make a good musician out of him. I “It is said to be the Great Bell of ter?” asked THIS MONTH tell me some more about SUBJECT FOR very seriously but I do not to answered Bob. “I drove take my own music Moscow in Russia. It weighs two “Sure,” I grow up because I want bells today, and this month is my want to teach when Valley Forge once. It is a to keep my music strictly a hobby. I have our club meeting hundred tons and is so heavy it has through turn to speak at ompoScrS played at Town Hall and Center Theater and never been raised from the ground.” beautiful park now.” (jreat and I think bells would be a good have earned eight gold medals. beautiful, and a (Age 12), “Where are some other famous “Yes it is very Philadelphia (1), Pa., not Don Payne topic.” All entries must be received at the Junior Etude Office, 1712 Chestnut Street, New York handsome chapel has been built than January 22. Winners will appear in the April issue. said Uncle John; bells?” asked Bobby, turning the very later “Good, Bobby,” set of his notebook. there which contains a fine “I’m glad you are interested in bells. pages of CONTEST RULES- state in the Union having and fifty words. Why I Like Music talked “Nearly everybody has heard of bells, each 1. Contributions must contain not over one hundred You remember last month we left corner and your address in the of 2. Name, age and class (A, B or C) must appear in upper Class which hangs in presented one bell; and name more than one sheet of 'paper, He (Prize winner in C) about composers who used bell effects Big Ben, the tower the upper right corner of your paper. If you need state is cast on the side of the sure to do this on each sheet. I like music because it makes me happy and we will of the House of Parliament in Lon- the typewriter. in their compositions; now 3. Write on one side of paper only and do not use a gives pleasure to others. When I practice my anyone copy your work for you. don. It has been heard in the United belL” 4. Do not have after school I forget any un- talk about bells themselves, and and to submit not more man piano lesson I 5. Clubs or schools are requested to hold a preliminary contest “I wish I had known that when pleasant happening that may have occurred carillons. It will be States by radio.” six entries (two for each class). about chimes and # a true friend, which not meet these requirements will not be eligible for prizes. during the day. Perhaps, like it,” said Bobby. was there,” said Bobby. 6. Entries do a lot to tell at one club meeting “I heard music will help me over the rough spots all here is one more item for music brings many though, because the story of bells “Of course the bell dearest to the “And my life. My interest in continued Uncle interesting people into my life, not only heart of all Americans is the Liberty your notebook,” goes back thousands of years.” study of it but by reading the a good clear ring, through the is kept in John. “To make lives of great composers and musicians. I like “Well, tell me something, anyway,” Bell, which Independence certain al- it makes my life fuller and Hall in Philadelphia. This, you know, bells must be cast from music because pleaded Bobby. “For instance, who I serve it as my master faithfully tin is the No. 29 richer. If of metal. Copper and Junior Club Outline someday it made the first bell? I bet you can’t loys through my early years, perhaps usual combination, though they are will serve me. It may lead me into a profitable answer that one.” kind fate should alloys. career and fame; but if a less sometimes made of other for “No, because nobody knows. Bells Wagner be mine, I would still feel well rewarded made also of glass countries in They have been liking music. have been found in all Lavonne Margaret Cranford (Age 9), A Well-known Bell Tune china. And you might add some all ages. Chinese had bells four and Connecticut The cause it moves in eighth-note value uses of bells, too, Bob, such a. All musicians are familiar with thousand years ago. Some early types of the is the bell that rang to proclaim the have the compositions of Richard Wag- to the G-sharp, while the E and C as: for hundreds of years they of bells were made of wood or clay, remain as quarter notes. Play this Wfiy I Like Music It was New Year’s Day and Robert ward to the past to see what he had independence of the American colo- to call congregations to ner. When was he born? before the metal bells were made. been used nies 1776.” music is he pattern in three major keys. (Prize Winner in Class A) was going skating, when his mother accomplished, and one looking for- on July 4th, worship; they sound the signal of b. For what type of of those are still used in the it is one long, soothing Some “I I like music because said, “Bob, I think you will enjoy ward to see what he could do better.” saw the Liberty Bell once,” said they are rung at times of famous? and contentment South Sea Islands. Bells are men- danger; Musical Program symphony that adds peace Bobby proudly. of his operas on or angry, your skating more if you do some “If I looked backward I guess I rejoicing, such as Christmas c. He wrote four to my soul. When I become unhappy tioned times in the Bible; great to give an rise many we Scandinavian It is almost impossible music is very soothing to me. I love to practicing before you go. Then you could find lots that needed improve- “And no doubt you have heard of Year’s—‘Ring out the old, complicated tales of also find pictures of and New music in the quiet of the early morning and play them on old Paul Revere?” which relate to the effective program of Wagner’s will not need to hurry home.” ment, especially in music!” asked Uncle John. in the new,’ said the poet Ten- mythology, to my own contentment. Egyptian monuments; they have also ring recordings. See if you “Sure,” said except through In wartime music is an excellent builder of “Oh, I forgot about practicing.” “Yes, looking backward always Bobby; “we read nyson. And another poet, Edgar Al- been found in the ruins of Indian - 1 borrow a machine, or have your morale. about Paul Revere’s ride in school.” ff—f- itm can “I know it is a holiday but it seems shows some weakspots, Bob; but it Poe wrote an interesting poem 4 This is my fifth year of music study on the villages in the United States and len * meeting where there is one. Of “But did you know that he a piano. I love it and am very proud of the to me, since there is no school, you also shows the good points, and was called ‘The Bells’ which we will read #> WEiJ? * Mexico.” vPr % use some simplified opportunity to study music. I only wish that great silversmith, course you can should take a little extra work out where you are strong. But you must or that he had the together the next time you come everyone could have the opportunity to study “I see why you say it will be a lot u arrangements for the piano made on the piano. And don’t forget that look forward for improvement; you first factory for making bells in promised Uncle John. Then he music on at least one instrument. to tell at one meeting,” commented in,” from the orchestra and vocal scores, Mary Alice Nennett (Age 16), not improve the past.” America? Or that some of the bells used in re- l v V l resolution you were talking about, to can continued, “Bells are also 1 Arkansas Bobby, “but go on, please. You see, such as the Bridal Chorus, from practice more regularly.” Bob practiced. Then he went skat- he cast are still in existence?” Bobby they are used to ligious ceremonies; # ( — I am taking notes.” Cy-4— “Lohengrin”; the song to the Eve- “You’re right, Mum, and I’m going ing. And he never had such fun or did not know. ships at sea through danger- * “In China and India are some of guide » ning Star and the March from bal- “How are the big bells he 152 to keep it, too, beginning today, was so successful in speed and rung?” ous channels or rocks; railroads use = the most beautifully decorated bells. in the “Tannhauser”; but these numbers, January first.” ance. He even did some fancy figures asked. at crossings to possession of gold found There too, are found tiny them on engines and beautiful, cannot give many bells This set of operas is while always “By the way, Bob, do you know without a tumble. And how glad he “Usually they are hung in bell caution against possible danger; Rhine River. hanging from the corners of pagodas “Nibelungen Ring” (the the real Wagner color and immen- how January got its name?” was he did not have to hurry home. towers and are swung by a rope. around the necks of called the and temples which tinkle when they are hung sity except through recordings. Nibelungs being gnomes) . The first “Nope,” he answered tersely. “That’s a good resolution,” he Sometimes they swing all the way cows, sheep, and other animals as a around. In regular of these operas is called “The Etude: letters care of Junior “It was named for Janus^in old thought to himself. “Regular prac- the olden days means of location; in the East, ele- Dear Junior (Send answers to mother and I play the piano, my brother things turn up to tunes were few Rhine Gold.” What are the names My Etutle) mythology. He was often represented tice, and before not played, but a phants and camels wear bells; horses plays the violin, and I also play the French play the cornet. We with two faces, one looking back- interfere.” tones, or ‘peals,’ were used in differ- soft snow of the other three? horn, and am learning to and sleighs moving over sometimes have a trio; French horn, violin, “Lohengrin” and “Par- piano Prize Winners for Precious ent ways. In England this was called make no sound of approach, so the d. His operas, and piano, and my mother and I play duets. My father is our audience. ‘change ringing.’ bells sifal,” deal with tales of what Now. many harness is decorated with small From your friend, Stone Puzzle in October Lillian Winn (Age 11), 7 est are used in sets, com- door, famous knights? Indiana The Soloist Memory Endurance tuned to the bells; we are summoned to the New Mexico Class A, Frances Stillman (Age 16), short account of his life Iowa plete scale of several octaves, and the telephone, meals, and school, e. Read a Class B, Edward Rye (Age 13), by Charles Bancroft Game Dear. Junior Etude; your History of Music. Class C, Anthony Pantera (Age 11), New York beautiful melodies and harmonies and we hear them many times in our in You may be interested to know how I be- Across the shiny keyboard by Annette M. Lingelbach I was are used. not gan to subscribe to The Etude. One day These large sets do daily lives.” old piano music and I He scampers with delight, the class Terms looking over a box of Each member of memo- swing Etudes, but as I did not know what but are struck by moving clap- “I never thought of all those saw some Ansuiers to Precious Stone His touch shows relaxation, opera? they were I left them there. Not long after rizes the same composition in ad- pers sets f. What is an controlled by levers. These things before,” confessed Bobby. that my teacher gave me one and I asked her He loves to play at night. first player plays the term meaning three play- some. She said yes, Puzzle: vance. The are called who g. Give a if she wanted me to bring ‘carillons’ and the one that poem I men- I “As Poe said in together. so I went to the box and got them. Then ’ performing ruby; 3. emerald; 4. sap- opening phrase of the composition; ers or singers and uncle had subscribed 1. pearl; 2. plays them is called the ‘carilloneur’ tioned, ‘Hear the bells, bells, bells.’ found out my mother He has no hour for practice the next player plays the second to The Etude when they were little. That phire; 5. topaz; 6. opal. (pronounced carryon and carryon- Keyboard Harmony happened several months ago, and now my But plays when in the mood; phrase, and so on, until the compo- I have found out err). One of the most musical caril- mother subscribes to it and notes (see Outlines Nos. good it is. how . The modern or the classic sition is completed. Failure to play October Passing „ lons is in the city of Bruges in Bel- Honorable Mention for chro- From your friend, Honorable Mention for Precious Will make an interlude. the phrase required puts the player 26 and 27) may also be used Billie Marie Baley, gium. It plays a tune with harmony pattern here- California out, and the winner is the one who Essays matically. Notice in the Stone Puzzle: every fifteen largest minutes. The upper voice moves Antoinette Pollock; Muriel Emberger; Ros- I may be sitting reading, stays in. If the class or club is large, Joe Harvey; Doris Marie Morris; Frank with, the C in the Dear Junior Etude: in piano lessons since I was six Janet Lindsay Dalziel; Joan carillon in the United States is White; Edward Rye; Dianna Aiken; Betty C-sharp on I have taken aria Maggiore; Or very deep in thought; the players may be divided into two to D, passing through years old and have also worked four years on Dulin; Esther Smith; Betty Jane Dalziel; Muriel Em- Ulmer; Edna Lea the Riverside Church in New York, Hirst; Janet Lindsay voice bass clarinet, three years on the violin and time for meditation on; Esther way; the G in the middle the Marie Grandstaff; Gladys McGill; Mary Helen My teams, the teams competing against berger; Yvonne Schilla; Beverly Poll the one half year on the small B-flat clarinet and which has seventy bells. Another McGill; Tate; Colleen Kisch; Martha W. Duval; Jane Smith; Patricia J. Cochrane; .Gladys passing through G-sharp the bass viol. I enjoy my music very much. With him just counts for naught. each other in like manner. This is a moves to A, Frederick K. Smith, Jr.; Janis Ruth beautiful Singing Selma Reiss; Mary Rousakis; Margaret Good- For over a year I have been giving piano Phillips; set hangs in the chromatic changes Stellingwerf Rose Ann Urycki; game that brings excellent results in Mary on the way. These and have nine pupils. I am a senior in Smith; Frances ; in man; Ruth Smith; Ronald Zweigenbaum; lessons THE SINGING TOWER, Tower in Florida. Duke University Mays; Notice also school and belong to the orchestra and Alfreda Pietak; Ann McKenzie; Ann Ella Mas- But when I want to stop him memorizing, and trains the player to Florida Helen Tate; Edna Mae Dulin; Mary Lou not change the key. high do band and I also accompany all of the other ters; Gladys Etts; Anna O’Neil; Doris Millard; North Carolina has a fine set, also. Ann McKenzie; Margaret W. Smith; Caro- chord. The One thing I always do begin at any phrase of the compo- shaken An- the stems of the third musical organizations. Betty McCall; Vernon Pierce; Joan Clark; by the wind. In these lyn McClenny; Marjorie Brown; Harriet your friend, coun- In fact, it would not be possible to Beth together, but the From Dorothy Brinton; Rodney White; Charles Mor- Walk over to the ice-box, sition instead of always going back tries of ders; Gladys Kershaw; Mary Wardman; notes are all played Virginia Drolte (Age 16), the Far East are also ton; Christine Czech. found mention all the fine ones in America Swartz; Ralph Stein; Celia Brown; Arnold separate stem be- Kansas Then pussie’s concert’s through! to the beginning. some of must go on a the largest bells.” Whitman; Bazter; Norma Bartlett. G ( Continued on next page ) June 69 68 "FORWARD MARCH WITH MUSIC’’ "FORWARD MARCH WITH MUSIC’’ THE ETUDE JANUARY, 1944 .

effective, and pianistic PIANO DUET TRANSCRIPTIONS THEMES FROM THE GREAT OPERAS- on the lower of the two—a feature of containing simple, LATIN-AMERICAN NEIGHBORS r TWENTY popular hymns, has met OUR f„ organists of little experience versions of the THE COVER FOR THIS MONTH—Through Arranged FAVORITE HYMNS, by Clarence Kohl- For Piano Solo, Compiled by Henry Levine value to Piano, Compiled and by Ada OF third stave with such remarkable success that it has the courtesy of the U. S. Marine Corps response to repeated demands —In response to the tremendous success who find the reading of the Richter-There is something very visualiz- nann-In The been deemed advisable to publish a we are privileged to present on the front forth by the success of Mr. given Themes From the Great Piano for the pedals somewhat confusing. ing about the music of our American brought for four hands. So, with Concert. Transcriptions of Concertos and Themes From the Great registration is planned for the small two- similar collection cover of this issue the striking photo- ancestors Kohlmann’s neighbors whose came from found in the skill and full understanding with graph of a bugler of the Marine Corps Hymns for Piano Solo, we are Symphonies, Mr. Levine is compiling a manual organs so frequently countries. Who can hear Favorite Latin some of school auditoriums, which she accomplishes everything, Mrs. Women’s Reserve. From the pen of The to announce the early publica- new collection of outstanding music for homes, churches, these numbers with their singing melodies pleased Richter has made this new book a treas- Etude’s Editor-in-Chief came the four collection arranged for the piano, Themes From the Great lodge halls, and in the hundreds of marked rhythms tion of a similar MITES and strongly without recreation centers of our ury of hymn gems in duet versions sim- lines which complete the New Year PUBLISHER’S piano, four hands. The contents do Operas. This collection will show Mr. chapels and picturing bright-eyed, vivacious senoritas one ple enough for early grade students to message suggested by this stirring photo- the solo album, hut include Levine’s usual fine discernment of ar- service camps. Hammond registrations sing or dance. And then not duplicate at home, to all Music Lovers as they there enjoy as recreational material graph. A Monthly Bulletin of Interest favorite hymns as In the Cross of rangement and selection, for all the also are provided. the love songs and serenades such singing in are which Advance of Publication offer of or to play for congregational With this photograph on our January I Glory, The King of Love My numbers retain the rhythmic and har- The suggest the singing caballero with his Christ of each hymn is in- this is at the cash price of 60 cents church. A verse cover we salute the fine young ladies Is, Nearer My God to Thee, O monic essentials of the original com- book guitar pouring forth his heart beneath Shepherd with the music. Among the con- in Marine Corps Morn- positions, easy so that a copy, postpaid. The sale is confined to cluded who, making up the perfect Love, Rock of Ages, When but are enough a balconied window of a fair senorita. possessions. tents are; Praise God, from Whom all Women’s Reserve, have released many Skies, and Abide with Me, the pianist of average ability will have the U. S. and its COMES FIRST—Dur- Richter has demonstrated ing Gilds the Almighty OUR GOVERNMENT Mrs. through par- Blessings Flow; Come, Thou men from non-combatant details in the publish- mention but a few. no difficulty in performing them. A ing these very trying days, the a number of very successful previously to King; Jesus, Lover of My Soul; Nearer, Marine Corps and made it possible for (January. 1 944 book should meet a variety of tial list of the contents includes Vesti la ers of The Etude are bending every pos- published works her ability to bring Such a Thee; Rock Ages; On- front action. mu- My God, to of them to go into line The of Because the keys selected are those giubba by Leoncavallo; the famous Bar- THE CHILD HAYDN—Cfci/flftood^ Days of sible effort to avoid the late arrival sic which young and old like to hear uses. ward, Christian Soldiers; Lead, Kindly same tribute and the gratitude of our non- the hymns usually appear in carolle from Offenbach’s “The Tales of Famous Composers—by Lottie Ellsworth Coit ADVANCE OF PUBLICATION copies, and in some instances, the within the playing ability of beginning in which Light; Sweet Hour of Prayer; and Abide country also goes to the young ladies who the arrangements may be used Hoffmann”; My Heart at Thy Sweet Voice and Ruth Bampton—The success of The receipt of copies. pianists, and in this book a number hymnals, of with . Me. have enlisted in the Women’s Corps of the School or con- from “Samson and Delilah” by Saint- Child Bach, the get copies to sub- to accompany Sunday Child Mozart, and The Coast OFFERS Our inability to favorite Latin-American selections are Prior to publication, a single copy of Army, the Navy, and the Guard, singing; or they will serve Saens; the Habanera and Toreador Song first two books in this entertaining, in- scribers “on time” is the result of variable brought within the reach of piano pupils gregational be reserved at the special which are referred to as the “WACS,” Knowest Thou the this book may All the books in this list are in suitable musical numbers for any from “Carmen”; formative series for children, augurs well of factors, usually beyond our control. Gov- in the second grade. Music that appeals as Advance of Publication cash price of 35 the “WAVES,” and the “SPARS.” preparation for publication. The service. This album also will Land from “Mignon” by Thomas; Like for that which this third in the series ernment priorities at printing plants as part of the Copyright restrictions, to the imagination- and to the natural Flotow; cents, postpaid. low Advance Offer Cash Prices ap- an excellent means for home a Dream from “Martha” by von will achieve when it comes from press. well as the shortage of typesetters, rhythmic impulses always captivates the provide however, limit the sale to the United ply only to orders placed NOW . Waltz from Gounod’s affect of the favorite hymns it pre- the celebrated As is true of its companion books al- pressmen, and bindery workers •active juvenile, so it is apparent that enjoyment States and its possessions. Delivery ( postpaid) will be made from the “Faust”; and three transcriptions ready released, The Child Haydn will LENTEN AND EASTER MUSIG-With the when the books are published magazine production schedules, and this forthcoming album of music from sents. possess a copy of this Verdi, Celeste Aida and Triumphal Cho- comprise delightfully told story of a advent of the New Year, and the Christ- Paragraphs describing each pub- curtailment of paper consumption by Opportunity to a Central and South American countries, “Aida” and the to soon as it is published is now rus and March from famous composer’s boyhood, with easy mas holidays programs completed, the lication appear on these pages. governmental edict has forced us will be very popular with young piano book as will send in an Ad- Quartet from “Rigoletto”. Verdi is also arrangements of several of his composi- choir director’s thoughts naturally turn limit our print order to the barest de- offered to those who ADVANCE OF PUBLICATION OFFER WITII- pupils. Those melodies coming from song ClioruS and of Publication order at the special represented with the Anvil tions interspersed through it. There will at this time to the forthcoming impor- Album of Marches for the Organ 60 mand. This may possibly result in our sources will carry special English transla- vance DRAWN-In ample time for examination The Child Haydn Coit-Bampton .20 cents, postpaid. The sale, Miserere from “II Trovatore.” Other com- attractive pictures of scenes from tant events of the church year, Easter inability to fill late orders for some is- price of 60 be and those in charge of Twenty Piano Duet Transcriptions of tions printed between the staves. While by choirmasters S. and its posers included are Donizetti, with the list of Favorite renewal however, is limited to the U. Haydn’s life as a boy, and a are an- Sunday, and the Lenten season imme- Hymns Kohlmann .60 sues. In such instances, new or this work is in preparation a single copy selecting the Easter Program we Favorite Hymns— Piano Duet Richter .35 Sextette from “Lucia”; Mascagni, with recordings of favorite Haydn works. diately preceding it. subscriptions received after an issue has possessions. nouncing the publication of a new can- Finger Fun Adler .20 may be ordered at the Advance of Pub- the Intermezzo from “Cavalleria Rusti- Piano solos to be included are adapta- Easter this year falls on April 9th and Gems of Masterworks for the Organ gone to press may have to be started with lication cash price of 40 cents postpaid. tata that should be welcomed by choirs, Tonner .60 cana”; Mozart, with the Minuet from the favorite Gipsy Rondo; Ash Wednesday, which marks be- issue, as it is not al- tions from especially those composed the More Concert Transcriptions of Favorite the next inasmuch everywhere, by William Baines “Don Juan”; and Wagner, with To The the Andante and the Minuet from the ginning of the Lenten season, on Febru- Hymns Kohlmann .45 ways possible to anticipate the demand REVERENTIAL ANTHEMS largely or entirely of volunteer singers. Nutcracker Suite— Piano Duet in the Evening Star and Pilgrims’ Chorus from the Emperor’s ary 23rd. it is Baines has demonstrated “Surprise Symphony;” Advance of Therefore, not too early Tschaikowsky-Felton correctly. —Mr. With this notice the special 1.00 which he has “Tannhauser,” Bridal Chorus from “Lo- the Andante from the “Clock to start to prepare for these programs by Our Latin-American Neighbors. ... Richter .40 many successful anthems Hymn; and withdrawn and single We respectfully solicit the indulgence MORE CONCERT TRANSCRIPTIONS OF “Die Publication price is Practical Keyboard Modulation Peery .50 have been published hengrin,” and the Prize Song from Symphony.” There also will be a duet selecting music for choir, soloists and of all written and which copies may be had for examination. Reverential Anthems Baines .25 and the cooperation of our patrons, FAVORITE HYMNS-For Piano, by Clarence now tha.t he has the Meistersinger.” of excerpt of the well- organist. Especially if a cantata is to be Second Piano Part to Bach' * Fifteen Two- in separate octavo form arrangement an at your local music urging that they ever bear in mind the Kohlmann—After the publication of Mr. Ask to see a copy Part Inventions Vene .35 singable mel- Your Advance of Publication order for Suggestions for given should an early selection be made. gift of creating flowing and known “Toy Symphony.” to the publishers for one Second^ Piano Part to Thompson's Tuneful needs of our government in* this critical Concert Transcriptions of store, or send Kohlmann’s time he has a single copy of this splendid new col- this story as a recital unit, Restrictions on the amount of paper Tasks* Benford .35 odies and that at the same dramatizing privileges. The Triumph of the hour must come first, We, of course, will Favorite Hymns, there an ever-in- with return Sixteen Short Etudes Lemont .25 was his set- lection may be placed now at the spe- with musical interpolations from the they may use in printing books force all in our discerning judgment in making by Elsie Duncan Yale, Themes from the Great Operas Levine .40 do power to see that every creasing for other popular hymns only Crucified, Words demand those “rev- cial cash price of 40 cents. Orders book, are given along with directions for publishers to issue smaller editions than Thy God Reigneth—Cantata Keating .40 copy to which you are entitled, will be tings of sacred texts possess Music by Lawrence Keating tells the glori- arranged in the same manner. This re- choirs from those residing in the United States construction of a stage model of one usual, and it may be, as it was before delivered to you. erential" qualities which will help the Easter story in song seven chorus quest fulfilled in second ous — has now been a attrac- and its possessions may be accepted. scenes. Christmas, that the stock of some pub- of amateur singers to make such of the numbers, a duet for soprano and alto (or album, More Concert Transcriptions of of lications wall ALBUM OF MARCHES FOR THE ORGAN- to the church service Prior to publication, a single copy become exhausted before tive contributions chorus for women’s voices) , a Favorite Hymns. Some of the smooth two-part This album of marches is atmosphere. The Child Haydn may be reserved at the demand for them has been met. designed to as to add to the devotional trio for women's voices, and solos for renditions of that included meet the definite of hymns are rep- the special Advance of Publication cash Early ordering may avoid last minute needs a busy organ- For the volunteer choir to have a Ben- alto, tenor, and baritone. The are O Love That Wilt Not Let Me Go; SECOND PIANO PART—by Robert T. soprano, ist. It is made up of marches suitable for Baines price of 20 cents, postpaid. disappointments. PRACTICAL KEYBOARD MODULATION— resentation of anthems by William Thompson- solos are of medium range and may be Beneath the Cross of Jesus; Softly and ford-Io Tuneful Tasks-by John In making selection Church festivals, patriotic occasions, and that choir has a of Lenten and For Class, Private, or Self Instruction, by in its library means that Tuneful Tasks has enjoyed widespread sung in unison by the various sections if gatherings. Tenderly Jesus is Calling; Fairest Lord Easter music “Presser Service” again community The wide variety Rob Roy Pecry—The title of is material available which can be rendered this book use since its publication and has given soloists are not available. Neither author of the contents also Jesus; Lead On, O King Eternal; and a will be available. Copies of new and covers seasonal most appropriate and it will, no doubt, effectively without the number of re- Beginner, an introduction to generous number more. great pleasure as well as a good founda- FINGER FUN for the Little Piano nor composer needs standard cantatas, anthems, carols, and marches for Christmas, Easter, and * burdensome. This prove intriguing to pianists and organ- hearsals being too piano essentials to many first by Mvra Adler-In this “kindergarten choirmasters and organists who are read- Thanksgiving. This book has been prepared for the tion in vocal and organ solos may be had for ists of limited experience who often have compilation will give such a collection Piano Part, composer of of these notes. Their many success- average pianist year students. The Second Hanon,” a noted American ers Since it is as a source of enjoyment examination. Competent music clerks will not beyond a moderate longed to possess the ability to modulate for the choir library. A single copy may publica- recommendation which is now in the process of educational material has made a useful ful works are the best grade of difficulty in the home, Church, Sunday School make a selection for you, upon request, in technical develop- from a piece, a song, a hymn, or an be ordered now with delivery to be made grade, mak- grade technical cantata. The time of per- Service, tion, is written in the same addition to the primary for this new ment, the album fulfills the needs of an or any other religious gathering. or you may ask for any numbers of your anthem in ascertain key to a similar when published by accompanying such the parts little ex- three quarters of an ing it possible to interchange literature. Each of the twelve formance is about average organist. Suitable registration is The transcriptions have been carefully own choosing from the published cata- composition in a near or distantly re- an order with a remittance at the spe- thus giving to the five- Price, 60 cents. selected from hymns between two young students, ercises has been confined hour. logs and circulars listing and describing provided for the Hammond as well as for a number of beloved price of lated key, instead of finding it necessary cial Advance of Publication cash and opportunity for for the comfort of small and are certain to appeal to everyone. additional training finger position the Lenten and' Easter music publica- the standard organ. The Advance of to bring the music to an abrupt stop and 25 cents postpaid. sight-reading. The attention of both hands, only common time and the key tions of Presser Publication cash price is 60 cents, post- A copy may be obtained in Advance of Theodore Co., The John then follow with an equally abrupt be- held because of treble and bass clefs Publication of students will be readily of C are used, and Church Co., and Oliver Ditson Co. paid. at the special cash price formerly ginning of the next piece to be sung or rhythmic and melodic employed from the first. ADDRESS CHANGES-Whereas 45 cents, postpaid. The sale of this book equally interesting are Send for a selection of music or for played. Cantata have urged subscribers to allow us at THY GOD REIGNETH— .4 General characteristics. We consider Miss Adler’s new studies we free catalogs at your earliest will be limited to the II. S. and its pos- conven- First of all, the author’s presentation for the Volunteer Choir, by Lawrence Keal- Tuneful have seen for least four weeks’ time to make changes sessions. If you are not familiar with among the very best we ience. A SECOND PIANO PART to the Fifteen of this all-too-frequently of address effective, it now becomes neglected sub- ing—We are pleased to announce a new Tasks a copy may now be ordered for the first technical training. The nota- Tivo-Part Inventions is period of BACH , by Ruggero ject practical. Secondly, almost all Thy God single commonly necessary to ask an even longer of non-seasonal sacred cantata. 75 cents, for immediate delivery. A tion will be larger than that Vene—Added student interest in the works the work is to be done at Lawrence to be will be of time, and wherever possible at least the Keyboard Reigneth, from the pen of copy of The Second Piano Part, used, and an interesting feature of Notices NUTCRACKER SUITE by P. I. Tschaikow- the master, Bach, will be assured when of the piano or organ. Thirdly, it previous works available, may are intended to six weeks’ notice should be given. covers SIXTEEN SHORT Technic and Keating. Mr. Keating’s delivered when copies are attractive rhymes which these musicianly ETUDES for include skv, arranged for Piano Duet by William second piano parts ac- the modulations the player meets most have been enormously successful and his the special Advance of well as to direct the student of any address changes should Phrasing, bff Cedric W. Lemont—With pleas- be ordered at entertain as M. Felton—This arrangement of Tschai- company the original Two-Part Inven- frequently, and it shows how to re- cents, post- the studies. the old as well as the new address. to modu- ure we direct attention important melodic gifts are too well-known Publication cash price of 35 through the playing of tions. to an to kowsky’s world-famous orchestral suite They do not detract in any way late by the shortest route between the quire here. Suffice it involved are Diatonic It is suggested that you endeavor addition to be made to the famous “Mu- extended comment paid. Among the work offers a suggestion of most interesting from the originals nor complicate their various keys. Finally, it may be to same to the Fifth; pick up at the former post office, any used in sic Mastery will say, this new work is of the Succession; Intervals up Series”. This new book sent recital material for advancing students. contrapuntal style, but adhere perfectly class or private instruction and should calibre predict he and Legato and Stac- missing issues that may have been be suitable for use by third, and fourth and we confidently Repeated Notes; Excerpts the suite or to the harmonic and rhythmic style of prove could become effec- from may be given, invaluable to the self-help student will score with it. before the change grade piano pupils. his usual success OR- cato Phrasings. suite be in its en- Bach, while still giving substantial sup- who wishes MASTERWORKS FOR THE of the present paper re- the may performed to work out these problems It will this Cantata, be- GEMS OK Advance of Publication order for tive. In view With his usual adroitness, Mr. Lemont be noted that Paul An tirety with different pairs of players port. for himself. and Arranged by striction, feel sure that our subscrib- In addition to the thoroughly ing non-seasonal, used to fill in GMS-Compiled copy of Finger Fun may be we cleverly mixes his melodic gifts with could be music a single presenting the numbers in sequence. Printed in score form with the orig- systematic classic source of the will understand it is impossible to presentation of the study ma- the gap after either Christmas or Eas- Tonner—The placed now at the low cash price of 20 ers various phases of piano technic, thereby collection is ample Needless to say it will be a most welcome inal Inventions engraved in small nota- terial the author gives, appearing in this new duplicate missing issues which were sent as a supplement, avoiding ter, when there is usually a let-down cents, postpaid. tion the drudgery element and stim- quality, with composers book in homes where members of the above the Second Piano Part, these a group of brief musical examples in sus- assurance of its to the old address before notice of change of ulating the interest piano and something new is often useful or friends, enjoy playing piano will be a valued addition to the duo- of the pupil in Bach, Brahms, Mendelssohn, family, interesting modulations to all volun- such as was received. possible mastery. taining the interest of the average Chopin, duets. pianists’ repertoire, as well as to the intervals. Franck, Handel, Tschaikowsky, As teer choir group. HYMNS—in Easy Arrangements teacher. assure securing publication is imminent, we sug- contributing to the contents. FAVORITE Single copies of this new addition to To one of the While this work is in preparation the and Liszt for gest that order You may reserve your copy now at for Piano Duet-Compiled and Arranged “Presser Collection” may be ordered first copies, order now at the special publication you hurry to place your arrangements are presented on the single copies may be special cash price The useful ordered now for a single copy, Special Advance of Publication clearly by Ada Richter-The wonderfully in advance of publication at the special Advance of Publication cash pice of 35 at the special at the with the pedal notes Advance of of 40 have it on two staves, Publication Advance of Publication 25c cents, postpaid, so as to notes My Own Hymn Book by Ada Richter, introductory cash price, $1.00, postpaid. cents, postpaid. cash price, 50 cash price, apart from the left hand cents, postpaid. hand for future reference. indicated postpaid, before this offer is withdrawn. 71 Advertisement 70 Advertisement THE ETUDE JANUARY, 1944 — — ?

DR. PAUL STEFAN, widely known Aus- Practice Begins at trian music critic and writer, whose biographies of great musicians Letters from brought him world fame, died on November 12 in Sixty New York City. He had been in America "Why shouldn’t I TLi Etude Friends since 1941 as an anti-Nazi refugee. Dr. born in Bruenn, If Quy JJ. Wider Stefan was Moravia November 25, 1879. He studied at the University of Vienna, and also was a buy it? WILL EE sixty-five years of age pupil of Hermann Graedener and Arn- Wlontk the Storm next July and am taking my weekly Riding Out old Schoenberg. He lectured extensively I music lesson right along with the The following sincere letter from an Etude throughout Europe, while holding posi- many years so finely expresses our reader of tions as art and music critic on several youngsters. As a child, my mother taught .own ideals that we cannot refrain from pub- I’ve got the me how to play hymns, as well as the lishing it. German publications. He was a founder rudiments of music, on a wheezy old To the Editor: of the International Society for Con- “The Etude is always stimulating and inter- melodeon. Later on, I took some lessons temporary Music and for many years was esting and each issue is looked for with eager from the village music teacher; but fifty anticipation. I think it a marvelous thing that vice-president of the Vienna section. money!” The Etude remains so open-minded and fair years ago little was known of foundation and allows anyone with real ideas a chance to work on the piano, except to the priv- express himself, thus making for genuine prog- SEVENTY THOUSAND LESSONS is the ress in musical understanding. For people who ileged. You learned to play a few waltzes, record of Edwin J. Miller, a pupil of are far from big music centers, The Etude is hymns and so on, and then you were indispensable. James H. Rogers, who lives in Seville, “I like the way The Etude goes serenely on considered a musician. Ohio. Mr. Miller is retiring after fifty- you’ve got the money. So have lots of us. And through depressions, through wars. It is com- f Sure The banker’s wife, who was an excel- forting to know that music will ride out the four years of teaching and states that yesterday it was all ours, to spend as we darn well storm. It is pleasant to shut the door for a few lent musician and played the pipe organ, he has found The Etude invaluable in minutes on a noisy world, where many things pleased. But not today. Today it isn’t ours alone. allowed me to use the church organ. After are being smashed to pieces, and turn to ideas his long career. that will endure.” making some progress, I accepted a posi- —H. T. Kramer, BIZET’S tion as church organist which I held for Iowa. OPERA, “Ivan le Terrible,” seven years. But whenever I approached which was thought to have been de- the piano, I felt such frustration that I Imagination in Piano Lessons stroyed by the composer because he con- sidered it below his standard, decided to sell the instrument. I then To the Editor: has been in declared myself through with music for When a student of sculpture has finished a found Paris by a German musical statue, there is something tangible as a basis expert, Dr. Ernst Hartmann; this ac- life and moved to the city. of criticism. But when a piano student has fin- cording to an I was sixty years of age when a fine ished playing a piece of music, the teacher has announcement over the to discuss something which already belongs to Berlin radio, heard in London. old Chickering grand piano came into the memory. As if that is not enough, the aver- my possession, and my youthful passion age child lives in a dream world all its own and is apt to misinterpret even the most de- THE FIFTIETH SEASON of the New for music soon came to the surface again. tailed explanation. For this reason a music Haven Symphony Orchestra was opened ANNA KASKAS I purchased some of the Czerny exercise teacher mu:t make a special effort to be exaggeratedly vivid and concrete in criticisms. on November 1, with a concert conducted books and started to practice assiduously, When a student fails to observe an even line by David Stanley Smith, and with Bruce AN APPROACH but after several months I again became in going up and down the scales, I tel! him or her: “You’re riding like a sleepy driver Simonds, piano soloist. discouraged because left hand would TO CHOPIN PLAYING my Keep to your side of the road, or you’ll have not keep with an accident.” By the Russian Chopin exponent, Alex- pace the right. In impressing the principle of weight play- SERVICE MEN OF THE, UNITED STATES ander Brailowsky. One night, at a musical gathering, I ing upon young children I often remark, “If a are appearing quite frequently in Lon- heard a gentleman play some Chopin package should fall from the top of the Empire State Building, it would make quite a poise, don concert halls this season on both, HOW I WON MY WAY “Etudes” so beautifully that I was moved even though it hadn’t done any work.” sides of the footlights. One of the out- INTO THE METROPOLITAN to ask him to take me on as a pupil. I Children immediately understand “float- the standing ing elbow” when I compare it to the steering events during October was a American-born prima donna of Lithuanian will never forget the look he gave me, wheel of the car. For adolescents and adults, concert in Albert parentage, Anna Kaskas fascinates you Hall, London, in which but he agreed. He had studied with I use countless quotations, mostly from Shake- with facts. speare, Goethe, and Shelley, a choir of two hundred American Ne- Tobias Matthay, and he started me off to capture in a flash the atmosphere or the spiritual message gro soldiers took part. on foundation work and led me slowly of a composition. Besides making tangible the DIRGE FOR DESPOTS! 6 ( ?" through Clementi, Tausig, Hanon, some evanescent, these explanations often accom- it isn't mine plish the task What do you mean , Little known facts about La Marseillaise ox lengthy technical drills and BAND TRAINING SECTIONS for profes- of Bach’s “Preludes and Fugues,” as well save lesson time and its composer will surprise and delight which can be used for other sionally trained musicians you. purposes. inducted into as many other classics. spend as you like. None of us can spend as we Mrs. Gertrude Grosskopf, the Army have been established by the It isn’t yours to Although I am at my desk for eight New York. just War Department in two replacement like today. Not if we want prices to stay down. 1 here “ “THE TRAIPSIN’ WOMAN’’ TALKS hours each day, I never practice less Then what do you want me to do centers, at Camp Crowder, Missouri, and aren’t as many things to buy as there are dollars to spend. If Jean Thomas, nationally known as the than two hours a day, and, on my free foremost explorer of “hillbilly” music, Camp Lee, Virginia. According to Major everything in sight, prices can days—of which I have two each week we all start scrambling to buy with my money?" writes most entertainingly upon “How Howard C. Bronson, Music Officer of the Music Ended the Famous McCoy- Hatfield I practice from four to eight hours a day, kite to hell-’n’-gone. Feud in Kentucky.’* Army’s Special Service Division, “These according to the demands on my time. If The of Save it! Put it in the bank! Put it in life insurance! Pay off old World training courses will serve to keep highly my finances allowed me to retire, an eight ' ones. and hold War Bonds. Then qualified musicians in their own fields, “ debts and don’t make new Buy Musical Selections of the Highest Merit hour a day schedule for practice would You think I can really keep prices down ? and Interest while in the Army.” He emphasized the your money can’t force prices up. But it can speed the winning hold no fears for me, nor I believe Music do fact that they are not courses of musical prosperous nation for you, your children, it would over-tax me. will? Uncle Sam can’t do it alone. Every time of the war. It can build a instruction, but If you don’t, who (.Continued from Page 1) are for teaching the ap- I am scheduled for a thirty minute don’t need, every time you and our soldiers, who deserve a stable America to come home to. plication of music for the Army. you refuse to buy something you lesson, but my teacher always manages dollars out of circulation and they’ll keep prices down. refuse to pay more than the ceiling price, every time you shun a Keep your to keep me two hours or more, busy man DR. HERBERT AUSTIN FRICKER, Practical Voice con- THE is helping with taxes. A Class Method METROPOLITAN OPERA ASSO- black market, you’re helping to keep prices down. The government — though he is, and, although little given ductor of the Toronto Mendelssohn Choir CIATION opened its sixtieth season on to flattery, I can tell how pleased he is for twenty-six years prior to 1942, died EDUCATIONAL November 22, with a brilliant perform- when I play some difficult passage mu- on November 11 at Toronto, Canada. help ance of Mussorgsky’s “Boris Godunoff,” “ But I thought the government put a “Now wait! How do taxes sically as well as correctly. After a career in England, which began VOCAL TECHNIQUE with Ezio Pinza in the title role. A num- as a choir boy and included his appoint- IN SONG AND SPEECH ber of important revivals are included prices keep prices down?" * * * ment at sixteen as assistant organist at ceiling on By W. WARREN SHAW in in the season’s forthcoming productions Canterbury Cathedral, and the conduc- — Collaboration with George L. Lindsay “Falstaff,” later. It’s easier and “Rigoletto,” “Ballo in Mas- protection. And it s up to We’ve got to pay for this war sooner or “Wouldst thou know if a people he torship of the Leeds ,” You’re right, a price ceiling for your Vol. I—$1.00 Vol. ll-$l.00 Symphony Orches- chera “Tales of Hoffmann,” "Mignon,” to as we go. And it’s better to pay more taxes NOW This unique song method presents a practical well governed, its laws tra, he settled in Toronto the ceiling price. If you do, you re party cheaper pay if be good or in 1917. He was “Norma,” “Gianni Schicchi,” “Cavalleria you to pay no more than means for cultivating the voice for singing and dollar put into speaking, states the underlying active as conductor, organ recitalist, only boost prices —while we’ve got the extra money to do it. Every theory, and bad? Examine the music it prac- and Rusticana,” and “I Pagliacci.” to a black market deal. And black markets not also introduces the pupil to the literature of song. as a judge of musical competitions. dollar less to boost prices. So . . . Simple but excellent exercises set to in- tices.” —Confucius. shortages. taxes means a teresting verses, introduce the common vocal — they cause truths together with the suggestion as to how JOHN BARBIROLLI, former conductor to master them. Each lesson also includes some THE ANDERSON SYMPHONY ORCHES- bit of a vocal gem from of the New York Philharmonic-Symphony the master composers, TRA, HELP the operatic field, or from the folk songs and of Philadelphia, named in it . . . memory Orchestra, and the shortages Use it up . . . Wear out light opera sources. A few of the study phases now conductor of “Doesn't rationing take care of covered are: of E. Gilbert Anderson, late conductor The Fundamental Tone. Changing Halle Orchestra, Manchester, England, is Vowel Forms, Articulation and Enunciation. of the Philadelphia The Flexible Tongue, Resonance, Concert Orchestra, hopeful spend and Vocal that with the reorganization of Your ration coupons will — if you use them wisely. Don t Make it do . . . Or do without Independence, in Vol. One: Daily Torso Calis- opened its fourteenth season on Novem- thenics. Vocal Poise, Relation of Speech and this venerable musical group, founded in limit have to. Your ration book merely sets a Song, Legato Singing, and The Trill, in Vol. ber 28 with a concert in which the soloist them unless you 7 Two. 1857 by Sir Charles Halle, there may be don t use today means was Camilla E. Williams, soprano, win- worked on your purchases. Every coupon you Published by: THEODORE PRESSER out plans, after the War, for an CO. ner of a Marion share tomorrow. Anderson Scholarship. interchange of the that much more for you — and everybody else — to 1712 Chestnut St., Phila. I, Pa. conductors between S^nfT The present conductor PRICESDOWN of this all-Negro Halle Orchestra and various American group is Raymond L. Smith. BY THE MAGAZINE PUBLISHERS OF AMERICA orchestras. APPROVED BY THE OFFICE OF WAR INFORMATION; AND CONTRIBUTED A UNITED STATES WAR MESSAGE PREPARED BY THE WAR ADVERTISING COUNCIL; 12 H WITH MUSIC” THE ETUDE

PRINTED IN THE U. S. A. BY THE CUNEO PRESS. INC. Cjhere is a Yi&0r . xT"? 0u £ ^ fbtriotism i„ thls „ soo§ HALLELUJAH! HALLELUJAH! flaw by yi»$ WE'LL PULL TOGETHER ff n - C0, ase WORDS BY ANNA CASE and ROSLYN WELLS

Hallelujah! Hallelujah! MUSIC BY ANNA CASE We’ll Pull To GETHER Words by Anna Case and Roslyn Wells

Music by Anna Case THE JOHN CHURCH COMPANY nmw«i oo owmiai-ro*'

• 712 CHESTNUT STREET

• - REFRAIN ftiarvjoyously ‘ PHILADELPHIA

You will like its spirited reso- lution. You will like its melodic and rhythmic vigor. THE COMPOSER Anna Case retired to private You will like to sing it. life when she married, but her We’ll pull ‘to - geth - er as we’ve nev- - immensely successful career as er done be fore! a Metropolitan Opera Co. star PRICE, 50c A COPY and as a concert soprano has been an inspiration to many American girls. She was born Get a copy right away and lend your in Clinton, N. J. Hostess service to the boys in the armed forces voice to spreading the message itsings. suggested the need for this rousing song she has written in collaboration with Roslyn Wells.

Published by The John Church Co. THEODORE PRESSER CO., Distributors, 1712 CHESTNUT ST., PHILA. I, PA.

America’s Great Baritone JOHN CHARLES THOMAS Has included on his current RADIO PROGRAMS RECESSIONAL by Reginald DeKoven (Published by THE JOHN CHURCH CO.) JEAN by H. T. Burleigh (Published by THEODORE PRESSER CO.) FORGOTTEN by Eugene Cowles (Published by OLIVER DITSON CO.) I LOVE LIFE by Mana-Zucca (Published by THE JOHN CHURCH CO.) MIGHTY LAK’ A ROSE by Ethelbert Nevin (Published by THE JOHN CHURCH CO.) THE SWEETEST STORY EVER TOLD by R. M. Stults (Published by OLIVER DITSON CO.) NICHAVO! by Mana-Zucca (Published by THE JOHN CHURCH CO.)

JOHN CHARLES THOMAS SINGS EVERY SUNDAY ON THE RADIO PROGRAM SPONSORED BY WESTINGHOUSE CO. AT 2:30 F. T. Theodore Presser Co. Distributors for Distributors for OLIVER DITSON CO. MUSIC PUBLISHERS THE JOHN CHURCH CO.

1712 CHESTNUT ST. PHILADELPHIA 1, PA.