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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
1-1-1943 Volume 61, Number 01 (January 1943) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 61, Number 01 (January 1943)." , (1943). https://digitalcommons.gardner-webb.edu/etude/232
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]. zw WEI BOB JONES COLLEGE UNDER WAR CONDITIONS HAS AN INCREASED ENROLLMENT THIS YEAR OF MORE THAN TWENTY PER CENT!
BOB JONES COLLEGE HAS CONTRIBUTED ITS SHARE OF MEN TO THE ARMED FORCES OF OUR COUNTRY, YET THERE HAS BEEN THIS YEAR AN INCREASE IN THE NUMBER OF MEN ENROLLED AS WELL AS IN THE NUMBER OF WOMEN.
If you can attend college for only one or two If you are still in high school we advise you to years before entering the service of your coun- come to the Bob Jones College Academy try, we strongly advise your coming to Bob (a four-year, fully-accredited Jones College for this year or two of character high school) for preparation and intellectual and spiritual train- special Christian training before you enter ing so essential now. upon your military service: offers a variety of courses BOB JONES COLLEGE, which leading to Bachelor of Arts and B c ® or graduate work leading to a Master of Arts °I Science degrees and degree in Christian education S n0t ° * high educational standards, but also stands without apology for the " n Y * or "old-time relict' ° n , 9 and * or authority of the Bible. the absolute
Piano, Violin, Voice, Pipe Organ, Speech and Art without additional cost above regular Academic Tuition
FOR DETAILED INFORMATION WRITE DR. BOB , JONES. IE # BOB JONES COLLEGE ' THE METROPOLITAN OPERA ASSOCIATION opened its fifty-eighth I M season on November 23. | ^ with a performance of ^ Donizetti’s "La Pille du Reginient.” Lily Pons sang the title role and - Prank St. Leger was Edward the conductor. Although Johnson lacking some of the bril- liance of former seasons, due to the re- strictions of dim out regulations, the occasion was highly successful and au- gured well for opera in war times. This season marks the eighth under the man- agement of Edward Johnson. On Novem- ber 24, the Philadelphia season was opened with a performance of Mozart’s "Don Giovanni,” with Bruno Walter con- ducting. and with a cast headed by Ezio Pinza. Salvatore Baccaloni, Charles Kull- man Zinka Milanov, Jarmila Novotna JASCHA HEIFETZ re- and Marita Farell. cently celebrated the twenty-fifth anniversary MORIZ ROSENTHAL was honored on act of his debut as a violin his eightieth birthday, December 18, by SIR THOMAS BEECJIAM, who is guest DR. WALTER DAMROSOTS one soloist in America. It a gala concert arranged by a committee conductor with the Brooklyn Symphony opera, “The Opera Cloak,” had its world was on October 27, 1917, composed of many of the most prominent Orchestra this season, is presenting on premiere on November 3. when it was in the midst of World musical artists at present in this country. each of his programs a representative given by the New Opera Company, of War No. 1, that the six- The affair was held in the auditorium work by an American composer. New York, with the venerable composer teen year old boy won- of Hunter College and the program was himself occupying the conductor’s stand der gave his first New in charge of Dr. Paul Klemperer. MLLE. ANNA EUGENIE SCIIOEN-RENE. in the pit. The cast of young American York recital. distinguished teacher of singing and un- singers included Mary Bowen and Elsa His art has steadily grown til very recently a member of the faculty Zebranska in the leading roles. since that time and his DR. PAUL SClI LOR FF. organist, choral of the Juilliard School of Music, died in hold on the public is well demonstrated director and teacher, and widely known New York City on November 13. She was by the fact that his latest New York re- in the New York metropolitan area, died FREDERICK J. ZIEGLER, for the past born in Coblenz, Germany, January 12, cital was completely sold out in advance at Hoboken, New Jersey, on November 19. fifteen years vice president and a direc- and studied voice with Pauline and there were many standees. Also, the He was born in Chicago and studied 1864, tor of the N. Stetson Company, Stein- Viardot-Garcia and her brother, Manual stage was well filled, these occupants organ and piano in his native city and way representatives in Philadelphia, was Garcia. She sang in opera and concert being service men, guests of Mr. Heifetz. in New York and France. He was organ- recently elected a member of the board in Europe, her concert debut in Paris izer and conductor of glee clubs and of directors of Steinway and Sons, New FREDERICK E. nAHN, president and having been made under the direct pa- choral organizations, one of the best York City. Mr. Ziegler is a great grand- director of the Zeckwer-Hahn Philadel- tronage of Gounod. In 1893 she came to known of these being the Hudson Choral son of Henry Engelhard Steinway, foun- phia Musical Academy, composer the United and which States and embarked on a der of this long established firm. Society, of he was conductor for violin pedagog, died on November 25, in teaching career which included many ten years. Philadelphia. He was born in New York years at the University of Minnesota and THE NEW YORK PHILHARMONIC- City, March 23, 1869, and after studying since 1926, at the Juilliard School of Mu- SHOESTRING OPERA COMPANY is SYMPHONY ORCHESTRA recently gave its violin under his father, he attended the THE sic. Among her pupils have been Rise adopted by group of first concert in an Army camp when it Leipzig Conservatory. For a period of the name a young Stevens, Thelma Votipka, Paul Robeson, singers organized by played at Camp Joyce Kilmer, New Jer- four years he was first violinist of the American Leopold Lanny Ross, Charles Kullman, Julius in York City, to sey. Included on the program was the Boston Symphony Orchestra, and later Sachse, New present a Huehn, Karin Branzell, Margaret Har- of opera performances, "Fifth Symphony” of Beethoven. Artur established his own conservatory in series the first of shaw, and others. which will be given on January 9 and 10. Rodzinski was the conductor. Philadelphia, which in 1917 was merged name of the company is self-ex- with the Zeckwer Conservatory. In 1940 The THE GRIFFITH MUSIC FOUNDATION of planatory, the idea being that none of he received an honorary degree of Doc- Newark, New Jersey, is marking its fifth CHARLES WAKEFIELD CADMAN’S new members will accept tor of Music from the Curtis Institute the any fees until anniversary with special concerts. Mrs. impressionistic fantasy, Aurora Borealis, of $6,000 has been established. of Music. a fund A Parker O. Griffith, founder and president, was given its world premiere on Novem- number of very promising young artists Indianapolis announces outstanding stars to be pre- ber 30 by the Symphony BERNARD WAGNESS, composer, pianist, have joined in this worthy enterprise. sented through the Master Piano Series, Orchestra, conducted by Fabien Sevitzky, and authority on juvenile piano instruc- the Major Concert Series, and the Youth with the composer playing the solo piano tion, died at Tacoma, Washington, on KREISLER received tremen- FRITZ a Festival Concerts. part. November 28, after a lingering illness. ovation on October 31, the occasion dous He was born in that city on July 31, first recital of his New York since the 1894, and following training in piano in which he was severely in- accident and harmony under such pedagogs as April 1941. The entire audience jured in CcOUljj etitioni A. K. Virgil, Stojowski, Liszniewska, and feet and a rose to its welcomed him “in Friedheim, he embarked on a teaching of affection and esteem so whole- tribute and lecturing career which took him to and overwhelming that he was THE J U1LLIARD SCHOOL OF MUSIC the Biennial Convention, cancelled be- hearted many important cities in the United touched to the core ” announces a third contest for an opera by cause of transportation difficulties, in May, visibly States. His normal classes for an American citizen. The opera must be 1943. Full details of the young artists’ and teachers suitable for performance in small theater, student musicians’ contests may be secured were outstanding for their pedagogical SCHORR, a FRIEDRICH and the winning work will be presented from Mrs. John McClure Chae, 600 W. value. For many years he was a member noted Wagnerian bari- next season by the opera department of 116th Street, New York City, and Mrs. of the educational extension department tone, who has appeared the school. Librettos should be in English; Eva Whitford Lovetle, 1736 Connecticut of the Oliver Ditson Company. as Wotan two hundred the operas may be full length or in one Avenue, Washington, I). C. LONDON’S and fifty times and as act and they should be scored for an or- MUSICAL Hans Sachs more than chestra of between thirty and fifty players. THE SIXTH ANNUAL COMPETI- LIFE recently has been All scores should be sent to Oscar Wagner, two hundred times since TION for the W. W. Kimball Company highlighted by the cele- dean of the school. New York City. The prize of S100 is announced by the Chi- he joined the Metro- bration of two anniver- contest closes March 1. cago Singing Teachers Guild; the prize politan Opera Company saries which attracted a this season to be awarded to the composer eighteen years ago, will Friedrich great deal of attention. FOUR AWARDS OF *1,000 are an- submitting the best setting for solo voice, from the Com- Schorr The fourth anniversary retire nounced by the National Federation of with piano accompaniment of a text to It was the wish of the of the founding of the pany this season. Music Clubs for the outstanding violinist, be selected by the composer himself. Pub- famous singer to retire at the close of pianist, man and woman singer, to be lication of the winning manuscript also National Gallery lunch Ralph season, but he was prevailed upon selected by a group of nationally known is guaranteed by the Guild. Full details hour concerts by Dame Vaughan last Williams secured Walter Allen Stults, to sing again this year. He made his judges during the business session of the may be from Myra Hess was marked d£but with the Metropolitan in 1924 as Federation which will take the place of P. O. Box 694, Evanston, Illinois. by a special concert hi which Dame Myra Wolfram in “Tannhauser.” ( Continued on Page 72) JANUARY, 1943 FORWARD MARCH WITH MUSIC" . . . . . !‘
IMMORTALITY • Q§ SO •Blanche Lemmon 4 fox By R. M. Stults Price, 60c MUSIC AND CULTURE C?-S EVERLASTING LIFE Make Haste Slowly The composer's own arrangement of his fox By Mrs. R. R. Price, 60e so ' Forman K'W Opportunities Ambitioira TIch l CJiS very successful cantata, ''Immortality,'' orig- for Music Btiaiita n,i-- .Trauhcl 5 How itamius Can -‘ ha t \ This cantata, in two parts, presents the story inally written for mixed voices. In this pres- STtSs ^ Help Musicians. rlow Licurancc fox rhe Foundation of ' ' ' 7 of the Resurrection in a most beautiful and entation for two-part chorus it is very effective. a Modern Piano Technic'.'.’ ant'ii Knox, ,Jr s OSS «5 Del s Have effective manner. The average- volunteer choir More Music on All Fronts -Af/rcd Catzin fox so Dance Music on 9 V)X with a solo quartet would find no difficulty India's Largest Island !!!!!.' Afru, o. White 11 fox in learning the music and giving it the so * crna Arocy 54 interpretation. There are ten musical MUSIC IN THE sr?js proper Lenten—Mixed Voices HOME numbers, with solos for soprano, tenor and iro You Must Go to Work fox ! bass, and duets for alto and tenor. Time for Fascinating Novelties C>-S in New Records! ! ! ! n 8 * CALVARY ! relton 12 rendition, about 45 minutes. so A New Season m Radio Petn^ if 11 1 foX . "O' Peed 1.3 By Ernest H. Sheppard Price, 60c The Etude Music Lover’s . Alirediu.i S?-S Bookshelf!...... i,,,,, » . . . Min 14 • • -R.H Meredithu 'u'"-" foX A notable contribution to the repertory of so Cad,nan 15 V)X IMMORTALITY church music. The last three numbers may 5. Mexican Musical Folklore ' 1' jl • nfcr 1C fox experienced The solos are for tenor, baritone and bass so How Pubiic • ot'tn’ini" / ented composer, he was an School Music Helps the Private Teache •otto Muyer-Scrra 17 C?iS choirmaster as well. This well-planned can- and the chorus material is well within the The Singer’s Intelligence. so . . . -Crustal Waters 18 average well trained vol- .' .' foX tata is one of his best, and, annually, it is capabilities of the What the Church Music .' .' Committee Thinks! ! given many performances by choirs of aver- unteer choir. Time, 30 minutes. Education so rm Program of the Future fSZl VI age ah i'ity and with limited solo material J.1K-I lie Woodwindttuuuwiuii Ensemble.lilll,...„„ Wi/tiuui j)' The . . . Revelli 22 1 available. Violinist Takes Up ^LaurettccLaurence Tain ~>~i so ’ Music Aira’in Tayloror 23 Questions and Answ' Margery Mansfield 25 II Is the Piece Too Earl IP. THE MAN OF SORROWS so Long?, . Ochrkc fox DIVINE Animals in Musical Scores VICTORY Leroy M. Rile Price, 75c e?x By Technic of the Month Jerome Christopher Marks Price, 75c —Technistories for Boys and Girls Bengis 28 By J. For the choir of ample proportions, with SO Priscilla S Orchestra Parts May Be Obtained opportunity for frequent rehearsals, and The Accordion in Dance Brown and On foX SO Orchestras It Maier 51 Victory Divine's well contrasted numbers for with capable soloists, this is an ideal Lenten Mandolin Music s?JS in oratorio form. The organ accom- solo voices and for chorus are always as offering so George V fox is especially noteworthy while the satisfying to the lover of good music as well paniment MUSIC z>x solos and choruses will appeal to the dis- as to non-inusical folk who are won by bril- Classic and Contemporary Selection fox criminating congregation. so liance and melody. Feature solo numbers for Artist's Life. S?JS S@l soprano, tenor and baritone deserve mention. SO Evening Hymn Its record of successful renditions includes T.vrolian Echoes. '-KK ' II l (l,, small choirs of volunteer singers all the way A Sea . . rvr fox so - -Mood .Louise ri.J, *fell32 up to splendidly trained metropolitan choirs. MESSAGE FROM THE CROSS IC he cr}X THE 33 Time, 1 hour. Romance r
Wutic, the *JJiumanizer
HERE ARE THE HORDES OF ATTILA? Where one would do away with a nest of snakes, we must not lose the legions of Genghis Khan? Where the invincible sight of the fact that those of all lands and races and creeds, armadas of Philip II? Where the cannons of Na- who earnestly stand for freedom, right, tolerance, mercy, W earth- and justice, are our allies. poleon? Vanished with the cyclones, typhoons, and quakes of other years. Yet the Beethoven “Fifth” is more Music, the universal language, will very definitely have a vital to-day than when it was first heard over one hundred great part in this world adjustment. Ever since the Tower and thirty years ago. of Babel, man has been seeking a universal tongue. Volapuk, All wars, even the worst, are temporary. Peace, like Esperanto, and other synthetic languages have done their spring in its thrilling glory, always comes. Gradually, oh part, but music, making a wordless appeal to the human so gradually, the nobler things in civilization ascend, in soul, brings all men singularly more closely together. some divine, inexplicable manner, to loftier levels. After the erection of the magnificent hail of the Pan The New Year enters with the roar of bombs, the shrieks American Union in Washington, the Director-General, Dr. of sirens, mingled with the hopeful clangor of bells, bells, L. S. Rowe, instituted many conferences between represen- bells. Out of the terror, the fire, the blood, and the cries of tatives of the Americas. He then found that at times these anguish something very amazing and all-pervading, arises. resulted in acrimonious and often disastrous debates. There- It is the deathless call for the anodyne of music. Never after, he started a memorable series of symphony con- before in the history of man has the world held out its arms certs played by highly trained musicians of the famous for the inspiration and the solace of music as it is doing Army, Navy, and Marine bands. These concerts were devoted now in this New Year’s Season, Anno Domini 1943. to the music of native composers of the various Latin- On all fronts, at home and abroad, those now fighting for American countries. Then, when the representatives came righteousness and world together and enjoyed freedom know in their these cultural efforts in hearts that only through which all were interest- preserving the best can a ed, there came about a decent way of living be new understanding which provided for their chil- led to friendships instead dren and their children’s of controversy. It was a children. After the hu- step in the new diplo- man beasts of prey, the macy in which we pray vermin, and the microbes that the world of tomor- have been exterminated row may unite upon or controlled, a new things for the promotion world must be set into of a new and higher being. Only through the civilization. development of the in- Time and again at spiring principles of the times of panic from fire Sermon on the Mount in great buildings, such can we look forward to as theaters, the brave a tomorrow of security musicians in the pit have and happiness for the continued to play and world. restore the rhythmic Music is one of the confidence of maddened outstanding things in crowds. We need music such a life and therefore every day of our present lives to to it at once becomes one of help keep us the foremost cultural from the dangers of objectives of a loftier world panic. scheme of civilization As an instance of the which will lead to a humanizing influence of nobler understanding music in breaking down among men. The blood of THE PAN AMERICAN UNION IN WASHINGTON the barriers of intoler- American heroes is again Here wise diplomats found that "Music, the Humanizer," pro- ance, we refer to the Sev- duced results which were of high inter-governmental importance. flowing over the altars enth Annual Three Choir of the cause for which Festival, given at the our fathers fought, and Reformed Jewish Syna- Fifth Avenue, New York all of our country is consecrated to a war which cannot be gogue of Tempie-Emanu-El on permitted to end until those who have supported power in City. Here was presented an “Inter-faith Choral Pro- the hands of evil men come to realize that there is no vic- gram” in which the works of Christian composers of Syna- tory possible without righteousness. gogue music appeared on the same program with works A destructive victory, such as that of 1918, cannot again by Jewish composers written for the Christian Church. The be tolerated. Whatever the cost, victory must be final and third part of this notable festival taking place in a Jewish based upon a world understanding of the fundamental prin- synagogue was a celebration of the one hundredth birthday ciples of right above wrong. We do not believe, however, of Lowell Mason, the “father of American Christian hymn- about such that evil is national or racial. We do know that throughout ody.” What but music could have brought a the world, in all nations, there are at this moment millions splendid demonstration of tolerance? of exalted souls who think as you and we do, that right and not might is the final arbiter of all problems. Therefore, in A BRIGHTER MEW YEAR TO EVERYONE! wiping out or controlling (by millions of police, if neces- sary) those responsible for the present world calamity, as JANUARY. 1943 — "
Youth and Music
Coming to the Front
lij (13lanelie emmon
belore heard of latent creative ability coming to the surface under forced draft. He plunged into creative work to avoid writing a historical thesis' *he ,al ‘ 01 194 °. D arius Milhaud came to Mills from defeated Prance, and Middleton worked with him as pupil and assistant. Then in 1941 he won a fellowship, in composition at the Juilliard School of Music where he studied with Bernard Wagenaai. His Sonatina lor Clarinet and Piano selected by the League for its spring concert of b eiiCan - written rnTein the sames”“year. — EDWARD T. CONE Alexei Haieff, whose Serenade for Piano Clar- inet and Bassoon was chosen by the League is Russian by birth, but he remembers about! the League his Siberian birthplace HE ESTIMABLE ACTIVITIES of because hisa Iamilr to Manchuria y moved of Composers center in New York City and when he was7L Harbin, the ‘ S Tradiate from there in every direction—in Chinese town in 77“ which he peace time they extend over the entire globe. that holds memories for him which mch, I 0017’ the promotion of contemporary lection of a good deal of Their object is fine music th 1 nhe Theard on by means of recitals and recep- there. The town, largely music, carried pon777 77Europeans film music, theatre programs, possessed a symphony ' tions, concerts of orchestra which aCqUamted by commissions JOHN MIDDLETON the boy with many recordings, publications and orchestrnl'F ' bein first-class S ’ and a awarded to composers. League commissions ac- Russian opei'a compLv performances BaVe excellent count for more than forty new works important there all through « Princeton University. He saw the Prince- sons. the winter sea- enough to have received performance by organi- ment at and was struck with its beauty. His zations all over the United States. And the League ton campus Pl ne y he Hai a celebrates its twentieth plans underwent a change. Yale lost to Princeton. -J^yo^st that Alexei is young. This year it of their iv ch7 He studied composition with Roger Sessions and come to the Hdren—should anniversary. United States to — conscious in his senior year submitted a string quartet as when he h ‘S brother here Its influence in making this country was an adul? bu hi“u extensive. his thesis. It was accepted and represented the west coast ls departure for our of its wealth of creative talent has been came much son first time although not the last that the Uni- WaS One of the most interesting and valuable phases — — and under circumstances 7“ expecteti musical composition. 7 has been its introduction of versity has accepted a sad. When he was extremely of this influence seventeen his f77 creative ranks. After receiving his degree in 1939, he went to denly and dled sud ' young people who are new to our soon afterward his 777*7 for two years of works of these newcomers to New York study at Columbia him an orphan. In 1 * e£t By presenting the addition to hi^DerF^* two-way service: to the University—composition, musicology and piano he witnessed M Brief audiences it renders a the Japanese ° Princeton for occultCCUpatlon °f unknown composers themselves by giving them then returned to his master’s de- churia in the same yea" Man- under League sponsorship, gree which he received last spring. In addition He a chance to be heard experienced homesickness and by revealing new com- to his study he has been teaching theory at cold in Cali and to the musical public forma which he admits sounds sources of Princeton and assisting the expansion peculiar ,nr positions for its appraisal and new of the mathematics department by teaching elementary ability. . ^ trigonometry. Four of the names that it introduced m New year were Edward T. Cone, John Middleton’s boyhood was spent very York concerts last en- Shvedoff*of*th'e Caz- joyably on a Minnesota farm. Moscow Middleton, Alexei Haieff and Norman Like Cone he ' John later he won a scholarship yeal S these men are in their twenties. studied piano, and when he finished high school at thTjinv den. All four of Where he studied ulUlardTFSchool are American citizens, though his ability at the keyboard won a scholarship first with 7 7 And all of them for after his °ldmark death, with ' and birthplaces range from Siberia to North him in the music department of Illinois Wesleyan FrederfckS77 their On a trip Jacobi, and from New York City to a mid-west- University. Further study in Chicago, with Dean to France v, Carolina when she 1 Nadia Boulap Edgar Brazelton, widened that interest came to Cambria ser; ern farm. to take in was ^ * 1938 Clarinet composition, living ta to ‘each he Edward T. Cone, whose “Quintet for but when a chance to go abroad Boston and n Pupil. After P mPtly was selected by the League presented itself to him it was receiving beca her and String Quartet” piano to which he 7 , 7 ™ received gave his followed presentation to the New York public, attention. He studied with Robert her baek to Papers he for and his training in North Carolina, for Gabrielle Casadesus in Paris, and study Was next year musical with Bela Bn,, curtailed *7 ’ hut his early Bai ~ her bv w Greensboro, the city of his tok in Budapest. American ' With he studied piano in pupils he 77 the the study of music at River- Returning to the States States. He to hirth then continued he learned has lived "7 the United at San City since h School, a preparatory school in New Leandro, California, that he where he tUrn in Lie Country could obtain » composesPoses ‘7 7 New York supposed to precede his attendance master s degree at Mills College teaches. s>°wly but York that was as a snecici ' „ steadily” and in addition to giving hull uate student. It was gl ad - V Vale University— at this instituHn fu n C bountiful supply of musical serious attention ° that hls 0 to New York’s was turned has°don C to con 7so aims *777 New York_in fact he met ' “ before he matriculated R. D. circumstances are amusing 6 ^ Ihe t and Ravitch, studled f ts Bu pTbablF later at under Bernard establishing a new music depart- -m fact Aaron Copland nique the juilj, Welch, who was told him h7 n composition Scho0 had7never under -7 '. majoring ir Piano Be 7 "FORWARD under Arthur genaar and ir MARCH WITH 'Continued(Co7,,77 MUSiC on Page 521 ,
Music and Culture
Make Haste Slowly
A Conference with
^JJeJen ^Jraulei
Distinguished American Soprano
SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT
tive conceptions, not to please a is the demands the singer makes upon himself, teacher or a manager or a press- the thing he wishes to stand for, the thoughtful, bureau, but to measure up to her often painful modeling of his artistic hallmark. own standards of artistry. She re- It is precisely in this modeling that the young sisted the allure of a public career singer can encounter the most dangerous pitfalls. until she felt herself ready to as- Vocal technic, for all its intricacy and all its im- HELEN TRAUBEL sume its responsibilities along with portance, can be mastered. The thing I have in Leading Soprano, Metropolitan Opera Company its glamours. Only when she be- mind can neither be learned nor practiced; even lieved herself ready did she step outside help is of small avail in building it. It before the public. And then began must come from within, as an unshakable con- HE CAREER OF HELEN TRAUBEL is novel the deluge of encomiums that put an end to the viction of faith. It must be built slowly. One must in that it rounds the circle back to first queries as to whether Miss Traubel was ever going develop with it and over it and through it, keep- T principles. In thinking back to the tra- to get through studying. As a matter of fact, she ing full charge and control of it. When ultimately ditionally great prima donnas, the average music is not; also she ascribes her present artistic posi- it emerges for public inspection, it is called artistic lover sees a mental picture of an artist mature tion to the fact that she made haste slowly. scope. Yet no name for it can give even an indica- in appearance, in vocal development, and, most tion of the time, thought, and singleness of pur- Early Convictions important of all, in interpretive thought. After pose that lie back of it. the pendulum had swung away from the “Golden “There was never a time when I was not fully Age” of song, however, we saw an era which convinced that my life-work must be singing. As Vocal Mastery Alone Not Sufficient tended to stress the doctrine of hurry up glamour. a child, I sang for my own amusement. I had the “I am sure that nine out of ten singing students A decade ago, we began to thrill to the success advantage of a thoroughly musical home atmos- have this experience: absorbed in their own im- story of the girl whose Big Chance catapulted her phere—which, incidentally, cannot be sufficiently mediate problems, they go to the concert of some into fame, fortune, and stellar roles after three valued. The child who hears good music at home great artist and are enraptured by the lift and years of study. And just when we had gotten to learns more than melodies; he absorbs standards the delight of the performance. Then they begin the point of wondering whether the next glamor- that stay with him all his life, and benefit him to analyze the performance in terms of their own ous young newcomer might not shave those three whether he sits among the audienc3 or stands difficulties; they say, ‘How wonderfully even her years down to two (or even eighteen months) behind the footlights. My parents played and scale is—how perfect her diction—how fluid the there came Helen Traubel. sang, and we children took part in the fun, with- line of her phrase! If only I could get her to tell Within the past few seasons, the name of Helen out realizing that we were laying up a reserve me how she manages her scale—or her diction or Traubel has become familiar to music lovers in fund of greater values. The family had tickets to her phrasing — I could project that program recital, concert, radio, and in opera, where she every musical performance that came to town, exactly as she does, and all my troubles would assumes the roles of the great Wagnerian super- and we were always taken along. I can’t re- be over!’ Does that sound familiar? Well, it is women. Audiences saw a mature, dignified artist; member a time when good music and the thrilling completely wrong! The technical details of the they listened to finished, polished singing, heard inside of a concert hall were not a regular part of concert are simply the means of reflecting the interpretations that reflected thought and a living. And always there was something within me artistic scope the performer has built. Vocal knowledge of living, and they wondered why they —call it an instinct, a premonition, anything you mastery alone never does and never can give that had not heard of Traubel before. As a matter of like—which assured me that one day I, too, should indefinable thrill that sets certain performances fact, some previously had heard of her. Certain take my place among the music makers. Never apart from others. That grows out of the stand- circles in and around St. Louis were quite familiar once, though, did I even imagine a quick success. ards the artist sets for himself, and projects with what they believed to be Miss Traubel’s Music was so much part of me, and the per- through his knowledge of human emotions. If the •‘queer notions.” For some ten years, they had formances I heard opened the doors to such fine yearning young student, by some magic, could be known that the Traubel girl had a glorious voice, artistic standards (also to some less fine!), that put into sudden possession of the vocal equipment that she spent all her time “studying,” and that my personal goal took but one form in my mind (and nothing more) of Caruso, he would still be she did nothing more about it. —to sing well. If ever I accomplished that, I knew a far distance from singing as Caruso did! Acquaintances developed a fixed routine in that the rest could—and would—take care of it- “How, then, is artistic scope to be developed? dealing with her; they scanned the season’s lists self. I can say truthfully that my ambition never By setting the artistic goal you wish to attain, career, of new vocal arrivals, shook their heads, and centered about making a but around work- and allowing nothing to deflect you from it. You asked, “What, your name not there yet? Aren’t ing to be worthy of one. can’t mix a vision with a hurry up success! Of you ever going to do something besides study?” “The chief factor in shaping a career? I think course the going is difficult—but the very difficul- Miss Traubel developed a routine of her own in it is the relationship between the singer and his ties stand as a test of spiritual strength. If you dealing with her questioners; she put greater in- art. Naturally, there must be a voice, and that can keep to your goal regardless of tempting tervals between the times she saw them. Other- voice must be correctly managed. But over and offers to steer away from it, your spiritual muscles wise, she went her way undisturbed, living a above and beyond all matters of vocal technic will probably be strong enough to pull you wholesome normal life, developing the splendid there is something else, without which singing ahead. My own most serious pitfalls were avoid- organ in her throat, and rounding out interpre- and art can never become fused. This ‘something’ ing ‘glamours’ before I felt myself ready for them.
JANUARY, 1945 "FORWARD MARCH WITH MUSIC I ' .
Music and Culture names, or finger in the air. Each child plays the Interesting Parents in piece.) “You will notice the flexibility of the younger Piano Recitals children. When a child begins to say, ‘Let me do it myself,’ he is no longer so pliable, and it is more ready took years, and I gave those years Getting Rutk Price 3a difficult to teach him, unless he has already For one thing, I never saw the need of Iff gladly. learned to use his hands at the piano. But the foreign study; not through false chauvinism— he ordinary children’s recital, stiffness which results from the conscious simply felt that I was progressing well at home, with nicely printed programs and well pre- thought is soon worked out of the hands and and rebelled against going abroad solely for the arms by using ‘ragdoll technic,’ offers to sing Tpared pieces; with the participants coyly and then the prestige attaching to it. Later, I had playing; a curt real teaching begins. However, might also have lent prestige walking to the platform; making the child learns opera abroad, which pleasing bow, and hurriedly pacing to their seats; is de- tunes while this suppleness is being to future press books; but I did not feel myself cidedly a thing of the past. gained. Here is a little girl of seven ready and let the offers go. There was a year in who will There are so many diversions within the reach demonstrate how supple one’s arms can which I sang with several leading symphonic learn to in the most moderate circumstances be, through story technic. orchestras, and that, too, might have had prestige of people parents refuse to sit through a drab “Four weeks ago these fine boys value for immediate engagements. But I came that even first tried to pieces, interspersed with express themselves musically. to work again. Why? Be- presentation of piano We are studying home and went back ‘Folk violin, or vocal numbers. Songs and Famous Pictures’ cause in no case would the prestige have com- readings, by Mason a our younger classes were giving book which tactfully sandwiches pensated me for the quiet, concentrated develop- Some time ago mechanics with only four lessons, and the the folk songs the children ment I wanted. Not for a moment do I suggest a recital. Some had had have previously learned to sing. one. Other young program needed variety. Finally, from books on (Each boy plays a folk that my way is the only right tune ) several terse thoughts were ob- And this little girl singers may feel that they are ready for stellar child psychology, of nine will play from John placed between the program Thompson's ‘Tuneful engagements at twenty-one. But the principle of tained, which were Tasks,' showing how we Here is the talk, as well as the musical app y keyboard harmony. decision is the same. Hence it is advisable to ex- numbers. First she will play the glamour, program. the key F St plore your opportunities not in terms of ' “ is writeuThen subconscious mind is like electricity. We fhTwfil 0^ 11 f but in terms of your own abilities and limitations; “The y the audlen calls ho, 7* “ for. about it, yet we make good use of it. AnotherAnothei boy, whose then decide on the course most in harmony with know little lessons have been inter- agree that the impressions made rupted by the various your own artistic ideals. If you are ready when Psychologists epidemics the winter has mind between the ages of brought us, is Alvin. comes, well and good; but if you can upon the subconscious But throughout your chance he hTs Ulness two and six are more important in the forming has practiced and will do only half justice to it, have the steadfastness play for your enjoyment those of the remaining life a piece characteristic to say ‘No.' The best test of your fitness is, not of character than of his nat„™ v. „ from ’ of span. Musical impressions are likewise more im- 'My First Efforts in what others say, but your own knowledge how the Piano Class' years. 0 closely the tones that issue from your lips ap- portant during these early £ y C haVe tonfg that haar proximate the conception you carry within you. “This evening I hope to demonstrate in a small h«7ll,°ayThe S-“ tunes and folk way what can be done with small children. In- other d ’ d the children Between Singer and Teacher stead of telling you the teaching principles, I call out the titles.) would like to show you a few of them. Charles, “Those of you who wPvQ “As to vocal problems as such, I have the igl years old, will play The Three Kit- ago, will remember m°nthS to do who is three this child who greatest hesitancy in telling others what h JWOn flrst« tens by Perry. He has learned this little tune in because she had only prize field as that of vocal technic. four less in so intangible a rized sixty and had me™' one lesson by rote, using only the black keys, pieces She is problems is the support of the 7 f One of the main classics dymS the easier which stand out from the forest of white keys. and will piay 7* tone. Also, the scale must be absolutely even, with- rhl Edith plays four little duets from the ‘Pleasure Schumann, and a by out a suggestion of a break between the registers Mulettely Perry; she has had only four lessons (Test children ^ Path’ by in of range. But how these assets are to be won must notee leadln and has memorized thirty-one pieces. cards.) g with flash be settled between the singer and his teacher. “I have often asked my pupils which of the (Have children of -mastering technic—only clap rhvthm -f There is no one way ’ five senses we use to make music: taste, smell, “The next recital 11 °ardsJ the result must be uniform in correctness. Dic- will be heldT^ sight, hearing, or touch? They answer: ‘Sight, May. Compositions 6 early ln tion, too, is an essential of singing, more in- written hvrt J. hearing, and touch.’ Could we play without selves will be featured. r6n them' timately bound up with voice production than the You and 1 touch? They answer ‘No.’ Could we play if we invited. Thank you friends are average student realizes. Pure enunciation, par- for comtag thT immediately always it eveiun projecting the could not see? They remember Alec gives the children s: as ticularly pure vowel sound, aids in mn™r ® en Templeton or some other blind person learning than any one thing e°uragement arc of tone. The student you can voice in an unbroken do '' to play. Yet would you believe me, a pupil came This program night should accustom himself to enunciating clearly was a decided with music classified suited 7 C6SS and - speech as well as to me recently as sixth in my class giving re at all times—in intimate daily a demonstrationdem I did grade, and she never had been allowed to memo- PTA, later. I find for in singing. Practice in elocution is helpful. that L? rize a single piece. Her teacher was afraid she teacher only meet the own work in elocution with my singing at recitals are my play ear. in veryTTh on the singing voice would learn to by What I am trying learning how the lnterested teacher, learning to speak music is n7 r to say is: the printed page is not music; it children Sented to without injury to tone quality. Actually, there is is and are delighted trw their means of transferring the n01 between singing and talking, only a thoughts of a by the public schools; that music a vast difference in shortno 0 f are sound, the composer to the ears of his public through the rt^are keeping but, if the singer’s diction habits pace. medium of the pianist. Music is what we hear. audience does not realize this difference. Words We should learn to be fluent sight readers, but uttered in singing should seem as free, as com- at speech. the same time it is necessary to train the ears.” Key fortable, as easy as words in ordinary Markers conscious of effort, of Four six-year-old children demonstrate ear If the audience is the least unnatural pro- tunes, singing what they hear played and tell- constriction, of ‘mouthing,’ or of ft] e, perform- ing the direction of the phrase, giving the h nunciations, the pleasure values of the letter Little Gene a diminished—and the singer is names, working from the simple C-D-E and ance are greatly ber of the fact that his pro- C-B-A to the tonic chord C-E-G and F-A-C, and the difflculty in giving public testimony Ake7 ktter^ames’of'tb condition. so on. Then they play their prepared pieces 7 duction is not in first-class at study is to sing well, the completion of which the talk is resumed. “Since the goal of vocal must be the production of the most “These children are ready for their second y SmUdged p-nnd singing fingers ‘hern out tones. The Question of book and, to demonstrate how we teach W1‘h ul most natural a new XThf*his moist beaut each child will Finally beautiful tone' is. however, de- piece, now learn a new one his moth what ‘the most l the person who emits Children, sing the note names as I point pends on the standards of to the bi- by of successful notes. (They sing a song, two — thetn responsibilityp phrases lone :nzr that tone Hencepence ) . xhe Sing finger numbers and finger indivldual singer in the air Now sing and clap the rhythm names. Harold w n you play this piece for your friends? (While vT 1 iContinuei on Pave 52, plays, the other children either clap, what hfi.TtrXr for. sing letter n s " "" , "FORWARD MARCH WITH MUSIC" s. sztz 6 — —
Music and Culture
Thurlow Lieurance, composer of By the Waters of Minnetonka and numerous other compositions, is best knovm to American music lovers as a composer, a concert artist, New Opportunities important investigator and an employed by the United States Government (Smithson- ian Institution) to collect Indian melodies and songs, rather than as an educator. How- ever, he has been engaged for fifteen years for Music Students (since 1927) as the Arts the Ambitious Dean of Fine of New Municipal University of Wichita, in Wichita, Kansas. This University embraces From a Conference with four colleges: (1) Liberal Arts; (2) Business Administration; (3) College of Education; (4) College of Fine Arts. It has a capacity of sixteen hundred students. Students from 'ZlLiirfow csdileurcince. each department attend the Music School, for part or full time, and there is a liberal Doc. Mus. exchange of credits. There is also a separate and distinct school operated by the Univer- Well-Known Composer and Educator sity, offering pre-school, pre-college, college and adult ivork. It is one of the largest music schools west of Chicago. It employs more SECURED EXPRESSLY FOR THE ETUDE BY OLIVER EASTMAN than thirty instructors. The University Sym- phony Orchestra has over eighty perform- ers. The R. O. T. C. Band marches ivith ninety men. The Minisa Orchestra and Phonetic Chorus (sixty members) ivith its NE OF THE MAIN REASONS why some the pupil be preserved, and without individuality colorful group of American Indians, per- students, even at this hour of national the pupil is forever circumscribed. forming the works of Thurloio Lieurance, O crisis, complain that there are few oppor- To my mind, centuries of time have been wasted have been sensationally successful. With tunities in music study is that they have never in this and other countries by the severe task- Mrs. Edna Wooley Lieurance, Dr. Lieurance really been trained in the fundamentals has repeatedly toured the country
JANUARY, 1943 "FORWARD MARCH WITH MUSIC’ ™
Music and Culture
How Vitamins Can Help Musicians
Ly. ^Jienrij ^J*Cnox, ^p.
Based Upon a Conference with Noted Specialists
he late famous theatrical im- presario, Charles Frohman, when asked T the chief element in the actor’s success, re- uieonolism, results.) with startlinj plied, “Vitality.” Much of the musician’s success in life depends upon his vitality, his appearance not be subjLHo 118 ’0 teacher mas (particularly on the platform) his nerves, and anyone of , lesions the™array o£ advancec his voice. resulting6 from MM ficiency VItamin ’ Since vitamins, (scurvy de properly administered, have an rieketsMe berl facts, ‘ pella ra cata ’ almost uncanny and so on) i e ’ effect in making for clear, strong t h °“en Pleted at tired “d da ’ eyes, as well as improving the tone of the mucous the ver^ m0m and 11 their membrane of the mouth, the nose, and mental resources Physica the throat are o UiMfd (Vitamin A) developing delivering then- Upon to hel P iE ; good digestion, strong best artisticart(!t « efforts to nerves and muscles, as well as improving the the public health of the scalp and hair (Vitamin B) The Voice of ; better- a Specialist le ing the complexion and teeth (Vitamin C) as well f0 , a in b had conferenJes lnS able to have as promoting a more healthy condition of the upon the with many sub;lectr of . vitamins bones (Vitamin D), the subject of vitamins is distinguished nhv Dr. DS Perk Lee ' notabl one which is of deepest interest to the musical Davis of PWladehlv y witb indebted to performer for reading whom he if and to the teacher. This article, there- the n, M Davis has 01 thls article. fore, concerns itself, not with the complex and spent years at th°°TT Dr involved sylvania, at the ralty of ' therapy of vitamins through which Mayo Cllnfe Penn physicians are pi-oducing nesota, and in ®och ester, cures of many baffling many countries r Min- as well as in o£ Euro diseases, but rather with the safe employment of special hospital Pe and Asia, studying vitamins for the restoration of a normal nutri- m the Prlvate Practice subject o v tn tional ministration. and balance. This balance can be restored to He has placed their ad ‘ ‘ he ' normalcy only through rest, sunlight (real and auth0rita«ve Writer s Hands whichW, V, reteren artificial) and a properly extracts “ aterlal , nourished blood stream. have been tat from made m this N° Vitamins, wisely used, play a great part in this. article to atte®Pt * ticularly g ve the"; The tired, worn-out, sagging irritable, the practicing y reader unhappy JusiM . Par- MAJOR PERK LEE DAVIS. U.S.A. ouuine of what )re tha musician stands about the same chance of suc- he shoul^S,“J ‘i an Brilliant internal The cess in the studio or on the platform as a lame medical specialist, from whom much development and bout yltamins. of the material in these articles upon the come mteresT race horse does of winning possible value at a time Vltamins the sweepstakes. Many of vitamins for musicians when the have was secured. Dr. Davis has greatest worm T finely trained musicians have failed because they been upon the staffs need of this been in of foremost hospitals in the knowledge the United tory Of their amazin have permitted themselves to become depleted States. evolution has B his- quently beenMdl physically and mentally, and have wondered why m the popular scussed fre- 8' their talents and labors have not brought success. Oaptain Cook, The no otner numan calling which makes laron Ta“aS , a simila tian Eijkman, j?ames Lind demand. These messages Frederick wT’ . Chris- Restoring Nerve Normalcy proceed in volleys o incredible speed over our fabulously intricat Now and then one hears the expression, “Vita- nervous system, as from one set of nerves to sr^^jssatw* anothei mins are a racket.” Vitamins are in no sense a by means of what may be called in layman* racket. When their potency has been exaggerated language, "relay stations.’’ In the normal, healthy and falsely exploited, the public has been de- properly rested and nourished person, these refle: ceived. Now, many of the greatest Americans are stations function adequately but when over-strau “ needles used a astonishing results from outbreak of spruce continually reporting or fatigue enter, these reflex arcs of t« . or ‘‘gaps’’ ly. C l vitamins. come impaired and by the prevent perfect performance -omiSSff.'n? ab'once should musicians be interested especially 0 oH‘a Why Vitamins tend to restore nerve normalcy m th in sucl iCal S - in the restorative effect of vitamins? Because cases. «on o, Kmea M^t to n of them are obliged to work under con- The many professional musician especially mental, physical, and emotional which require, ditions— — the proper vitamin balance because of his 1 put an abnormal strain upon the human body. and frequently irregular Progress 3 named ^chemist, hours; the difflcn wasHm”' by hiM “nerve drain” in music teaching is widely obtaining regular, 6 tably vitamlnes,” The wholesome meals, Since sl<™. any instrument during particuLf that t m“ k recognized. In practicing when upon tour; the continual b Panded ’ kn°wledg nervous with Q lT e of singing, the number of messages appearing Me maZlng long hours, or in before large and often cant ra gamins has ex- highly theranv v, Piditv a sent with great velocity from the audiences, to say Mi?ontiea “ V6ry ' which must be nothing of . li0I develo Signifl the tender « of dona Ped wtth fingers, to the feet (organ playing), instances to relieve the » »m« ‘ brain to the str^nS™^. vitamins "" Browth ' Mil . so great that there is probably taken means of the Mis- (taken invested or to the throat, is overdoses of teaa » icals) 110t rro 111 synthetl° ' coffee and m fond n , tobacco 51 " 51’ 4 troni ' armie ’ chem "FORWARD chemists s of M 8 MARCH WITH areaie engaged Physicians MUSIC ^ntznued(Cmif™ and on Page 60) . —
Music and Culture
The Foundation of a Modem Piano Technic
A Eiscussion of Grading, Touch, and Tone
lij ^ydlj^recl C^ciizin
This is the first in a series of independent articles upon “The Foundation of a Modern Piano Technic,” by Alfred Calzin. Another article will appear next month. Alfred Calzin was born of French parentage at Marine City, Michigan. He studied organ in America with N. J. Corey (for many years Eaitor of The Teacher’s Round Table Department of The Etude and counsellor of many noted American
musicians) . He then studied harmony and composition with J. B. H. van der Vel- pen the Conservatory and later, of Brussels piano , with Alberto Jonas in Berlin. His debut was made in Berlin with the Philharmonic Orchestra, with great success. After touring Europe and America as a soloist he became the accompanist of many noted artists, including Jomelli, Bispham, and Tetrazzini. Mr. Calzin has been at
the head of the piano department of many famous institutions . Editor’s Note.
ALFRED CALZIN
PRESUME that any he WRITER DOES NOT detect the presence or absence of the proper drill accuracy in playing depends upon the carefully follow such suggestions as can do more than in the playing of a student. The writer hopes that trained development- of the sense of position. T give an outline of the infinite number of the following may be of help to the self-help 4. To see that the hand at the knuckles is kept to make a fine piano things which go together student and to the teacher. However, while these sufficiently raised off the keys to give space for technic. He does know, however, that many hints are being pursued, a knowledge of all of the free action. principles to teachers sometimes neglect these niceties of notation and musical nomenclature 5. To take care that the knuckles never are the disadvantage of their pupils. It is also not should be secured. There is no excuse in these lower than the tips of the fingers. that this is the only in which a fine days is, assumed way for sloppily trained pupils. There for in- 6. To make sure that the height of the wrist is an Irish phi- piano technic can be acquired. As stance, no excuse for the pupil who does not know determined by the position that the fingers are ways of kill- losopher remarked, "There are more the difference between a mordent and an inverted called upon to take. There is no hard and fast However, the ing a cat than kissing it to death.” mordent. There is no excuse for the pupil who rule for this. The general position for the wrist fundamentals presented have been followed con- does not comprehend at once the principal is about level with the knuckles. of successful sistently for years by thousands musical terms. There is no excuse for the pupil 7. To place the tips of the fingers on the keys, piano teachers. who does not know at once what the phrasing so that they are not too near the front edges. marks mean or how they should be played. The 8. To keep the thumb curved naturally, Many Good Methods so that student also should be well-grounded in musical it is on a straight line with the key it is to play. Experienced piano teachers are of course fa- history and in elementary harmony. But these The foregoing are “check-up” points which may appeared in miliar with many methods that have subjects must be correlated to his work in funda- seem wholly inconsequential to the average per- with print. Karl Philipp Emanuel Bach is credited mental technic as described hereafter. son, but which after experience with literally having written the first of all such books, "A A short time ago, passing through a great city, thousands of pupils and conferences with hun- Search for the True Art of Piano Playing” (“Var- I saw a sign in an excavation, “Foundations by dreds of great pianists, are known to be funda- such fiber die Wahre Art, das Clavier zu spielen”) the Company.” In modern building, mentally important, and should be tested every This bobk is now difficult to obtain. Of the scores foundations are considered so important that now and then by the teacher. of music instructors that have appeared, many there are many firms that make a specialty of are now woefully obsolete. Yet there has been in putting them in. Expanding the "Check-up" Points recent years a splendid diversification of instruc- The foundation of a pianistic career is no less In fact, they are so important that they may be tion books which provide teachers with the oppor- significant. There are certain elemental principles restated and expanded in this manner: tunity for securing books suitable for all ages, upon which most teachers seem in agreement. 1. The wrist must neither be perceptibly raised from such an elementary work as "Music Play For instance, it is generally conceded that the nor lowered, but be without constraint upon a for Every Day,” to a work adapted to the adult beginner should be trained: level with the hand and arm. pupil, such as the “Grown-Up Beginner’s Book” 1. To sit sufficiently distant from the keyboard 2. The knuckles must neither be raised, so as by William M. Felton. But this is not at all what to enable him to open the arms with ease to the to form a pronounced hollow within the hand, the writer has in mind. Every good teacher should necessary extent for playing all of the keys. nor bent inwards (as many teachers consider have some mode of technical procedure, some 2. To adjust the piano stool so that the elbows requisite to a good touch), but must be kept in chart of a general type, which will run through are slightly above the level of the keyboard. a natural position, on a level with the back of his teaching work like the keel of a ship. This is 3. To form the habit of sitting directly in front the hand. not to be found in an instruction book. Without of Middle C, D, or E, and never to change from 3. The forepart of the fingers must be gently some such chart one cannot expect anything but that position every time he goes to the instru- rounded; not, however, so that the nails (which, hit-and-miss results. ment. That is, he must form the habit of sitting by the way, should be kept short) can touch the It is very easy for the experienced teacher to before one particular note, because much of his keys.
JANUARY, 1943 "FORWARD MARCH WITH MUSIC 9 - °
Music and Study from the song of the California mocking bird, Whistling As An Art which imitates all birds. It must be remembered that inasmuch as the however, should 4. The fourth and fifth fingers, Lj Wartlu & Idcgnolds “idealized” bird songs are whistled with piano or but not be quite so much rounded as the others, other instrumental accompaniment, their har- a little more extended. monic basis is the classical scale, and not the nat- horizontally so ntering the hall on the fifth floor of 5. Let the thumb be stretched ural divided intervals of the native bird songs. with the the Fine Arts Building in Portland, Oregon, that the end joint shall be upon a level An unexplainable fact of acoustics startled at the chirping is that obbli- its outer edge. E one may be and by key, and the key itself struck gatos of real birds with instrumental or vocal above the surface of trilling of birds. But listen! The caroling is in It must be held continually music are always seemingly in perfect accordance. means be permitted to hang familiar tunes! The pupils of Lota Stone are the keys, and by no The preparatory aural study is serious musicians just as those in any studio of only the begin- down or rest below the keyboard. ning of this whistling building. course. Music notation is position of the hand be perfectly easy this busy music 6. Let the learned with sight reading and time. Every whist- essential to a “The whistle is nature’s instrument—and the and natural—a precaution very ler goes still further, studying birds are nature’s musicians,” said Mrs. Stone. simple music form, good style of playing. phrasing, and sufficient confirmed this first inspiration harmony to follow the of fingers, hand, and arm, Claude Debussy After the position piano accompaniments. Seated before should be given in the words, “It was the warbling of the birds a table, on has been explained, the student which is a keyboard, he first gave man the thought of music.” names the whole and without notes, as: 1, 2, 3, 4, 5, 4, which oral exercises haif steps and other intervals. Many add D, E, F, G, F, This medium, through a definite course of study, to this 3, 2, 1, to be played legato—C, the ability to play simple kept has opened the door for many, not only to immedi- piano numbers. E, D, C. (Right hand), each finger to be The course in real music appreciation. music appreciation supplies the Left hand: 5, 4, ate enjoyment but to a down until the next has struck. , storms of composers, their part G, F, E, D, C, the But popular as is its appeal, whistling calls for in the political 3, 2, 1, 2, 3, 4, 5,—C, D, E, F, US1 a hlSt01y definitely as the singing voice. °f their tlmes and - octave below the right, an instrument as - the back left hand playing one giounde, ™,Eu off theE, compositions repeated ten The shape of the “oral cavity” and of the mouth studied. from Middle C. Each exercise to be C PUPil learnS determines the type and range of the production a reP ertoire Of 'classics and the h^r . times. USlC WhiCh —it may be soprano, alto, and so on, or may ' he kee Ps in read!- R. H. 12123434545432321 ness foifo, ladio and^ recital change with adolescence. programs. In a snecial CDCDEFEFGFGFEDEDC game, stage deportment Five different kinds of whistlers are recognized: is developed L. H. 54543232121234345 1 puckered lips, is ™ 118 WUh individua practiced singly for at 1. A “Pucker whistle,” with the l Part work is Each hand should be thethfArwAfinal stage accomplished. position is most common type. This is useful for ensemble From this exneri- least the first five lessons, till the hand ence and training work and has the greatest number of bird notes, students are now holding - thoroughly established. As the beginner continues mti0nal nos including the liquid meadow lark songs. 2. The br°a with these exercises, he should be taught the staff chTstrlf “s stations LZl and teeth whistler produces a tone by the notation: the treble clef first, but not delaying tongue through tongue and teeth. 3. The palate the bass clef too long. breath whistle, with soft palate, is a rare type. 4. Ven- A New The Legato Touch triloquist whistle tone, made in the throat, is Approach to the than whistling, sounding some- The above exercises should be played with the really more vocal Lross-Rhythm like the muted violin. 5. Stunt whistling Problem so-called legato touch, possibly the most difficult, what players which requires finger inserted in the mouth. judging from the number of advanced Iff Wargaret the rant who are unable to execute it correctly. It is Q
AN • very foundation of all fine piano playing. ARTICLE in the .Tnlv icmi 6 The Legato Touch—With the position of the A E™de entitled, “ThJee ArainstT ?' a hand on the five-finger position, the wrist being most complete explanation of the - be raised over matical side of the C’matheT* absolutely loose, let the thumb problem in , and doubt clears ““ and n0 Middle C, and then come down suddenly up much of the 1 ™' H° gently. As the some of the WeVer ’ firmly, pressing down the key “unceasing requests’ spring musicians m y COme from thumb comes down, let the second finger who find a sudden eh disturbing cl nge of counting quickly, then let the second finger descend to the rhvthm lf up Wh°' e finger which I ' A little ‘rick rapidly, striking D. As soon as the second learned white Sudv spring up. L. York, now ' r - Nanais has sounded its tone, the thumb must dean of tUe Detroit p a °f the must be down at a Institute . It follows that just one finger of Musical A? pre- over many a h s helP ed me time. Each finger (as well as the thumb) , rough place -mri t ? one and it along 6 to pass paratory to striking, must be raised about to other teachers anVstlTe’V^ ‘ iS keys. This In playing this ’ times the height of the black They Learn to Whistle two notes one-half against ^ thte rule, as in cer- counting, simply ’ lnstead of must not be considered as a strict say, “Do it algata ” question; for tain cases this would be out of the fingers, or whistling produces the vibrations instance, in the case of very short True two oc- taves higher than the natural voice. It is done small hands. . rational breath, tongue and lips, In the next article the subject of the with the not with the be development of the scales and arpeggios will vocal cords. The breath gives support, the tongue scales and tone thorough drilling in produces the and the lips control it. This is so discussed. A easy to do that t i, piano technic as the student of whistling has arpeggios is as important to When learned the similar method Worke out a of playins: th ? an airplane. technic of production, he gains a knowledge of First, “ agataSt the engine is to learn to say the four, birds and bird songs. Symbols are used foIlSL-fol>°wmg for fig- rhythm given: sentence with the ures, which are learned from the blackboard. Amusing Musical Episode Descending figures are variously known as teakettle, killdeer, whatchakoo, e chew. Horizon- a tal figures are named hickory, dee dee, quitchaqug. .;P n n. Uandemoort, II 0 U, ‘ hj Paul Ascending figures, turkey, colup, witcha. When this is - thorough!,ehly, A '» this understood, achieved considerable suc- There are also used horizontal and harmonized way: practic AIAfter Goldmark had of Sheba, he figures and combinations. Ex.3 with his opera, “The Queen with a ladyguite obviously Ail- onere is wuj.5i.iing, al-oll experience th had best melodic and rhythmic classic musical music such a 3 /—] lacking in symphony themes, vocal and Goi instrumental sok - 1, !1,S— to an engagement composer are analysed by phrase |y traveller as the and form, by cadence to his feminine careful ” Thei lady was duly with elaboration. This is Queen of Sheba,gheba » not done „vh of “The for she trarily. The pupils also Identify against h Sentence " what four" ^' to any t: birds m M>l^ . hoped the each figure and then combine °f your Wil1 soou r^rS—^tshe them in achievement that™ be s0 P 1 with other figures. Almost all of the along U well. bird^iotes through this never again queen payed him ai lapse pecnlte° v'" Of attention rhythm hoping f "FORWARD MARCH on1 theth WITH MUSIC Pa« of your audit Music and Culture
Let’s Have More Music
on all Fronts
Lij vin C. White
"And ye shall hear of wars and rumours of ivars: see that ye be not troubled: for all these things must come to pass, but the end is not yet." Matthew XXIV: 6
HERE HAS BEEN a needless hue and cry in in the last war, radio, as we know it to-day, was Russia's Outstanding Contemporary Composer. Dmitri Shostakovich, in Firelighter's Uniform in the Ramparts of all parts of America about the lack of mu- wholly unknown. In the interim, radio has devel- hun- Leningrad. T sical activity in America in this war, com- oped into a giant industry, and every day pared with the First World Wax’. We are told that dreds of patriotic messages, almost always we have no Over There or There's a Long, Long accompanied by music, are showered out over the value. In the Second World War, songs made fa- Trail or Keep the Home Fires Burning or Tip- air. mous by the troops include White Cliffs of Dover, perary; we have no community singing; we have Whenever there has been a war there also has Waltzing Matilda, which became the unofficial na- no song leaders in quasi-military uniforms. How- been music. It is natural that man, in order to get tional anthem of the boys of Australia, and the Johnny Doughboy Found a Rose ever, one has only to listen to the radio programs away from the grimness of war, must find some American song, coming from the camps to realize how active is relaxation, and generally this is through music. in Ireland, as well as others. song long remembered when the soldier’s interest in music. Perhaps the vast- The singing of the troops and the playing of the A of war is often is the spoken word. ness of the present world combat is so great that bands are vitally necessary stimulants for the all else forgotten. It outlives we cannot keep track of the huge musical activi- soldier. Such patriotic songs as the Marseillaise, Thousands of speeches are made during periods of stress, of printed matter are scattered ties now being encountered among American and La Brabangonne, The Star-Spangled Banner, and tons forgotten while Canadian troops in all parts of the world’s battle March of the Men of Harlech, There’ll Always Be about, but all are soon the song fronts. Although we may have less community An England, We Did It Before and We Can Do It invariably carries on. During the French Revolu- singing in this war, it should be remembered that Again, and others, are military assets of positive tion, orator after orator ascended the Tribune, and whether it was Jacobin or Girondist or Royal- ist, his words in time passed into oblivion, but we still hear the Marseillaise. The patriotic enthu- siasm of the orators of the press, of the state, of the jurists during the War of 1812 have long since faded, but the stirring words of The Star- Spangled Banner will live forever.
Lord Wolseley's Tribute
Music is as necessary to the soldier’s heart as bread is to his body. It is probable that no battle ever was won by soldiers who did not sing. When soldiers have been too exhausted to sing, just listening to music has put new life into them. Field Marshal Lord Wolseley, in a preface con- tributed by him to “The Soldier’s Song Book,” wrote: “Troops that sing as they march will not only reach their destination more quickly and in better fighting condition than those who march in silence, but inspired by the music and words of national songs, will feel that self-confidence which is the mother of victory.” In the Bible there are frequent references to the encouragement given to warriors by music, as, for instance, in the Bible, where the victory over Jeroboam is attributed to the encouragement derived from the sounding of the trumpets by the priests. The trumpet was the favorite instru- ment of the Hebrews in war. It was an incitement to more holy emotions of worship. When Gideon and his army of three hundred men, each with Part of the Naval Air Base Chorus Singing for an Audience of 86,000 People at Minne- trumpet in hand, ( Continued apolis in a Monster Concert Organized by the Minneapolis Star Journal and Tribune. on Page 62) JANUARY, J943 "FORWARD MARCH WITH MUSIC' Music in the Home the last act. I have always learned the music of the last act first, and then the other acts. The libretto is much more difficult for me to learn than the music, and since we so often hear operatic recitatives performed uninterestingly, I learn them in strict rhythm, and exactly as they Go to Work are written, but during the You Must performance I try to expand them and make out of them a real in- teresting conversation. Let An Interview with us not forget that a singer’s appearance is just as good as his costumes. For the opera stage, if you can possibly buy the best material for costumes, do so by all means, and have the finest costumer, J^umeA l^Yjeiton such as Lanzilotti from the Metropolitan Opera. He has made my complete Popular Star of Radio, Concert, operatic and Opera wardrobe, much to my satisfaction. I found that I loved everything connected with - opera and that I could express myself fully in this medium. SECURED EXPRESSLY FOR THE ETUDE BY ANNABEL COMFORT After two years of hard work my
' tr ' My dabut was made with the CincinnatiCinctanaTzZoo Operao in 1938. as Lieutenant Pin- kerton in “Madame Butterfly.” OTHING IN THE WORLD can take the engagement for “l\T When I was nine- |\l place of persistence. Talent will not; Victor, the Musical SS teen, I began the nothing is more common than unsuccess- Director handed Maria study of my favorite ful men with talent. Genius will not; unrewarded me the Ave “Cavalleria opera, “Manon,” but genius is almost a proverb. Education will not; from was advised to drop the world is full of educated derelicts. Persistence Rusticana.” it as I was and determination alone are omnipotent.” This “Do you know much too young for the quotation from the pen of Calvin Coolidge has this?” he asked. role of Des Grieux. In the hung in my study for many years, and I have I told him that I it, past three years I read it, studied it, and thought about it countless had never sung have learned times. I firmly believe that if you have talent the but that I would and sung answer to any objective is work, and if you will learn it right then “Manon,” “La work hard enough you can get anywhere. and there. It has a Traviata,” “Mignon,” At the beginning of my singing career down in tricky beginning “Martha,” and “Lu- cia the deep South, radio had never been heard of. and a counter dijLammermoor,” and have It was my desire to become a serious singer, to melody woven studied “Faust,” concertize and become a leading operatic tenor; around the vocal “Don Gio- minutes vanni,” but I finally had to go into the so called “light line. Ten “Lakme,” “The field” of music to earn a living for a large family. later I recorded it. Barber of Se- Station in Nash- Lewis James, the ville,” “Tosca,” My first radio job was on WSM “ and an assumed name for a second tenor of The Tv ,-;-. La Boheme.” ville, where I sang under , vocalized It is Laundry as my Revelers, . . i twenty dollar fee, with the Ideal [ 'g? Sr.' impossible to commercial sponsor. After arriving in New York every day with per- give too much praise and trying unsuccessfully to be engaged by some sistence. As this was or credit to my opera of the big producers for several Broadway shows, not my policy, I HHHt colleagues, especial- engagement at the Roxy Theatre. asked him why he y Elizabeth I secured an i } Reth- “When you ly did. SS*’ John Charles I to Work / Why Went have been in the > Thomas, Gladvs business as JAMES MElI0N Singing in opera still held a place in the back singing Swarthout, andlily have,” he Pons of my mind, but along came radio. These were the long as I who have been knowingly, “you will early days of broadcasting. Life was easy and replied, have to vocalize too.” helping enerous me about on the ln ever attaining an Lewis James was right. I found out not only op^atY 5, beautiful, and the hope of my that made my When 1 debut with the Chfcago operatic career grew dim as I settled down and it was necessary to vocalize, but also that it was kner^' di Lammermoor,” Lily Lucia motion pictures. necessary to go to work, for I had become pons slnYY Y made a good living in radio and known trt’ With her busy schedule e re- love, and it has been extremely as a singer of “light music.” This was not on e Radio was my first making thought that w^ have small dream come true. she could have good to me. At that time singers used a my Miss Pons spared the Ytlme came early and ’ but tone with a light quality; in fact, a small stavert Li‘ e vocal -uld be of S atShe and crooners became Learning Opera Roles assistance to voice was in demand formance me ’ and 'aa s°tYthe er~ progressed p- P popular. Lawrence Tibbett has always been a In 1936, I decided to sing in opera. I knew that she ^n ,Je and directions. manY helpful cues staunch friend of mine; but he never thought if I applied myself, the roles could be learned, the that it made sense that my income back in together with the stage technique. It was my hope The Day of an early days of radio was far more than he made to obtain opera engagements, and thus secure Opera P great in concert and opera. After all, he was a much needed experience. radio not first step artist and singer; but at that time had My was to buy a dozen opera scores hours. Rising Ces and sleep the technique of handling the volume bound with good sturdy bindings; for these at eleven nine developed scores a in Ythe radio could success- were going brisk walk mo™ing, I take in voice like his. As soon as to receive a lot of wear. I began f or an a with vocalize the big voices, the real vocalists “Madame Butterfly,” and the first for ten twelve-thirty I fully transmit step was to minutes YA*. small voices into the underscore the tenor voice at then exei pushed the singers with part with a red pencil Mv half hour interval 'cise the artists like my friend score afternoon, Until and legitimate coach played the a half dozen times when I three in the background, so that take „ r ' f earners in radio. Now I I would have a good Then 01 ty- flve became the big understanding of its comes dinner minute nap. Tibbett general a cnr,si!Y a problem. structure and story. Then I salad. 04 a was presented with learned the hhrh After resting Y,® good steak and twenty-three I became the first spots, the famous arias and intermitted^ “ ’ 11 six age of duets, if • , and vocalizing At the thev werew f g0 t famous quartet, The Revelers. not already in my concert y e opela tenor with the then repertoire business of making house and start sing by singing, sight read by Quite often singers learn “ergy, learned to the first act nf I usually ^ause it gives me I had 1 an Sf fact, it seemed that I was just opera with a fresh,, inspired juice ^ sieht reading. In feeline- during a quarts of pineapple musician. During a recording of the first part but are mg perfo™» nce a ^ sometimes how ' 14 is KSSSer ap^tolli&ht much vi truly amaz- operatic tal Yy ne Can s e in an "FORW'ARD /MARCH Performancee
or events in Twain’s life, hardly help out. But uel Feuermann (cello) . Victor set DM-923. Kern knows how to write tunes, and if these are One of the most cherished chamber music sets not among his very best, they still are representa- ever made for the phonograph has been the tive of his melodic fecundity. Cortot-Thibaud-Casals’ performance of this work
de Falla (arr. Stokowski) : El Amor Brujo—Danse ritu- made around 1929. That the new recording sur-
elle du feu; and Novacek (arr. Stokowski) : Perpetuum passes the former one will not come as a sur- mobile; All-American Orchestra, conducted by prise to some, while others will probably doubt Leopold Stokowski. Columbia disc 11879-D. the validity of our statement until they investi- One of the best of the All-American Orchestra’s gate for themselves. This is a demonstration of recordings, this disc presents a version of the rare musicianship, for all three of these artists familiar Dance of Fire from de Falla’s “Love, the —each a soloist of distinction in his own right Magician” which may well become highly pop- have submerged their own personalities and co- ular with record buyers. There is a smouldering ordinated their playing in such a manner that glow to Stokowski’s treatment of this music; few would know that they were not all trained in where Fiedler goes in for brilliance and verve in the same schooling. If it is Feuermarm’s playing his performance, Stokowski goes in for instru- which engages our attentions most of all, it is mental coloring, with the result that its rhythmic not because he emerges from the ensemble but vitality is not wholly realized. Stokowski’s ar- because his rarely modulated tone makes us rangement of Novacek’s well-known violin piece realize the great loss suffered by the world of is for the viola section of the orchestra; it is music in his recent demise. Feuermann plays the highly effective, but the present performance beautiful Schubert melodies with a fine sense does not quite come up to an earlier one which of masculine tenderness when that latter quality SAMUEL BARBER the conductor made with the Philadelphia Or- is needed. As for the music, there are few trios chestra. which are as completely satisfying as this one. important day in my life,” he has said, “for it Verdi: Aida—Triumphal March and Ballet'; Columbia Chopin: Preludes, Op. 28; played by Egon Petri was the day that I became an American citizen.” Broadcasting Symphony Orchestra, conducted by (piano). Columbia set 523. The playing here is full of elan and fine lyrical Howard Barlow. Columbia disc 71401-D. Let it be said at the outset that perhaps no expressiveness. It is a more relaxed performance Waldteufel: Estudiantina Waltz; Boston “Pops” artist will ever play either the twenty-eight pre- than the recent Rodzinski one, with the result Orchestra, conducted by Arthur Fiedler. Victor ludes or the twenty-four etudes of Chopin com- that the poetic passages—such as the lovely third disc 10-1024. pletely to the satisfaction of every listener. There movement—are more lilting and nuanced in the Barlow does justice to a concert version of are bound to be individual ones to which one playing. The recording is highly realistic, the March and Ballet Music from the final scene of artist seems more suited than others. Petri is less instrumental coloring on a high fidelity instru- the second act of “Aida,” and the recording is personalized in his performance of these works ment being especially impressive. richly resonant. In our estimation, this music is than was Cortot. He is more observant of form Tschaikowsky: Capriccio Italien, Op. 45; Philhar- far more stimulating when heard with the chorus. than his French colleague, and his use of rubato monic-Symphony Orchestra of New York, direc- Fiedler plays an old waltz favorite by the com- is more judicious and never such that it inter- tion of Sir Thomas Beecham. Columbia set X229. rupts the flow of the music. He tends to play all This is Sir Thomas’ first American recording, the slower preludes faster than most pianists, and rumor has it that he is not satisfied with it and in so doing he eschews excessive sentiment. and wishes it withdrawn. This hardly seems fair RECORDS In only one of the slow preludes is he disappoint- to the recorders, since the performance is ad- ing to us, and that is ( Continued on Page 67)
JANUARY, 1943 "FORW'ARD MARCH WITH MUSIC 13 In the program of January 31, Bruno Walter is Music in tihe Home scheduled to conduct and Rudolf Serkin is the announced soloist. The Cleveland Orchestra Series, heard Oil Satur- days from 5:00 to 6:00 P.M., EWT (Columbia network) , are scheduled to continue this month, as also are the splendid programs of the East- New Season in Radio man A School of Music, heard on Fridays from 3:30 to 4:00 P.M., EWT (Columbia). A new series of programs, heard on Thursdays from 3:30 to 4:00 P.M., EWT (Columbia net- work), features Fabien Sevitzky and the Indianapolis hj. sQf^recl cMincLscuj YFjorg.an Symphony Orchestra. Music of the New World (on NBC network, Thursdays —11:30 to 12:00 midnight, EWT), that series of programs which has been tracing the development of music in the Americas, and at ANUARY OPENS a new quarter in radio, and Metropolitan who ordinarily would not be heard the same time showing its influence on contem- in radio schedules. It is in the opera house in a leading role. In this pro- this means changes porary music, still remains the opportunity to sing some one of the finest radio possible that one or two series of programs, gram they are given broadcasts of our time. This is J no longer be of the principal operatic arias. Occasional stars not only a pro- which many of us have admired, will gram of considerable educational merit, but also music recitals, for example, are also heard on this broadcast. a heard. The chamber program which is consistently programs by the inevita- The third step is the radio presentation of the interesting and which gave us first the enjoyable. There will be four later by the Coolidge Metropolitan Opera performance, which is broad- broadcasts ^ the ble Budapest Quartet and ^ At the 12 cast directly from the stage of the noted house time to press. Quartet (Columbia—Sundays from 11:05 to oSyaelTf “' afternoon during the season. e avallable *°r noon, EWT) are over. And that magnificent series every Saturday The program oTth publication. The NBC Symphony Orchestra, heard on Sundays of broadcasts by the distinguished Polish harpsi- chordist, Wanda Landowska, heard on Monday 11 NeW World radio’s offi- ' ‘he Spanish- afternoon, also has closed. Inquiries of AmencanAmerican cTColonies these were struggling for in- cials as to what would take the place of nCe and “ response that no W3S butn^ra,Vat programs brought forth the patriotic anda',d p“c semi-satirical songs promises or predictions were available. “In these were these aPe aa greatly days,” said one radio official, “not even the most tte M to pTop^s^ a song for air know more than a - sample, as popular programs on the 5 '' Without ‘." week ahead of time what their advance programs w“h“’art ™ a shir tbls Program, as will be. Of course, we have other series planned, the national a u! well as disrupt our inten- ° f ”any S°uth A“eri‘ but since so many things could can c“es P 1 am ° f lour~ cannot give you any information as far teenth is the tions, we titled tLThc Topicalt °fs Songs (7 800-1850). ahead as you need it to inform your readers.” These are tl, Brew Take the popular Columbia-network shows of expanding world^AhpN’* out of the United States Kostelanetz and his Orchestra (Sundays, 4:30 to first half of thn in the 5:00 P.M., EWT) and The Family Hour, which fea- the growing Wlth and his Or- 5 5°°ial and tures Gladys Swarthout, A1 Goodman political life, song books Commentator Deems of eTery and chestra and Chorus, and description poured from thetb„ presses of the Taylor. Neither of these shows knows more than country. The shppf ™ ^ a week ahead what is going to be done. Kos- veloped an'd ^ ^sNTort^° the growing telanetz knows he’s going to have a soloist two pams of the nation „ does not necessarily know music. Songs reflected in its weeks hence but he from all Te t- would try, °nS of the coun- that soloist’s name. And so, although we songs of work and nf expect to import, °* rellgious tell our readers who they can are to be like to heart In “th?th such program on such and It can be broadcast - hear on such and a readiiv seen . Whenever 11 the such a date, this is not always possible. of Music Of fho programs Now vv’lYd are we can present the information, we do so. interest. of unusual doing Speaking of The Family Hour, this show is The Good Neighbor Pnn«, •. present haS “ good work. Not only does this program Pily pursued in been hap and the past IpZ Miss Swarthout in operatic arias and songs EUGENE ORMANDY ensemble pieces for the singer and the chorus, but it along with selections for the orchestra, sketch from 5:00 to 6:00 P.M., EWT, will be regularly pays tribute in a short dramatic di- peoples of the war, and rected in all its concerts this month by Arturo to the various suppressed Allied armed serv- Toscanini; and the Sunday afternoon broadcasts also to various branches of the the Spalding, the violinist, has left of the Philharmonic-Symphony Orchestra of weeks S g 111 alt ices. Albert in the United state* ei ernate hour, and Ted Cott has recently New York will be under the direction of three aad Brazil. Kostelanetz day program called The Mon- ceremonies. different conductors. Dimitri Mitropoulos Mu « joined this show as master of is and °flers classica popular music- Tt l year has several scheduled to conduct the concerts of January • features”'''teatuies The Metropolitan Opera this 3 soloists. an orchestra and organization refers to and 10. In the former program the noted air representations. The Bra- step is the zilian pianist, Claudio Arrau, will be the three steps. The first heard as lta ' these as Series Gl ea ‘ Artist Opera Auditions of the Air (Sun- soloist. The program of the tenth will be an all- Metropolitan "week and S lest s°l°ist one. In Donald ’, each 6:30 to 7:00 P.M, EWT, Blue network). orchestral the concerts of January 17 and Voorhep* days— Ohio BeU Sym - young aspirants to the 24, the announced leader is Fritz Reiner Orchestra Here, as in the past, of the f iTZSrTJ**H61' Programs are e agaiu tlle are given an opportunity to be Pittsburgh Symphony Orchestra. Reiner’s not scheduled Metropolitan first lor us *f ai from which concert will be an all-orchestral to give the enouSh ahead heard and to compete for the finals one, while the names of tu ' t0 are chosen to join the second will feature John Corigliano, m°nth s r be heard several singers each year assistant con- P “Bram°! Association. cert master of the orchestra, in a violin N^ ranks of the Opera concerto' an t a‘ber oboeist’sAn ’ heat Step is called Metropolitan Opera, ™ey ulu rationing, nor The second blladelp n S “ on Thursdays from 7:30 to f hia £°d the Pltch ot the us i It heard Orchestra in n is spon e Mutual S Fliday EWT, also Blue network, and networks concerts over a-'nn PM luc been ase Opera Guild. This program is one RADIO ‘ ed electric °f a sPeciall con- by' the f tuning ri „ y sored of the i this V1Ce young contracted singers orchestra ’ made exclusively which features at the re gene Ornrandy °I its conductor, "FORW'ARD MARCH WITH MUSIC" y ' (Con^nued 14 on Page 72 > the etude Music in the Home Recording Indian Music Miss Frances Densmore has devoted the better part of her splendid talents to the recording of Indian musical lore. The Government has now issued a pamphlet through the Smithsonian In- stitution giving a general idea of her technic in making these precious ethnological records of a The Etude rapidly vanishing primitive art expression. For over forty years Miss Densmore has visited vari- ous tribes, employing a diplomacy and psychology worthy of an ambassador to the Court of St. James. Music Lover’s Bookshelf Her experiences have been exciting and pic- turesque. First, she has to set the stage and at times prepare the none too cooperative victim. Any bcok here She writes: reviewed may “Let us suppose that such ideal conditions be secured from THE ETUDE MUSIC exist, that the equipment has arrived in perfect MAGAZINE at the price given plus ‘office,’ the order and been set up in an that postage. singer is willing to sing, and the interpreter is seated beside him. Perhaps the man wants to smoke before he sings, which causes a slight delay. I usually ask the brand of tobacco that is popular in the tribe and provide a package which is duly presented at this time. I pay the singers Werditk Cadman in cash at the end of each day, and sometimes at the close of each song. An argument always arises as to the price, and I explain that I have the same price in each tribe for general songs, nothing to do with my work. I have, paying a higher price for certain classes of per- “Indians rarely sing alone and generally have a would have recorded both the old songs of love sonal songs. It is hard for an Indian to under- percussion accompaniment. A medicine man may however, magic and the modern love songs, as they are stand why a song that was worth a horse in sing alone when treating a sick person, and under American Indian.” the old days should be recorded for the small certain circumstances a man may sing his per- part of the music of the “The Study of Indian Music” price that I pay. A Sioux once offered to record sonal song at a gathering, but as a rule Indian singing may be called ensemble music. By Frances Densmore Report for 1941) “Psychology enters largely into the work of (From the Smithsonian 527-550 (With 6 Plates) obtaining the old Indian songs. The singer must Pages: 3671 always be kept at ease. This is essential to suc- Publication Publisher: Smithsonian Institution cess, and one must learn when to urge a singer and when to let him relax. Care must be taken that the form of a question does not suggest an Secrets of Voice Production answer. Through faulty questioning a person could obtain astounding statements from an In- When musicians speak of voice production they dian, as he might not understand the question almost invariably think of singing, although not or might be too polite to differ with the ques- more than five per cent of human utterance is tioner. musical speaking or singing. Edwin Hopkins “Women singers are much less in number than comes forward with a very practical book, men. Women might treat the sick with songs, or “Secrets of Voice Production Self-Taught,” and exercise other power received in dreams, but the although it is designed to help speakers, it per- number of such women was comparatively small. tains to the most neglected part of voice produc- In some tribes a few women sang around the tion, the proper communication of thought by drum at dances, sitting behind the circle of men properly enounced words. It is filled with self- and singing an octave higher. The relative num- help exercises which should be very valuable to ber of men and women singers is too large a the singer and to the vocal student. Moreover, it subject for present consideration, but mention is told without much of the usual artificial jargon may be made of two classes of Indian songs that affected by “vocal specialists.” Properly used, it are popular. These classes are lullabies and love should be very helpful to the ambitious singer. songs. I once asked an Indian singer about lul- “Secrets of Voice Production Self-Taught” labies and he replied, ‘The women make a noise By Edwin Hopkins to put the children to sleep, but it is not sing- Pages: 110 ing.’ Price: $.75
“The other subject to be handled discreetly is Publisher : Edwin Hopkins the love song. This is not a native custom and is usually connected with evil magic or intoxica- tion. Love songs, in the old days, were sung to With the Sound Waves aid intrigue of various sorts, accompanied in Investigations of acoustical science in America some tribes by the use of figurines or other have been somewhat extraordinary, because in Blowing Whistle Robert Henry, Choctaw Indian, ‘charms.’ A Papago said, ‘If a man gets to sing- addition to employing a scientific technic in Used For Success in Ball Game ing love songs we send for a medicine man to some instances more exacting than that of Teu- make him stop.’ In all tribes it is said that the tonic laboratory workers, they have, at the same said love song, in our use of the term, came with the time, been more inventive and imaginative and a song that would break the drought. He if the advent of the whites. In one tribe I was warned have been more definitely aligned with the high- the dry summers would not have occurred Government had let the Indians sing their rain that if I recorded love songs, the fine old men est of aural arts—that of music. Wilmer T. Bar- as tholomew, M.A., M.Mus., Fellow of the Acoustical songs. He said the song would ‘work’ for me it. Society of America well as for an Indian, and he wanted $50 for and Instructor in the Pea- According to him, the song was cheap at that body Conservatory of Music in Baltimore, comes the forward with very finely price. Needless to say, I did not record song BOOKS a balanced work, and the drought continued. “Acoustics of Music,” ( Continued on Page 72) JANUARY, 1943 "FORWARD MARCH WITH MUSIC 15 — l U
Music and Study
How to Concentrate Do you know of any good method The Teacher’s Hound Table whereby one's power of concentration may be increased and developed? My inability to concentrate both while prac- ticing and performing is the largest single factor in the way of my progress why their letters remain unanswered. a pianist. I suppose it dates from uefed Monthly as Cond So, just give thanks to high childhood when parental authority re- heaven fer your boy. quired me to practice an hour a day enjoy him to the full, leave base- often when my mind was on the him alone to chew his musical cud in his by preference. At any rate, B y ball diamond own way, and just hope that the inner constantly find myself, when plaving I urge toward finish practicing, thinking about things r and perfection will or manifest totally unrelated to the matter at hand, YtU‘ itself in his later ’teens. and apparently unable to do anything ut attention back t about it except jerk my 2v. Q it wan- to where it belongs—only to find Noted Pianist A Memory Check-Up dering again in a few minutes. I have and 1. Does a feeling this is not a difficulty pe- Music Educator “visual memory" mean seeing the music culiar to me alone.—H. B„ Illinois. page in your mind’s eye as you play?—D. A.. California. 2. Can you You should have labelled your com- give us some helps in mem- ory work? G. munication “confidential” and signed it — c.. Montana. 3 What constitutes being with a nom de plume. For this is one of piano. And how about some of Victor ones sure of memory? a. w. k.. Louisiana. those problems which defy intelligent Herbert’s lovely melodies, Powell’s Banjo Pickers, Gershwin’s I’ve persons from maturity to dissolution, but “Preludes,” Guion's tackled the subject of memorizing bear Harmonica Player and his Brother Sin- and memory aids which they blush to admit. So they so often that I just silence. killer and His Flock of Sheep, Cadman's can t go into their concentration weakness in the matter again. But you acutely From the Land of the Sky Blue can check up But never forget—all of us suffer Water? on the old question, "Do Heavens! the list is 1 eal endless. . . . >y kn from the same ailment! °w this piece by memory?” by Correspondent with this Depart- What a captial idea satisfactorily^ Why is sustained concentration so dif- s for teachers who answering ment arc requested to limit Letters these points: Simply because the are looking for something “different” and 1 play ficult for pianists? to One Hundred and Fifty Words. the Piece from begin- complications involved in appropriate for their Spring recitals! nin- d ' tremendous ™ Vei y sl °w ly, tightly without piano playing—the split second pre- And don’t forget to wind up the pro- ookinv , lme ' anywhere gram with at my hands cisions, the complications of eye, ear, some truly great song like or the keyboard?v Y you are so absorbed in thinking that you ‘‘The Breaking Wave'S touch and quality, the rhythmic com- Dashed High or 1 Play the have to think about concentrating left hand alone in a hundred other hair- don’t America, the Beautiful. the wml plexities, and ay: that is ’ irom fitst meas- breadth mental and physical coordina- at all! £e toTast Like the rest of us, who have devel- S6CUreIy and With - tions—make for swift confusion and Z heS oped this technic of short, intense con- A Rapid Reader fatigue. 3. How about the centration in our practice, you will soon Please advise me concerning right hand? And, what, if any, are the remedies? a boy a that you need never worry about pupil twelve years of age. m c°mfortable carry through some find He reads from E chair away You have only to music rapidly and accurately, concentration during public perform- no matter 1 °Vel' clad resolutions: three -° aU these simple but iron liow difficult, but soon tires of a piece processes°tam ance, for it, too, will become automatic. “ my mmd? before ” That ls ' can 1. Never practice longer than five min- memorizing it or before making I actually you, it takes terrific . . . But, I warn it sound finished—that is. utes at a time without taking a turn or without get- strength of character and determination ting the correct interpretation This is to restore He is two around the room. not satisfied to stay to put through this plan. Can you stand with it that lone physical balance and mental poise. Stand What is the right thing to It is not gaff? I hope so. do; require enough arms swing, breathe deep- the him to stay on something oYnotTTessaryTo “see” erect, let your until well- music finished, or let him explore as 5- ly, walk loosely. he like* gers-oTke^ P*£ST2t£l to do? I want to do art the keyboard what is best for must ba visualized, 2. Take your hands off An "American Home" Program him in the future. Do Doe thY you think he will Seem very ofte- as possible during practice. . . . snap out of this mechanical, far- as been asked to play on a pro- attitude as he fetched m- I have older gets 1 58 1316 your pieces in and realizes that a t0 you? right ’ With i\. 1 crayon mark gram called “The American Home." As piece of music then AU is more than don’t d^ ?lt ! just ’ short phrase groups of two, four or eight one number, I am doing Guion’s ar- merely playing the If ° Use your own method, correct notes in the you ha vo , in lap read rangement of Turkey in the Straw. Could right time; or 3 better way with hands do° ’ sh00t ifc along measures. Then, you believe, if allowed to ^us Bin- you suggest numbers typical of other to have hk3 L and accurately It will "" ' that a group through silently country?—M. B. T., be detrimental to him while won ’t you, sections of the in" \ lec eyes only; or with eyes closed, go cal way? Mrs. A. D. M„ * ge of harmonic, melodic with Michigan. L„m 5 , a ,£ and formal T. Then CtU1' through it thoroughly by memory. for e iS a necessary pr0P corking subject for a program, 1 0 must memorT XtiY ls play the group perfectly once; at the What a clarity 1,1 not sufficient to make ;/ ? y°” o™ US "know n’ drop arms to lap and especially at “dis juncture” in our land’s mindnTT the long range finish immediately objective of the thorough’ We Cannot be t0° who tackles it will boys piano study. rest them there. Before repeating ox- history! Everybody What good CdeTY"detailed in will it do order and too secure possibilities; for an him a his to ' ro the next group, start all over find it bristling with age to memorize of playing pain ulfv ^ fearsome s Pectre program list includes "finish" Memory with the “silent” process. Always “American Home” and hate a few Lapse again pieces when hil of the best ways to the entire field of American music. emotional urge is remember that one apparently saSfled is to get away The recital might be divided into sev- with accurate S learn to play the piano note reading aim m eral periods—American Home Music in articulation? What ear NeW Teachin from it! harm can com J 9 Matt in Days, Home Music twelve-year-old ° a 0a 3. All rapid practice is to be done Pre-Revolutionary who reads muslcY-lS1C ( in? nend some technical pas- During the Civil War, Music in an Amer- ever difficult” vnn V how- pieces’ "f™’St n impulse groups. . . . Divide as use for ” materli" wh patterns of even as little ican Home at the Turn of the Twentieth browse along happily ™ see onrt sages in short during C„ thlrd y“ r on. Or it might be called cial th“ cru- New“tr as two or three notes. Use the slow-fast Century, and so years of his life? isiY ‘‘“if f, tter of practice, in which the arm re- “Home Music in Grandma’s Day,” “in him to explore for method (as you s 0 sntY t each slow or Mother’s Day,” and so on. fresh fields, CaI1 111 eC° to lap at the end of broadening SivesT nd and 11 bounds his mT- l Use the “silent” You have hundreds of selections to look, ° oT„f'ieway played impulse. absorbing ail T" UU ’ doesn't fast varfetieY you do not m (2) gradually com- choose from. Don’t forget to include some constantly described in ; improving mus ic. eTOU method J , you mean impulse groups into longer of those lovely, dignified old hymn tunes Playing facilities, aadmg and eighffc.V'Y short S ' bine enioMna twenty such 1 by early American composers, some Negro the way? Later, slc al pieceS aT clusters. . if °ng 61' 1 ' „ . hetovS’ aad highly 1 sections of pieces only spirituals which have just recently been and yearns recommend: 4 Play longer to’ expre ^ plan With green or tastefully and effectively arranged for piano, you VlaW 6 according to win have no dim Y the Sails: Brown complete sections ot piano solo, some Stephen Foster songs, him along CUIty BrownTcJTT crayon mark that leadtog ‘ D “’,ce vellow ‘'finishiiw* Riel ’ Tscl or whole pages, up to some American tunes of the West, like All of us Way STS the piece-half can counTon Sing cker Suite: and so on. Play through Westward Ho, On the Trail, Pony Boy, our hands, thTfiflngers a Z double bars, the few stnd»f of Breeze Sail°r; Sadie: stop, drop hands to or La Paloma; and don’t overlook the natural, Udet j section once, quick> e who are "^^s-*** each ead Y? Time; l turn about the room. Kentucky Mountain tunes, or There’s a ity Of lap and take your them are major- Pattl Turkey Grandpa’s Farm or eternalal Holst— son—Tar, what you are doing? on Arkansaio respect Pioblems -Off f n T, Now do you see In (act in that combinations Traveller, Kankakee River, or the Sousa *”9 Along- Seuel-Hc means of these various about the number uch worried Gi By and Marches or MacDowell’s Sea Pieces of S" ^ stimulation and 15 activity and rest, Round Tablets sent to by of laige and “New England Idylls,” or some of those asking , thought and action, tortoise-slow ays *o ab calm amusing sentimental pfoS Y turn 0rSemen ' coordinations you are selections that readers. s ^ M'a‘wfa Ket muscular I’m hare -f Rov smSi fact, Great -Grandma played on her old absolutely ast r~Ne automatic-in square "bat to at a ? -The °roLu makiig concentration tell the kn M*TTJ v,,te baffled te«che ™ the Mist- - Frost- ' f h3t S K ™™~ 'FORWARD MARCH Oepetto's Spo°*s: 16 WITH MUSIC 'Toy S
THE ETUDli : .
Music and Study
Mexican Musical Folklore
ly Otto 'Yl^iciyer-Oscr >erra
USIC IN THIS COUNTRY is a sixth sense.” The "Corrido" “T^ /f Calderon de la |\/| In these words Mme. In the corrido the popular muse treats of all of Spain’s first Barca, the Scottish wife events that have left their mark upon the im- ambassador to Mexico, summed up one of her ESTRELLITA agination of the people—whether it be the elec- capital. The A Mexican Love Song profound impressions of the Mexican tion of a new president, the assassination of Leon follows in the footsteps of modern tourist who Trotsky, or the “miraculous life and death” of its find that little of this that distinguished lady will greatest composer, Silvestre Revueltas. The devel- probably related to that of the Andalusian ro- the intervening century. the corrida* has changed in opment of the Mexican corrido to its definitive mance known as In its musical sub- intoxicating effects On his way to sample the form occupies the entire nineteenth century. The stance too, Spanish folkloric influences are suddenly find the road of pulque or tequila, he will unbroken series of wars, revolutions and military decisive. This affinity is at times very marked as mariachi who will insist on blocked by a band pronunciamientos gave rise to innumerable cor- in the cases of the beautiful Mexican ballad: choicest numbers of their repertory. rendering the ridos in which the victories and defeats of the downtown streets are in- Roman Castillo In the afternoons the popular heroes are sung. From! battle to battle, chords of the marimba: vaded by the resonant from rebellion to rebellion, at no time was an Whither bound, Roman Castillo, drag their oversized xylo- the players laboriously appropriate and opportune corrido lacking. And Whither bound, unhappy one? cafe where they give vent to phone from cafe to when the corridos had finished singing the glories virtuosity its wooden slabs. Not an astounding on of battles, they turned to the feats of soldiers "fex.I hours of the morning is our even in the small turned bandits, men who had learned to look able to enjoy a well-m'erited rest. visitor always death square in the eye and defy all govern- aroused a vas, - On many a moonlit night he will be by ments. Don-dp Ro-man Ca<- ti llo, don-de gallant has com- group of serenaders that some It was not until the turbulent years of the 1910 missioned to perform under the window of his revolution, however, that the Mexican corrido I - « -Hfc=j=a lady fair. reached its highest point. The most popular cor-
vas? Po - de Music in present-day Mexico fulfills a function ridos date from that period and record the revo- bris til the no less vital than the plastic arts. Here, as in lutionary events in their most diverse aspects, In this corrido the melodic line of the Spanish Paris of bygone years, the most sensational hap- cruel and sentimental, heroic and picturesque. model is faithfully preserved: penings in the life of the nation are commented Typical of the corridos of this epoch are the fa- it be said that upon in song. In Mexico, too, can mous Cucaracha (Cockroach) that Alfonso XII Spanish Ballad tout finit par une chanson-, with the detail of just won’t budge another stroke Whither bound, O Twelfth Alfonso, difference that the chanson is known as the because he’s got no because he’s got no, Whither bound, O my sad one? corrido. marihuana for to smoke; (ya no quiere caminar; Ex.2 porque le falta, porque le falta marihuana que fumar;) —the sentimental Adelita in which the soldier Don-de vas, A1 - fon -so do-ce? Don-de takes leave of his beloved: A soldier I am and my country calls me To the fields of battle, to obey and fight, Adelita, O my dear Adelita, vas? Tris - tu de til Forget m'e not when out of sight. In general the corrido, as is to be expected from (Soy soldado y la patria me llama so typical a product of the nineteenth century, is A los canipos, que vaya a pelear, strongly romanticized. The great majority of Adelita, Adelita de mi alma, these melodies are based on a continuous transi- No me vayas por Dios a olvidar.) tion between the tonic and dominant, while their or the passionate La Valentina with its quaint cadences are often characterized by a descending mixture of haughty valor and tender devotion: third (or fourth) Valentina, Valentina, Your slave is at your feet, Margarita If they’ve got to kill me to-morrow, Margarita, Margarita, Let the job be swift and neat. To the bean- flowers let (Valentina, Valentina, us go; You pick the blue ones Rendido estoy a tus pies; And I’ll take them as they grow. Si me han de matar mahana, i Continued on Page que me maten de una vez.) 58)
The literary form of the corrido derives from •From c-or ret (to run), referring: no doubt to its rapid, fluent, movement. It is interesting: to note that corrida is also used the classical Spanish romance, while its name is for SONG OF THE RANCHO bull-fight. JANUARY. 1943 " FORWARD MARCH WITH MUSIC’ 17 '
Music and Study Changes in music education have been as strik- ing as changes in children's clothes and diet. Teachers are realizing that an enjoyment of music comes first, for melodies must enter the ears before they can “go 'round and 'round'' and come out of instruments, or of the throat. Heard again and again, melodies automatically are stored away Public School Music in mind. Once established in aural How memory, an inner urge sets motor impulses into operation to express them. All the child needs is encouragement to play the melodies he loves. The inner ear soon corrects wrong notes for right ones. Scales and Helps the Private Teacher finger exercises do not receive much attention at the beginning. The essential thing is to give children the experience of making music. The enjoyment of this experience draws children to their L respective instruments like V needles to a magnet. Strangely enough, most of these music- awakened youngsters now want to study the piano or singing C^r^dtai lAJaterd to learn more about music and to express it more artistically. They eagerly seek private studios where more attention cal be given to individual needs. Now that the child learn, wants wants to not only to play or sing, or butto play N THOUSANDS OF PUBLIC SCHOOLS music public education think of music as merely enter- smg well, scales and drills are wSlingly°P™- is practiced with imagination and enjoyment. tainment, a “frill,” rather than an essential sub- I The lessons are given individually and in ject worthy of serious consideration. True, music Music Enjoyment First classes, on the piano, on stringed instruments and is “such stuff as dreams are made of,” but it is hi e eCir e com culture. Usually equally true that its underlying principles are to Plet“ itself, and wind instruments, and in voice prfvate stu!lTo h™ f the sch these lessons take place outside of school hours be found in practically all the sciences. In fact, d"enaien ° o1 music. Chil- returntetuin to thetl schoolsV*™ and a small fee, ranging from twenty-five cents music study can be the coordinator of all the and contribute solo to a dollar, is required. science courses, for it provides the practical ap- —ieesenteJ- light on every one of them. — What effect has this comparatively new devel- plication which throws opment in school music on the private studios? To illustrate, recently we heard a man say that deaTroHSnis^heTeTtnom105 SUflered a school days, it was not until he learned Does it cut the attendance? Is the competition in his high in the schools. education Tire private i forcing private studios to close their doors? As a to play scales on his violin that he began to un- M had a “- ference and decided I C schools derstand and enjoy algebra and geometry. A girl to to the- matter of fact, music education in the boards of education resP ectlve and aV t u really is augmenting and promoting the activity graduate confided that she took no interest in struction ClaSS in music introduced in private studios, conducted by finely trained, physics until vocal lessons aroused her interest in d intto the« sch As a result, their activity °ols. is awakening a love of acoustics, then she became fascinated with it. A progressive teachers. It an extent that they haMy t0 SUch music in millions of youngsters which might boy had practically the same story but the sub- demands for private lessons. otherwise lie dormant. is giving every child the ject was anatomy. The motivating forces behind The s“ool,° It a desire for craftsmanship aroused^ joyous experience of making music, and with no musical expression are philosophy and psychol- ence and M ? eXperi' offered by the private ulterior motive. This provides an incentive and an ogy, two subjects made both plain and under- studios n many localities, illumination sends children in droves to standable through their practical application to private that departments join music self-expression in music. Moreover, the study of forces in holding private studios. Frequently a real musical talent tests which musl° con ‘ give impetus to is brought to life, which otherwise might have music trains the ear and quickens aural sensi- the6 causeo education. The purpose 01 music develop- tivity as no other subjects can. It develops of thT lain buried in the community. This new the forth proper ** U t0 S6t the general neuro-muscular intelligence which results in con- ment has the effect of “combing” give stimulation and t0 and muscular coodinations. that lend? en” public, so that music talents may not go un- trolled movements great anc°uragement movements. The results to detected. In many communities, legislators are changing m nitely satisfying if the judge ? more and in the nick of time. They are beginning to be sMM the district who utside Music the Coordinator music is one of America’s has won a ? realize that great allies done reputation having competent work in Time was when music education was denied a in our fight for freedom against the annihilation his fle ri and if he has in addition 10”’ child unless the unusual talent that promises a of culture and liberalism as planned overseas. The a wideTxnMt^exp listening to performances ®nence in professional career was evident. No other subject more we have of it in the field of education, the of th!he con which he is judging. ^est class has ever been considered in the same light. Has better it will be for democracy. More schools each read ever been denied because a child year will provide their students with opportuni- learning to Contests not give promise of winning a Nobel prize or ties to hear, appreciate, and make music. without Prizes did Pnzes and ’riting been limited to those who We adults can remember the days when awards are nn an Oscar? Has private majority journalists, studios alone carried the torch of such given at the had a good chance of becoming poets, of music educa- contests OnnS?®* . for each and every 1 1 lctive comment ’rithmetic been questioned tion, and troublesome times they . or novelists? Or has were, too. In the perform pv j The e 'S the a child expected to become an accountant, first place, regardless of inclination, every judge slmuid only fair re- unless child ins elbow T an engineer, or an economist? No, had to take piano lessons. The to take sten°grapher at a banker, old-fashioned down his M parents and educators have always realized the methods stressed technical skill, and this was practical value of the three r’s, probably because enough to make even the most talented children provid- rebellious. their results are tangible. But what about For what fun is it to practice finger the illusive substance that exercises, scales and drills ing children with before you have a arent £ morale through life? And what practical use for them? Or melodies realizes °, such maintains high so strange P . a contest, a to ned thatTher* .. up an individual's morale moie than heal- the ears that they are haltingly played? as e bas not builds And what nth ®ciently 0r pffo been music? Music making helps us enjoyment can there be in childr ely ing and making converting the sight en as some of the totoM whoTerfm make proper adjustments in a of black specks on white the . M to face life and to paper into the striking Dil ector or she can go changing world. It releases tensions of of black and white keys when music P ait o£ S1C constantly cannot hp o i<; is ter advice. The h , that this T? fear, worry, excitement, and replaces them heard because of the concentration School discord, demand^ educators are can be trusted, self-confidence, stability, and Small wonder that great resistance conference MiMM™d with harmony, to such ta every to attend a music inner security in tics soon ends in year Ih establishes a sense of discontinuing the a f ° poise It less" d most r a tuI1 week, the falling to pieces. and every one in the efficacious t’ world that seems to be family heaves SS6df te Chil16 a a sighea ^or and dem methods are many legislators controlling relief. , the °nstratprf ? Unfortunately PP° rtUnity aCh individual has teache to m| M eacheisr whoseh 6t‘ tb°usands FOR \X ARD .41 ARCH aim , of other WITH MUSIC" hl '•Continued on Page 56) THE ETUDE .
Mrssic and Study
The Singer’s Intelligence
A Conference with
Xa zcir Samoiio Distinguished Vocal Authority
SECURED EXPRESSLY FOR THE ETUDE BY JULIETTE LAINE
After being graduated from the Imperial Conservatory of Musical Art, in Vienna, Dr. Samoiloff sang leading baritone roles in the grand opera houses of Charkoff, Milan to study with Chev. Augusto Moscow, and Odessa. . . . Later he went to Brodgi. Returning to Russia he again sang with the Odessa opera and two years later became director of the vocal department at the Odessa School of Music and Drama. Feodor Chaliapin urged him to come to the United States with him, in 1907, and sent him his first American pupils. During his twenty years of teaching in New York City he taught many noted singers, at one time numbering ten of the Metropolitan’s artists among his stu- dents. Since 1929 he has been teaching with equal distinction in Los Angeles,
and it is interesting to note mat in Jive important mm» m mt m, mr im prizes went to Samoiloff students —Editor’s Note.
in mind the teacher will insist upon his pupil’s train- his natural voice is he should bear ing being as complete as possible, and fact that it is only one of his qualifications. He musicianship is if the pupil is equally sincere and am- should ask himself whether his bitious the results will be highly satis- all it should be. Can he read music at sight? Has factory. he a good sense of rhythm? Can he carry the But supposing the teacher is care- vocal line accurately against an accompaniment or does the accompanist less and indifferent? If the pupil is that gives him no help voice part for Whether his equally so, and fatuously imagines that have to play the him? musicianship, stage presence, acting teacher calls his attention to these details or not, intelligent student will make sure of them and ability and all the et ceteras will some- the such deficiencies. Sight reading can how come to him without study or effort, will correct learned, and a good sense of rhythm can be or that they can be “picked up later” be acquired by careful practice, either alone or with SAMOILOFF WITH PRIZE PUPILS just prior to his debut, the matter is DR. an accompanist who will play strictly in tempo Margaret Phelan (soprano) led eighty-two competitors for the hopeless. Miss and not humor him. privilege of singing at the Hollywood Bowl with the Los Angeles Sym- Suppose, on the other hand, that the (baritone) the five hun- Since nothing is of greater importance than phony Orchestra last year. Robert Brink won pupil is both ambitious and willing to dollar prize in the Metropolitan Opera Auditions for 1942 and the student’s voice should be correctly placed dred work hard, yet is learning very little. that this year sings leading roles with the Philadelphia Opera Company. volume, and quality properly de- There are thousands of students of this and its range, would seem that the selection of a type, and in their case one must con- veloped, it teacher would be the problem upon which the VERY YEAR, in selecting the winners of the clude that their lack of progress is primarily their would most fully apply his intelligence. Metropolitan’s radio auditions, Mr. Edward own fault. They have heard, repeatedly, that in- student yet Unfortunately this is not always the case, and a E Johnson is careful to impress upon his lis- telligence is quite as important as talent, pupil who may be as coldly calculating and as teners the fact that these young singers are not they were not applying this intelligence to their shrewd as possible upon all other matters will chosen primarily for the excellence of their voices. own problems! remain with a teacher year after year despite the Many other important qualifications are taken Self-Criticism Important fact that his voice is going to pieces instead of into account, explains Mr. Johnson, such as the see progressing. Perhaps this is because he has always contestant’s musicianship, histrionic ability, stage The student must develop the ability to been told that it takes years to train a voice and deportment, and his previous experience. himself, and to hear himself, objectively. He must that it is best to “make haste slowly.” Perhaps it Quite right, and we all agree. But how many criticize his own qualities and his own shortcom- is because his teacher has charming manners or young students are actually learning these things ings as honestly and as impartially as he would good a very beautiful studio; or maybe it is because instead of merely taking them for granted? And those of a fellow-student. No matter how the teacher once had a celebrated singer a is it the teacher’s as if they are not learning them pupil, or maybe it is just because he is “sorry for fault or that of the pupil? him.” All interesting reasons, but they hardly It is naturally impossible to generalize about warrant wrecking one’s career. Too much is at the matter since there are all kinds of teachers VOICE stake not to be extremely careful. and all kinds of pupils. Certainly a reputable HRSillHHIiHnHi JANUARY, 1943 "FORWARD MARCH WITH MUSIC 19 : — ‘ _ \
Music and Culiure “The Music Bordering Nearest Heaven"
Bell Making and Bell Hinging No matter what his original reason for choosing his teacher, the intelligent student will give close attention to his own progress and the condition if 2b, _ALn C. Wllte of his voice under this teacher, and will act Charles Lamb called the bells "The music bordering ” accordingly. If the teacher has a good method and nearest Heaven the voice is a normal one—meaning one which HE METHODS OF MAKING bells, employed has not been previously strained or damaged absolute sweetness and purity. The Taylor inven- student’s progress should be rapid and almost by the founders of bygone days are not tions and the improvements in bell-hanging and fit- Tidentical with those practiced to-day; often tings and immediately apparent. If such is not the case such as the balanced clapper, the Hasting, gaining in resonance and volume, times the bell-founder would travel from place stay and if, instead of iron slider, the cast-iron curved heat- voice seems to be losing color and some of the to place, casting bells as required in the church- stock, and others the are often too technical to be tones becoming difficult, or if practice induces yard or a nearby field, and it is not unknown for widely intelligible; but it is interesting to know hoarseness and need for frequent clearing of the bells to have been cast in the church itself. Upon that the many “marathon” feats of bell-ringing throat, then surely the pupil’s intelligence should a circular baseplate, secured to the foundry floor, in recent years have been made possible by the the “core” is built up of brickwork coated with warn him that he is on the wrong road. Such Taylor all-meta 1 bell-frames, patent ball-bearings difficulties are nature’s danger signals, yet I have loam, being given the required shape by means of and 0"110® like those ust the appropriate “strickle,” which revolves i mentioned. known students who admitted that a practice around f™he I5 hUng 0n a Pivoted beam with a period of only twenty minutes would cause such a spindle, the lower end of which has a bearing wheelwb „ attached,ri , the bell may "be swung until hoarseness that they could not sing longer; but in the baseplate, and the upper end in a bracket n d by falling °f the Clapper against projecting from the foundry wall. As each coat of the instead of leaving a teacher whose method was so rim tn d 2 Said to be “ run S." whereas if it faulty they remained with him year after year! loam is roughly shaped the “core” is dried before remainsrem’arn^ i I? stationary and is struck the application of the next coat. Meanwhile the by clapper or hammer, it is said to be “tolled.” Principles of Good Singing cast iron “case” (which contains the mold prop- Change ringing is the process of sounding a set of bells n is form of black magic. There is er) , having been coated internally with loam, is ?S- Singing not a Without similarly treated by means of the outside “strickle” to a sit a true and infallible method, and it can be mas- tanfwhuTiTbtune, while, with a“Tset covering an octave or more tered by anyone. To “focus the tone in the head —inscriptions and emblematic devices being im- e endereCi “ Iar as mold; the mold is actual7ale cavities” may sound like an empty phrase, yet it pressed in the then allowed to perStT Beu ri dry. When both “case” and “core” are thoroughly is one of the two most fundamental and vitally cultivated in the 12 caries important of all the principles of good singing; dry they are assembled, the case registering ac- (ShSlaS the other is that form of breath control com- curately concentric with the core. Case and base- “f monly called singing “on the diaphragm.” Granted plate are next securely bolted together. The Latin that the majority of teachers frequently remind copper is melted in a reverberatory furnace, the rtSSaf? ' ZeZeTso students of these two fundamentals, the fact tin being added just before casting. For the aver- remains that too few actually teach how they age size bell a day is allowed for cooling, after several sometlmes 'where bells are soundedd byhv may be attained. If the teacher is unable to show which it is removed from the mold and blasted. winging) by having a ringer for each bell- the student how these things are done then he is The bell is then sent to the “tuning machine” of metimeS by some SOTt barrel-meclranism » i well he may know where the lip is “skimmed up” either on the inside 11' operating; not a good teacher, however and sometimes by means^fTk^n their importance. When a physician, through or outside; to raise the tone, the inside of the board. keyboard °r lever- The playei % CJJ ignorance or negligence, sacrifices a patient’s life rim is shaved; to lower the tone, the rim itself is beU'ringer” or carillonneur. A piece esoerdoi^ he is punishable by law, but what of the “teacher” pared. The boss on the crown of the bell is then is sometimes y Pted t0 bellS calfed a carillon whose ignorance and malpractice destroy at the drilled to take the cast iron headstock, the latter h outset the brilliant career which his pupil might carrying the trunnions on which the bell oscil- Ch and ben-rinXTlt “mean? “Be “ging otherwise have had? lates. This, of course, is for a bell intended to be express 6 USed the sets of "changes” ™ t0 rung in the English manner; and further gear in h.,, ' nngmg minor, six bells; bob mainr ' Bob Tried and True consists of the “wheel” and “stay.” All the lght bells bells ten J bob bells; bob maxiuma t™’ f royal, of the “ring” having been so fitted, In my lectures on tone production I often state they are VbbelIS - (2) Of command in heiri”gmrc A word that with proper placement any voice can be im- assembled in their frame, this being done in the 168 WaS used when changes were the ierm proved to an unimagined degree, and that it can workshop to ensure that all will fit together cor- mnj" Change ' ringing is practiced bellS be done in two or three minutes. The audacity of rectly when assembled in the church tower. whenth^™theie than three bells are more bell-founders Six Pi1ailnI this statement stretches the hearers’ credulity The first were monks, but later three be rung bells, twenty four * I ask that some- the work was taken over by a merchant chane onnn? to the breaking point, yet when guild, and so the * our bolls, and number , primitive quadrangular increases until one from the audience come to the platform the the bells made of iron tWelve 479,001,600 changes are bells statement is proven to everybody’s satisfaction. plates riveted together were replaced by bells po“ibTe enough to calculate H ls sim le the foundation stone of made of bell-metal and cast in the the numhe * P The exercise used was shape current can ° £ be rung on a chan ses that the' Italian Method and was taught me by to-day. Church bells are regularly shaped like given m,!? Old an the bells bellS ' Multi ly Chev. Augusto Brodgi, of Milan, the foremost inverted circular cup, but with a flaring mouth progressively—suppose h P bells; twice one there are twelve time. It is simple, easy, and miracu- having a pendent clapper inside or a are teacher of his hinged ham- Sixes two'thvnT*e are tw os are six; if done correctly. I offer it mer outside, or both. Johannes twenty-four- , four lous in its results— de Stafford, Mayor hundred we of Leicester, England, had a bell-foundry and twenty nty-fours are one herewith there in be and ° required ne ' °ne Beginning at a medium pitch, sing “ah.” Sing the middle of the 14th century, and the present to work dav man would years, striking ni Sht you are accustomed to sing, with moderate firm of John Taylor and Co. is the direct one for ninety-one it as descend- “mute hund, * listen keenly to its color or quality. ant of that early enterprise. This in order and twenty bells a volume, and firm, which is to run th “white” and recognized combinations The tone will almost certainly be as the world’s greatest bell- foundry on a aU the Possible set of ‘ has descended from father BeU Ungers Welva bells, lack lustre. to son in the Tavlor in g centuries. ,l° haVe an arpeggio (four ascending tones), family. In 1840 they located in The been for Now sing Loughborough ancient s organized the first two tones which is situated >s one and sing them this way: On in Northern Leicestershire of the y 01 c°hege Youths oldest Lc t- change the “ah” to “ung,” about seventy-five unded etles sing “ah”; on the third miles south of Leeds in , 01 was and one 16 37 . ringers. It , seve mouth well open and giving the g in hundred and twelve miles north “ ‘ keeping the of London In th sail for years aIter the pil the fourth tone sing “oh.” Taylor Bell Foundry 6 Amerio “ung” full value. On scientifically tuned belle „ tbe Tbe Society Of oldest organise- “g” sound as in “go,” not as in first made in modern times Enelfgland, Bell o- The should after toe secret n’e which Rmgers of Halesworth. tone direct it been Dad has bee “George,” and as you sing this final lost for over two hundred years had, in baen The t i 930 a “ existence since 1503. at that point at which the system tunes perfectly to aylor men toward the forehead the accuracv nf 8 ate 5 Pp ot vibration, smgle aSe was only ten whos forehead meet. the five chief “partials" of bben ~ seven ! nose and of 12 ? 11 rihgmg red art the jaw be relaxed, tone consists, a bel1 .. years - The vitally important that both with each other i et demonstrate It is and wun 0 c tec* 1 to on Page 52) ofnf thet.hp restrpef. nf tvio K/viie. ii. with *aPPer bow eas it was Continued of _ those properly open, ( the bells, thus riifr hit ih« i y the mouth ensur er PCe be11 a tones of a b« lazily: apd whet Uon ?t of “toth "FORWARD MARCH • it IS now made in tone produc- 20 WITH almost an ^ MUSIC" lost art. Music and Study
What the Church
Music Committee Thinks
William Clyde Hamilton has sized up the mental attitudes of many music committees and has embodied them in this open letter. Some organist readers may think that this music committee has superhuman intelligence.—Editor’s Note.
DEAR CHURCH ORGANIST-DIRECTOR: the second part. You will find difficulty in this in most young people. They like to be heard and arrangement at first. This type of singer will not seen. We do not advocate untrained voices in solo Your Music Committee wishes for you a suc- be able to read the second part as easily as the parts in the church service. In fact, we would like side will cessful year! In order that you might understand first part. A few coaching lessons on the for you to keep the solos down as much as pos- our position and our desires we are writing you help. It will be difficult for her to sing “under sible. The solo voice tends to create an interest in the voices” care exercised to the singer this letter. It contains suggestions which we top and should be and the solo music, and we are not is Trouble will be en- desirous hope will be helpful. Please do not construe them see that this always done. of that. But, in order to get your best as orders. countered in this type of singing too because of results we realize that these young people must For the past several years there has been an the fact that a second part is a harmonic. The be given an opportunity to express themselves in increasingly more difficult job for the organist at soprano who has been used to leading the singing solos. We would like for you to suggest solos for our church, and, in fact, every church. Because did not have to bother with blending. Usually the them, buy them (out of church funds), and if of the war it is now necessary to make many other three parts blended with her. Now, in addi- possible teach them to the young people. Let the changes, and in some cases to adopt makeshift tion to reading new parts she must feel herself in pianists in the Sunday school accompany them. arrangements. However, through it all we do want a complete blend with other voices. When you Their solos will be restricted to the Sunday school to keep our music at its high quality with the begin this arrangement be sure to spend a few but you may rest assured' that they will enjoy least amount of effort on the part of all who minutes of each rehearsal and each coaching themselves and be heard! It would be wise to make it possible. lesson in teaching this part as a harmonic. It have a small musical about once every three Tenors and basses are at a premium. The would be wise to teach a little harmony, partic- months in which every member of the choir, both churches that can afford to pay larger salaries ularly the physics (mathematics) background, to young people and adults, who want to sing solos are getting the best that is left. Many choirs, like the singer who is changing her position in the will have an opportunity to do so. We cannot ours, are having difficulty in getting even one choir. stress this too much. It means much to them. bass and one tenor. Usually, like ours, the number Value in Personal Calls It will keep them interested in singing and in- high. can terested in the church. As far as the young people of sopranos and altos remains What There are many men in our church as in every suggestions in the kind spirit are concerned that is exactly what we want! be done? Accept our church who like singing and who have had some About the music that the choir will sing: Please that we offer them. experience in singing anthems in parts. These remember that we do not want operatic arrange- men will be of extreme value to you in building Use Material at Hand ments, music that is extremely contrapuntal your programs, particularly at festival occasions. utilize you have here in the (with few exceptions) and music that cannot be First of all, what They will not be able to sing all services nor dif- standard and done without a great deal of effort. By all means, church. Secure arrangements of ficult numbers, but, their addition to the choir for women’s be sure that the choir knows the music and that new anthems that are published on certain occasions will be of great value. To three-part numbers and they do not visibly count time. voices. Start out with interest these gentlemen in coming into the choir build up to women’s quartets and even larger it would be well to call upon them personally. It The Organ Part of the Service groups. A wealth of material exists already for is much more difficult for them to refuse when of music and more and more will come We have said much about the choir. Now, about this type you call on them in person than by phone or by the press in a short time. Care should be the organist. We realize that you have training from letter. When they have agreed to serve be sure to in the choice of this music. Some facts to and experience. We realize that you can play taken invite them to your home, if possible, or to a in choosing music for female voices acceptably a number of the more difficult organ remember social gathering in the church. that are not compositions by Bach, Widor, Vierne, and other alone are: First, choose selections In the Sunday School we have a number of taxing, and that do not great composers. But, we would remind you that too dramatic, not too young people: boys and girls whose voices have all through them. When the the church is not a place for a concert; that the have forte passages just changed. They are too young for military is reached it will sound service has one purpose: to create an atmosphere climax of dramatic music service and are at home. They have an interest in female voices. Choose in which the congregation will be inspired to be- thin when sung only by singing. Our young people’s workers will be glad singers that you have. come closer to the spiritual consciousness. There- your music for the type of to welcome you«at their services in the Sunday group is the softer, fore, we ask that your preludes be chosen with The best quality for a women’s School to recruit new singers. It is natural that of song. Lift Thine this view in mind; that you choose music which melodic, and moving type their voices will be inexperienced. But care and “Elijah” is a typical is melodic, harmonic, and sincerely beautiful. Eyes from Mendelssohn’s long-suffering teaching will make them an excel- This would eliminate from the service such com- example. lent addition to our church music set up. Choose the placing of positions that have extended pedal passages (we Extreme care should be taken in anthems for them that will not be so difficult that correct part. The top know you can do them), unharmonic modula- the various voices in their they will lose their inborn interest. softer voices, capable of tions, and extremely dramatic climaxes. Be sure sopranos should have We call your attention to a trait that is found that this taking high notes at very quiet tones. They should music always ends in a quiet manner as of sing- if it faded into what is to follow. float above the other voices. In this type A Bach chorale would be excellent ing the heavy, dramatic soprano so accustomed provided there were not too must take a many variations but the Great Fugue to leading the hymns and anthems ORGAN in G Minor or the Toccata back seat, in which instance she will have to take in D ( Continued on Page 66) JANUARY, 1943 "FORW ARD MARCH WITH MUSIC” 21 — f
Music and Study
HE MUSIC EDUCATION PROGRAM as con- ducted in the public schools of to-day repre- T sents an important cog in our great wheel of modern education. That music education has The Music Education Program contributed nobly to the curricula of our schools is obvious by the excellent performances of our school musical units, and by the increased in- terest and appreciation for worth while music by of the Future the youth of the nation. That our school music program is fulfilling its mission and objectives in the schools is realized by most of our educators and school patrons. If the above mentioned statements are facts, lif WilL.n 2). RcuJh (and your author sincerely believes they are), it would seem that our music education program would need only to continue its present philosophy and program in order to insure its place in the post-war educational curricula. Although no one can predict with certainty just what changes will occur in the future education program, it is f° rthcoming- ^en it will almost certain changes will be made, emphasize this that many phase of its program. pro- changes which will probably affect many 6 6 ,” 086 Wh0 would raise their eyebrows grams as now conducted in our schools. It would, MM' lale .'i hat thlS IS not the therefore, seem illogical to assume that our music i responsibility of edUCa 1 n deP a rtment, and there are program will be immune from these changes. ^sFZo , i 1 itate t0 accept Education will always be as important in life fesZnSitv v this added 1CU ° f its deman d s. My answer as it is to-day, and while education itself is not to such ! likely to be affected, the future will doubtlessly LsTetto^UMa^wr 1 ^^ 0^ *° ^ p p ’ and we change the ingredients of education as well as the !r as the music educa- tors of thi. , mUSt materials which constitute those ingredients. See to “ tha‘ ‘his re- fnonsfbiMvsponsibility is dulyhT accepted. Difficult to Forecast eduFatos'to ^ mUSi° Just music education program am lndeflnitely what part the but it would : seem logical since will play in the world of tomorrow is difficult to Slnce theytf are the music leaders nf 5 , Up comn forecast. But of one point we can all be positive might ™nities that they afleastat least behf responsibie only those phases of education which have proven lor its inauguration. themselves worthy and essential to the American Questions and way of life and living will be retained as essential Answers In this month’s .- parts of the future curricula. All other subjects issue we Kon answer column. °Ur qUestlon ' and programs are certain to be scrutinized and Please lend William D. UesUons t0 challenged. The position of the music education Revell!, Care of S Magazine, t™ EtUDE Mus1C program in the post-war era will be largely de- Philadelphia PennsvZ D. REVELLI are the 0110 objectives of WILLIAM questions recfFed ™^ termined by the contribution and Z [ “TssuE University of Michigan Bands the present program. The music program of the Conductor. On Arranging future is more or less in the hands of the music for Band necessary to all of the people, we must admit that Q. Can you recommend immediate concern and a tpvt -r™ , educators of to-day. The mediate mentary decided lack of active participation and advanced band ' inter- objectives of our music program are to contribute there is a in L,B,L T the citizens of this country. We must its part in the winning of the war and at the same music by admit that if music education has contrib- time retain so far as possible the traditional ob- also encouraging adult h eX a uted its part in programs, it Uable - jectives of our program, so that they may con- fo.twmrZSSe 1 lite oT the MllltaryMii r has not as yet reached the proper sources. It has Adkins. 2. Band,” H. E. tinue to contribute to the post-war program. “The Fiinriam* * i 3 succeeded only in developing an attitude for lis- Skeat-Clarke-Morgan. Arrangin8.'' The one outstanding weakness of the program 3 “ThFllL ™! tening to music rather than a keen desire for the Any of these books Band '" Gall of the past and present lies in its failure to or- may be secutedsecurer! ? °- making of music through active participation Of The Etude, from the publishers ganize and maintain adult civic music programs. in our civic music groups. It has been too content to teach the youth of are members of the schools, so long as they Classes for Adults student body, and too prone to forget or neglect citizens The future music program must include as them after they have become active adult a wK nWSS -ho. major portion of its activities and Ban. JKSWKSSJMtamienn lor tes! drur Should I be challenged foi objectives, a m,* °anJ, , of our communities. h d?—A. C., Mich civic music curricula which will include such a statement, I would but ask the following instru- vocal classes for adults U the community musical life mental and and will pro- thirty-six 1 questions: Where is inches for e!ghte™ inches thousands vide opportunities and encourage the citizens your bZ” to which I am referring? Where are the of which, if our its communities to participate in the civic civic bands, orchestras, choruses band, 8 temion “fe tensim of he a® thi rat were truly function- orchestra and chorus. It will provide an outlet for hesa wm public school music program and happens the thousands of students graduating into ing would be existent and active? What civic ttSE"** be- life, an opportunity to continue their M students when they musical to the musical life of our communities? activities as a part of the American way of come adults in their respective living If our post-war music education education program of the future program is to «- The music c than ever before to d contribute much more in^tomy haVe b( must mnge ^selmWhhaVe There must be a far first G Whlch is dlfflcu these civic music groups. shovel from « youth program into adult BAND, ORCHESTRA greater carry-over of our must become active Do ’ Call, our citiLns of the future not bee °mla. Se In and CHORUS extendingf 2 in every community. yoiu Z^tely narticinunts of music concerned y and community music Edited by William D. viewing the picture of civic Revell? when music is so raZeZSZ the present time, ^ programs at tone ' "FORWARD MARCH WITH " MUSIC BtS “I your p r , the etude -
Music and Stiudy
E HAVE BEEN CON- poser felt that he had to CERNED with a dis- have all five of his instru- ments playing. In most W cussion of the type of music playable by wood- cases, one instrument wind ensemble, and also of should have been tacet in The Woodwind Ensemble such a passage. the group as a unit. Let us now break down the quintet Following up this point: the fact that the and endeavor to explain the due to particular use and part flute is at home in a higher played by each individual range than the oboe or clar- A Study of Its Basic Problems inet, care, instrument; explain its one must take strengths, shortcomings, again in the interests of peculiarities, possibilities presenting a well knit, nice- and duties to the whole. ly interlocked harmonic L structure, that the flute is The Flute i not too high in relation to The flute in the wood the other instruments. Ex- quintet must be considered cept in the case of short as an essentially melodic runs or arpeggios, and so instrument. Its low tones, forth, the flute should never or be, at most, more than a while beautiful, do not easily Xaurence ^auic make themselves heard, and tenth higher than the near- should be used with great est voice. And it can often as effective, dis- care; in a passage such as be used an “background” one from the Sarabande creet inner voice, beneath the oboe, or clarinet, or even be- by Corelli, they will contrive to be heard. neath both of these instruments. -It Rather than assign low notes to the flute where can blend the nicely right in the middle of the harmonic struc- they will not come through, it is best to keep In the December issue of The Etude, Mr. to ture, because its low and lower middle register flute silent- However, it is sometimes useful Taylor’s article was concerned with a dis- when tones are a fine, unobstrusive background which double it with the clarinet’s throat register cussion of the type of music most appro- will not detract from a solo oboe or clarinet play- priate for the woodwind ensemble and ing above it. Naturally, this usage would be in the various factors pertinent to the basic problems confronting these groups. In quite delicate scoring. this month’s article Mr. Taylor deals with The Oboe the instruments of the woodwind quintet, The oboe is the most characteristic single voice and their function, individually and col- of the wind quintet. It is heard through every lectively. Readers of The Etude will find passage. Its low register is its most powerful and much stimulating information in Mr. insistent voice, and since we know that it is going Taylor’s discussion.—Editor’s Note. to be heard whenever it plays, we must be very careful as to what parts we assign to it. For this reason, it should be given the melody or counter to contend against a single oboe the latter has melody. Nothing is so distressing as a too loud playing in its powerful low register. It is some- register of the oboe, the high section of the harmonic or rhythmic part obtruding itself from times necessary to double the flute and clarinet in clarinet, and so forth. Here is an unusual situ- Ex;3 order to balance perfectly with a single horn or Allegro non Iroppo ation where the flute blends very well in dialog oboe. with the high register of the bassoon, while the Generally the flute should be kept in its middle other three instruments have a sustaining pedal higher registers. It has a great deal of facility and from Andante by A. P. F. is point. Note Example 2, below. Traditionally, the oboe is famed for its use in all sorts of passages, and almost any part spells Boely. in pastoral, elegiac, or perhaps faintly melancholy playable for it. It does not require breathing There is a usage in quintet writing which, themes; that is to say, more translucently, that as do the double reeds. It is particularly effective though employed not infrequently, is weak and the oboe is an excellent voice to use anywhere in light, gay passages. empty-sounding. Often the flute and oboe will be where virility, great power of expressiveness, Solos of a ponderous or grave nature should and as doubled on the melody, an octave apart. This wide shading from to ff is demanded. The oboe, be assigned to it. It is incapable of them, pp not in treble, been virility of openness of harmony the has long with its great power of crescendo, its sustaining it has the least power of crescendo and frowned upon in elementary harmony classes and power, poignancy, and so on, is the logical the five instruments. choice, there is usually no excuse for it in quintet writing. let us say, of the five instruments The flute combines well with all the instru- available, to It might be much better to have the flute and outline a melody such as the above ments, particularly with the middle and high from English oboe on the melody in the same octave. Or, better Country Dance by Wm. Boyce. still, re-group the five instruments so that there Andante cor will be no necessity for this interval of an octave tiSpss -• |jfe£gfe= in the treble. Sometimes, in order to make for 0, “ '1 -v $h=$=*=±?. brilliance and added strength, doubling of the T i P lio/ci’ « Oboe flute and oboe an octave apart is desirable; at [p---— - Oboe such a time, it will be much helped and more if clarinet is Andante con moto tightly knitted together the used, •.Clar.in Bt> between the flute and oboe, perhaps on a sus- a o— J tained tone or merely a light harmony part. oboe been In F Usually the flute and have used in f. Horn octaves when there were only four essential parts ^2 Horns in F 1 t— to the composition at that point, and the com- =*= Andante con noon Bin. Bassoon ** r s* . BAND and ORCHESTRA ~] = p dotec Edited by William D. Revelli F-1~=E3^ r^i EE
JANUARY, 1943 "FORWARD MARCH WITH MUSIC” 7 ’ p
Music and Study How to Increase Your Practice Endurance One Hundred Percent
If Wax J\err
The oboe is also capable of sounding very effec- very PIANO STUDENT knows that after tive in light, fluent passages. It can cut through vigorous practice for a certain period the open and a fairly heavy accompaniment without trouble. close the hand vigorously, counting each E fingers and arms get tired and advance- movement In the foregoing theme (Ex. 4) from Marche until there is a suggestion of exhaus- ment, for the time being, becomes impossible. It tion. Let us Hongroise by Schubert, it is in a very gay setting. say that the subject is able to do it has long been the writer’s opinion that this is a only one The middle and high registers of the oboe blend hundred times. The hand and arm are circulatory difficulty. The blood stream does not then well well with the flute and the high register of the warmed by the effort but the subjeci carry off the waste products of muscular effort cannot clarinet and bassoon; its low tones mix well with comfortably and profitably continue the and a kind of local stagnation occurs. effort. Then the chalumeau of the clarinet and the low tones Mr. Skinner produces a vessel filled It was then noticed that many virtuoso pianists with water and of the bassoon. If it does not go too high where ice. Putting on a pair of rough had the habit of putting their hands first in very bath mitts, which Ex. 5 have been soaked in this ice hot water and then thrusting them in cold water, water, he proceeds to it becomes quite thin—from about massage the patient’s arms to stimulate circulation before performance and vigorously. In a few minutes the during intermissions. Josef Hofmann and Edward arterial blood eS t0 th® surface and the it blends well all around with . venous blood is upwards— the horn. MacDowell were known to have followed some P^ oH t0 th clrculation. The arms Ex. 6 such plan, as did Paderewski at times. f- glow with n wV dH C dl 0n ° f hyPeraemia. The subject Try to avoid going below C. A. Skinner, R.N., head of the hydrotherapy is fhL a b V T ' ftei a ’ ’/ f6W minutes rest, to re- department of the Boulder-Sanitarium (Colo- sume Hp ^ and gnPPmg the low B-flat giving lectures exercises and is often as these foot-joint notes, especially rado) , has been and demonstra- able to dr* f + 1 t0 f°Ur (and also low C-sharp), are of a peculiarly loud, tions upon the extension and increase of muscu- ments times as ™ny move- ments ithwith lessi? effort than rough, and extremely disagreeable utterance. lar endurance by hydro-therapeutic methods. formerly m e 0bVi0US t0 Logically, in a quintet composed of five entirely Hydrotherapy, curing by the use of alternate the Writer that an to- hot tellig?nt Innlinn t different instruments, each one should be of and cold 'applications of water, is now over one ncipie *° pian° pSeZiSti?n a striving years old widely greatreconomy of time. exactly equal importance. Yet, even while hundred and has been used in in- That is thprp io . to fulfill this ideal, it has been impressed upon dicated cases in large medical institutions. The with t0 make pr°Sress exhausted hanl , ’ 11118:61ftageY™s > and arms. us that again and again in so many of the num- value of the application of alternate hot and cold, the circulation Kx, Restore bers in our repertoire, the oboe seems to be the through the use of water, was recognized by Hip- here given focal point, the dominating pivotal core or center pocrates, Celsus, and Galen in very early times. practice lnorease hiS endurance at east “1 around which the whole quintet swirls. It is a very In the Middle Ages it was endorsed by many hundred percent, fa- This principle could 1 E? important instrument in the woodwind quintet. mous physicians. Its development as a regular any practice of musical instrulnWs n° ”7 It is necessary, however, to remember to give therapeutic means is attributed to a Silesian peas- wP the oboe sufficient rests. ant, Vincent Priessnitz, who in 1829 established in his native village in Austria a series of baths 1Z d medical The Clarinet scientists and ilhe^l/oPj^ which became internationally popular. Gradually he treatment|; ^ scribed by physicians \ pre- The clarinet is undoubtedly the most versatile theories of Priessnitz C ^ e< the crude were reformed of the by Mr ' skimier BouIder-SanitariurrwIi^ I of the woodwinds. All sorts of passages, arpeggios, by physicians. Mr. Skinner, in lectures, has called it F Unded 1895) has resulted ’ where in the cure of and so on are practicable for it, and what is more, young women from the audience and has m given have resisted ordinary 3868 WhiCh it serves effectively as melody, harmony, and even medicl^^ on occasion, as true bass for the quintet. It will be often the hardest working performer of the five because it is so good at everything. It takes A Topsy-Turvey Test its share of all parts, solo or harmony, and per- TEST YOUR KNOWLEDGE OF THE forms all unmurmuringly. It is particularly good RULES OF HARMONY in legato passages, such as this Theme from Pas- TRUE OR FALSE STATEMENTS torale, by Durand: JJairtf Ex. h -AfexcinJer 'I'l'lalthcw,
1. The interval of the 7th in a dominant 7th chord, being a discord, always resolves down- ward one degree. True False 2. The subdominant triad in root position pro- ^•Disjunct triads gresses best to a mediant triad. are tho4 u,. True common. avin S no ton True D Palse 10. False 13. Gavotte, by S. S. Wesley, In a progression In this passage from a supertonic 7th is unlike of disjunct 3. The the dominant 7th tion tnadstri„d in . simila: clarinet serves as a true bass: the voices is the in that its 3rd is minor. True False 14 5th is TrUe - 7- often 0 4. In the third inversion of a dominant 7th chord fitted hfr, dominant 7th the mvf»siom the bass note always resolves up. True chord Tr„I „ False answers foiiovfupsSmv^ 1 ^ igF^ 5. The 3rd of a dominant 7th chord is major in ANSWERS the major mode and minor in the minor mode. Pinoys pro’™™, ^tdiuoD True False ' aq s, 3S P P 6. The supertonic 7th progresses best to some ™ H 1T™ Moisei,, Clnr. in Bt. -<1° oq q form of dominant chord or to a tonic 8SU0° chord in Pmoqs i,onolu r PI°ab o, p ,iS J° first or second inversion. True False uoissa.i3o.Td *J'^’uoa spE ” : J " *_ „ u f i .. :» J *f i 7. Related keys are those which do sc £1 not differ in 1™^P Possb oI ; ‘SI on., rsft Horn in F — more than one sharp or flat in their signa- * tures. False m r True 8. The most useful of all the secondary chords 8 ' atu 8391 am S! is i ‘i WBlPou the mediant. True False sTS*p.ioqa onili9 S3pout eft T qu JireuimoS moq ut ; 1 9. In actual performance on the S' SAI0S3 ‘' keyboard ‘ pp the I Me P s 3lU. ‘<®1 5th interval is *IbssboV° tinged Music Co. augmented the same as hrem, q S sion of Gamble a min101 jo U1 in Suiaq p., 0 t False q J1T SSTiVSr lfilit.) 6th. True u you see fit. It will not All 5th and 4th intervals are known Use your clarinet where as uncordonn^ ^ on Page 59) intervals. True False 8S opqnsa ( Continued ^ Pin PaploTmn ^ Vi s d> P 3U° sp ’ FORWARD MARCH «»dn PU033S 3 «! WITH MUSIC OAjoseH33 m 24 UI1 oqj, asia, THE V.TVDT —
Music and Study'
The Violinist Takes Up Music Again
T HAS BEEN the writer’s experience to music. This can be avoided by keeping a note that one of the chief deterrents pencil handy and writing self-practice I to taking up music again is the ex- assignments—where to begin new work, student’s fear that he has forgotten what to review, what to work for. It everything. This is as true of the one helps develop self-criticism. time violinist as it is of the one who used It is helpful to plan a course for a few to play the piano. This, however, is not weeks at a time. Write it out, and clip likely to be the case. The constant repeti- it to the inside cover of some of your tion of practice has dinned many melodic music. In a few weeks, your plans and and harmonic patterns into his mind, has needs will change. Make a new slip. Here developed his ear, and has established is one, taken at random. permanently many muscular coordina- A. When feeling “low” play square tions. He is “rusty,” of course, and his arm and music-lessons. They may be critical of the results, dances for a few minutes. This is good reading finger muscles have grown weak. But this can or may have dropped the instrument in discour- and bowing practice, but it should not count as soon be remedied. Just as he doesn’t forget how agement, and think of lessons only as ordeals. “practice.” to ride a bicycle, swim or use the typewriter, When I was a little girl, my father, who em- B. When you can get in an hour’s practice, dis- though he may not have done it for years, he ployed a small orchestra, arranged for the first tribute it as follows: does not quite forget his music. violinist to give me music lessons. He was not a 1. Daily dozen for double-stops, or several of I had an impressive demonstration of this. I professional teacher and apparently felt baffled these. Work for accuracy, then tone and expres- had laid my violin aside for twenty years, but at the problem of teaching a child whose parents sion. Fifteen to twenty minutes. 2. finally returned to it, after a tentative try at the did not believe in resorting to corporal punish- Scales and etudes in more difficult keys, small harp. I had gone into a music store and ment. So he told me that in Germany, when he first position. Work for accuracy, slowly. Ten asked for a book of violin etudes which would was a little boy, they would have cut my fingers to fifteen minutes. help brush up my technic. The clerk asked what had I played off pitch. Gentler teachers have not 3. Review second and fourth position (then I had already studied, but I could not remember. entirely erased the impression from my mind. other positions) simple keys. Fifteen minutes. So he sold me something he said was “standard,” When I make a false note I look up quickly to 4. “Piece” to play with neighbors. Or improvi- and, anticipating a hard tussle, it was hidden see if anyone is reaching for the scissors. sation. Work for tone, time, expression. Fifteen away in the bureau drawer for many months. minutes. Methods Have Changed When I did take a try, something occurred that C. When practicing for less than an hour, do was truly amazing. After the first two measures, So it seems to me that music lessons should not each for five or ten minutes, or spend all time my fingers began racing through the etude, and be stressed beyond assuring the adult that meth- on one or two. on through the next. It seemed that I was play- ods have greatly improved since his childhood; The important thing is to have a plan of your ing faster than I could read the notes. There can that if he has any special musical problems a own—and to follow it. The value of music lessons be little doubt that I had studied that book in my teacher will be glad to help him with them can be increased by making a list of questions to girlhood, and had played those exercises hun- though recognizing that the adult is always, ask the teacher. If, like myself, the student does dreds of times. I had forgotten it, but my muscles partly, his own teacher, and so, sometimes, can not live near his instructor, and can get lessons had not. teach himself, where the teachers of his child- only on his infrequent trips to a city, much may Not everyone will have so convincing a demon- hood may have failed. be given at one lesson. To retain all this instruc- stration of the permanent results of practice; and Some shrink from hours of routine practice, tion, it helps to go over mentally the lesson as soon as it is over. Psychological studies that is the more reason to emphasize that much and others do not have the time to practice an indicate has been remembered—perhaps not the last hour every day. The first can be encouraged to that the largest percentage of instruction not retained is forgotten within things studied, but the elementary work, applied play in odd minutes, and to play whenever and the first two minutes. of times. And after all, those element- whatever they wish to play, applying what they hundreds A Change of Scenery ary things form a very large proportion of all know, but stopping whenever their mind wan- Many would rather take up a new music. ders, or demanding more of themselves in order instrument to increase the difficulty and interest. If those than to return to the scene of the murder. And Never Too Old who cannot practice regularly will play when they to know a second instrument, even a little, does increase one’s musical appreciation. Perhaps No one is “too old” to get his music back. The can, even just enough to maintain interest, they the violin student should change instruments neighbor who accompanies me is 76, has arthritis will eventually find more time. Music will replace if his is sub-normal, nearly everywhere except in the hands that play less diverting occupations. Similarly with money sense of pitch and he doesn’t like the scales given for developing his ear. The so briskly. A music teacher tells me of a man who —if money is needed for lessons, the musical ama- ama- bored with a very began studying the violin at eighty. In four years teur will soon find that music saves him the teur who has grown limited might be encouraged to tackle he “could play.” I have known several people who money he would have spent on other diversions. instrument one potentialities. person have not only gone back to music after middle age Those who feel that they want to play better with better A who has an instrument for three or four but have taken up a different instrument, with than the average amateur may be given a simple studied years has about thousand hours of practice. gratifying results. truth. A very large number of music students put in a He has gained by it a handiness that it will take him If you suggest something of the sort, and noth- practice an hour a day; but relatively few play a long time to get on any other major instrument. ing happens, do not be discouraged. It takes a more. Therefore to play two hours a day, or even The relative difficulty of the various instruments long time for the thought to germinate into ac- one and a half, over a period of years, gives the have be over- distinct advantage, providing, of is a very controversial matter. And an individual tion. Inhibitions and inertias to amateur a very attraction for one instrument or another may come, and there are usually a lot of practical course, that the practice is done with intelligence. be more than offset by the greater proficiency chores that have to be got out of the way first. The difficulty with irregular practice is that it is al- ready gained, and the fact that it will enable One’s piano is in storage, or has been sold, or so easy to forget what one was last studying and the student to play more interesting music. needs repairs and tuning, and so on. There are trying to accomplish. So, time is lost looking over It is the tragedy (or should we say extrava- delays between each step of the process, because gance?) of thousands of music students that . . . really they the ex-student is asking himself “do I drop their music at about mean business this time, or will I just drop it VIOLIN just the point where a little intensive effort, and a little again?” Edited by Robert Braine intelligent analysis of what they (Continued on Many will have unpleasant associations with Page 56) ” JANUARY, 1943 " FORWARD MARCH WITH MUSIC 25 ?
Music and Study is marked o. or cut-time. Could you tell me which is correct?—R. S.
A. I have examined Piano Ensembles several editions ot More About this sonata, and they vary considerably June ETrnE came this morning. The in notation and tempo indication. One On your page I And the question. “How Questions and of the very to Conduct a Piano Ensemble.” As our earliest editions has the mark city has given a piano ensemble concert ( and a tempo indication of 60, so it is five years, your questioner for the past entirely possible that Beethoven wrote it may be interested in our experience. I that way. However, the music am enclosing a program from the latest indicates clearly concert which was held about ten days that there are four beats to the ago and one from the 1940 concert. The Answers measure, and my advice is that you think music used consisted of quartet arrange- of the measure signature as 4/4. My guess ments for two pianos. As there were six- is that 72 is closer teen players there were four playing each J = to the tempo now part. employed by most artists than Music Information Service J = 60, The leader conducted each quartet A but at this point there is room for con- studio where there- were separately at a siderable difference of opinion. two pianos. Each group worked an hour a week from October to May 22. A month before the concert a piano dealer ar- Conducted by ranged a room with eight pianos and Musi All Three Forms of Minor we had four combined rehearsals. On the Be before the concert the pianos were Learned day Would placed on the stage and two rehearsals you please t-11 me if a pudII must learn were held there. the natural minor, melodic minor, the four previous concerts we had and the harmonic minor or may In // t v ^ the pupil just pupils playing the first half of the pro- W Mns. Eoc learn the natural minor _J\an scale? gram. For that we had from sixteen to —R. n. twenty pianos. The children were pupils of local teachers. Each teacher trained of her own groups. Over one hundred chil- advancement of the pupil. In general dren the opportunity to take part as he had should learn all three forms the groups ranged from first graders of the Emeritus rnnxoi- scale, for high school. About six weeks Frufessnr the harmonic and through melodic before the program was given, the chil- forms are actually more used Oberlin College than the dren went to the studios of the leaders original—especially the har- (there were two who gave their time for monic form as found in piano music. that), and were coached in quartets or Music Editor, Webster's New duos. Quartet and duo arrangements were used for those numbers. One year International Dictionary we used the Percy Grainger arrangement of Comitri/ Gardens with a string quartet Boy feature. as an extra aV ensemble work een studylng We have found that the three nnH P^no for almost has raised the standard of teaching here and produced cooperation among the /loots /or the School Library teachers. It has given us all a chance to Q. Will you please send me a list of make new friends and, as is always the names of music books which would be case, music gives opportunities which interesting to high school students of nothing else does. And last, but not least, to-day. They may be books for apprecia- the local charity which received the pro- tion classes, history of music, and so on. ceeds was well paid.—H. M. S. I would also like a list of music books which might be interesting also for ele- ge °? mentary and junior high school stu- £ srSnefL *"r‘“ = y Bood ’ but Prill it comes to when How lo Play a dents.—R. T. reading themt ,, are written when they Q. 1. How is the trill played in In Thee fuilv T „ Recitals") chora the is Gladness? (“Historical Organ short list of books immediately I “J” A. Iam giving you a trouble w f SUCh Page 25. Measures 6-7-8-9-10. right along by Bonnet, teaeh , , about music that might be used as the writes My 1 2. you play the trill in the No question will be answered in out some How do THE ETUDE PponuwfB I tlme volume, library. If you have no unless accom Danied by the jull me to nna tBlls F ii i/ue in G minor by Bach, same start of a school name memorize lt and address of the inquirer. Only initials Page 165, Measure 12. left hand?—R. B. copy of Groves “Dictionary of Music and or pseudonym Riven, will be published. been thinking™ a d 1 have you to start with P toSly °o?’ F Musicians” I advise Eastman 1 "6 to the 1. I find that only Measure ten School ol A. Is mSu? MyS’ that. to have a band ,m®“n contains a trill, and here are two ways of but* r- m Wonderful Story of Music." Play in one because fS to to Baker—“The playing it. The first one is according tion Readers.” too hard tor me. bc Treats for the most part the develop- Books to be readl by the Do lou TbT'S to Eastman School “ 1 We“t Bonnet’s edition. from the very children themselves. ot Mu2m T* ment of instruments Prove my ability 1 coulu tm ~ — even ir* t. form. Good fox- Kinscella “Music and Romance.” classics, they teach only earliest times. In story For to plav nnn read junior technique?-— ch°rds and Ex.l sixth grade and junior high school. high especially. b.t. P Freeman—“A story of Mu- La Prade—“Alice in Orchestralia.” Barbour and Prob- A. music ably most suitable In reply to sic.” Treats the growth of for grades 3-5. your letter T , to give you several through the ages. McKinney and Anderson—“Discovering bits of advice^ first Place, - In the Bauer and Peyser—“Music Through the Music.” For grades 10-12. I advise v„„ °f to read music 7 ‘0 learr Ages.” A good book for senior high Moore—“Listening to Music.” For senior and there ways in are? 0 ov threi high or college students. which you school. may / thl S ’ Wrst might get ’ yo' “An Introduction to Music.” Roberts—“Young Masters of the fuuAoL? , Bernstein— Music.” the text for senior high Stories of great pieces that o: An Appreciation composers at the ages you 4 /" of twelve als and after from 'miner simple in- school students. to sixteen years. Authentic learning m All the other ornaments are simpler 1 throuBh Buchanan—“How Man Made Music.” For and charming. Useful in sixth symbols, play thl which, if you are play- grade her the? verted mordents, ' junior high school. and junior high school. of times, C,lUte a num of this grade, you must slowly mi?' ing a composition — Child’s Book Scholes at the 116 lookin a line Burch and Wolcott “A and Earhart—“The First notation. g hari understand. The mordent has Book might IiAm?econci principal of Famous Composers.” of the Great Musicians.” Traces get Some ? Place, yoi through it and goes from the the very sl Rebaks—“Pictured Lives development of require mp ' e music back; Crawford and music from yourseli to I. am tone to the scale tone below it and the six ea
Music and Study
Is the Piece Tod Long?
Try the Shorter Piece for Progress
jl* y.eurg,cun
Miss Ava Yeargain was bom in St. Louis, Missouri. Her early study was with Madame Elise Conrad-Korzeniowska of the Stojoivski School. She later studied wi l h Maria Carreras, and had advice and criticism from Josef Lhevinne, Sigismond Stojowski, and Rudolph Ganz. When she was eighteen she established the Ava Yeargain School of Piano Playing in St. Louis. She has given many pianoforte recitals in various parts of the country and has made numerous recordings. 'i'hc value of the short piece is not recognized by many teachers. —Editor’s Note.
AVA YEARGAIN
S THE PIECE TOO LONG—or just not short single piece of twelve pages embodies so many Ex. 4 enough? Because, Von Billow said, “There important phases of the pianist’s art? as i=s=3= I difficult.” A tremendous amount of thumb control is Ms* m are no easy pieces. All are The merit of the shorter piece has not been necessary to produce the melody of the Romance * in F-sharp, by Schumann—with an almost equal . - p $_ appealingly emphasized: yet many brilliant gems —1- in release of thumb weight from each arm. -I of musical literature lie in this comfortable cate- 11 to gory. Usually the advanced student’s repertoire is Ex. 1 conspicuously limited. Perhaps he has been dis- In like manner the rhythm control essential to dainful of learning “little things”; therefore, un- an effective interpretation of the first Prelude in like the performing artist, he does not possess C, by Chopin should be carefully analyzed—its that multitude of playable pieces which the great oddly balanced melody and accompaniment call neglected. Perhaps he learned pianist has not for special study. handfuls of pieces for beginners and intermediates —after which he rushed on to the rank of artist- pupil. He may have been so eager to play the loudest and longest pieces that he has passed un- noticed those companionable compositions that lead so directly and authentically to the “larger Also a great deal of black key familiarity is classics.” necessary for an accurate performance of the Butterfly Etude, by Chopin—where both a slight The Repertoire Strengthened elevation and an extension of the arm result. His unbalanced repertoire should be im- mediately strengthened, beginning with the best Then, there is the pedal control to be main- the shorter pieces even if he is more in- of — tained through the second Liebestraum, by terested in working on a Tschaikowsky concerto! Liszt, where the melody must be singingly sus- should be encouraged to study a short, char- He tained and frequently pedaled, even after each piece of every great composer — then acteristic rolled chord breaks. watch his repertoire grow! Isn't this better than deafeningly- hearing him flounder for a year on a E e familiar Liszt rhapsodie, or a twenty-one-page L , i i modern? The interval control exacted by small hands in Palace Tintoretto’s “Paradise,” in the Doge’s the playing of the Waltz in A-flat, by Brahms canvas but Venice, covers 2200 square feet of should be carefully noted—its chords contain jh* in . art than Raphael s it is surely no greater piece of both sixths and thirds, and its ending demands Safe the = “Madonna della Sedia,” which was painted on rapid changes of intervals. is not measuied top of a wine cask. A masterpiece piece of music by length. In fact, the really great Ex. Learn to Please the Listener reveals the composer’s dynamic quali- is one that should be able play, classic the The student to with charm, ties in a few pages. In this substantial his ’listener’s, favorite composer. Is it not a mark student should be able immediately to find the of distinction to be able to ask, when urged to master’s intentions. play, "What would you like to hear? Something Composure of Chopin, of Beethoven, of Grieg, of Schu-
pianist’s first duty is mann?” Instead of this, there is often an im- If, as Von Billow said, “A The student should weigh well the tempo con- petuous plunging into a long piece which may repose,” then surely a teacher’s first duty is to in the Allegretto, occupy one-third of his repertoire and may not make possible that repose. It is interesting to trol that must not fluctuate — ritardless move- interest his listener at all. evaluate the various applications of control that from the “Moonlight Sonata”—a throughout. It should not be spoiled by Success lies in what is remembered. And a two- are gained from mastering some of the following ment variations of tempo. page piece is not easily ( Continued on Page 56) six short classics, which total twelve pages. What uncontrolled
JANUARY, 1943 "FORWARD MARCH WITH MUSIC- 27 —
Music and Study influence of animals is far from exhausted, and is as limitless as their very species which inhabit the earth. Mendelssohn, the same man who ros to heights of prophetic grandeur in “Elijah,” could imitate, with equal artistic maturity, the braying hee-haw of the donkey in his overture Animals in Musical Scores to “A Midsummer Night’s Dream.” Surely this stroke of genius throws much light on the very quality in which prophets themselves are always found lacking—namely, a sense of humor. Don- keys have never been so divinely honored in (ReengiS art, and their voice is thus recorded with musica. bu Jerome embellishments for all time, like the utterances of sages and scholars set down in poetry. Its good-natured cousin, the horse, which can make itself heard only by a pitiful neigh, make up for its vocal deficiency by having rhythmic that we are of the introductory allegro of Gluck’s overture to hoofs; and these ET IT NO LONGER BE BELIEVED are sent galloping down to pos- life the dog “Iphigenia in Aulis.” Beethoven, however, was teiity in the teachers of animals. The of Schubert’s Erlkonig. But what does enlightenment himself supposed to have reported to his facto- Schubert not L^ is a sermon on life for the immortalize? In his Die Forelle, he it, the tum, Schindler, that the theme was suggested makes us of man. Its love for the hand which feeds so in love with trout that we are thence- approach of its by the song of the yellow-hammer, with its three forth conscien - full joy with which it greets the ce s tr i c ken whenever we eat them. wonder with short notes and its one long one. If this is true, And do think master’s footsteps, the boundless we that locusts, like mosquitoes, are trivial incidents, it does not come as a surprise; for he who dwells always to be which it regards even the most shunned? Perhaps; but in Handel’s on the heights hears epics sung everywhere. such as the very falling of a leaf from a tree S el 111 the locusts ,. are summoned If Wagner frightens us with his dragon in Jf all these things are told to us every moment 1 myil dS t0 ’ tickle our ears while banishes all our fears (, pv. wagging tail, rising and falling ears, “Siegfried,” he with the Snm, t through a And there are f™gs also, leaping work in language of birds in the same opera. And in his f nr n?m^ and a barking mouth, all of which H°ly Writ in od name, he recalls the songsters l S° measure. rhythmic unison. And yet, for all the fidelity ex- Idyll of the same twp S When a11 haPPy voices in maze of para- once more, to sing for his Cosima on Christmas naturen Jin n seem ^ hibited by dogs, what a wondrous silenced. What sinister she lies in bed with her newly su°gestive- doxes they are, always indulging to the utmost morning when ness is in this silence! ( Continued on Page 52) the very inconsistencies which, in human ex- born son. the very perience, are the hobgoblins of life, and of art To Haydn, creation of the world it- as well! It is no wonder that Beethoven, himself a Nativity. a divine paradox, never refrained from boasting self became “Creation” the of the fact that his Therese’s little “Gigons” was In his kingdom always wont to follow him home. For if he loved whole animal his own, and all trees, he must have loved animals as well, and becomes earth, of the his great heart must have felt a deep and humble life of the and of the air is kinship toward them. It is with infinite delight seas, created in song to that we recall his scherzos, some of which make newly the living hymn us think of a colt let loose over meadows, or of a become is not bear in captivity at feeding time. And we are of God. There thing on filled with lordly nobility when we think of the a breathing does not coda of his overture to “Coriolanus,” which brings which his music the very to mind a fallen lion licking his wounded paws descend, and the and looking with tragic majesty at the hunter earth bursts with cre- who has come to usurp his domain. pulsing rhythm of ation. With the truth A Mirror of Nature which only the childlike can convey, he If Beethoven knew the soul of the lion, he in heart as the knew the beauty of the bird also. Not content names Man cre- with merely suggesting them in the Brook Scene crowning glory of making him of his “Pastoral Symphony,” he takes to giving ation, thus expression direct imitations of them. This is the enchanting the ultimate forms of movement in which Beethoven catches the busy of all previous He sings of the hum of all teeming life of the woodland, and beauty. animal and of Man in uses it as an accompaniment for the rippling and his song of the brook. Beethoven, as much as music the same breath; brings to life the itself, is the wondrous mirror of Nature, in which music cattle pictured in Fra all things compliment one another and enhance “Birth of one another’s beauty. And thus do the voices of Angelico’s in which the ani- the nightingale, the cuckoo, and the quail all Jesus,” the field are the unite in tones of sweetest bliss. When, in the mals of the first living things to closing section, we hear the actual voice of na- which is granted the bird, it is no longer a mere borrowing from voice privilege of looking upon ture, as many would have us believe; the tenderest the beautiful Infant. is preceded and followed by a passage of like this, when loveliness, like music making its own sweet re- Music fully absorbed by the frains; and the same poetry which opens the heart, can make abun- door to heaven, returns to close it also. convic- With what infinite trust was Beethoven given dantly clear the peasants charge over the beauties of the universe, to glorify tion of Polish that cattle and exalt them! The turbulent grandeur of the who believe (now are given the power of first movement of the “Fifth Symphony” once every year, the famous war time Victory Motif), which has speech hour of Christ’s stunned and electrified the world like new com- in the mandments thundering from Mount Sinai, may birth. - chords And yet the wondrous ER have found its origin in the opening four oil » lQn COmpos ^ Pai ^ lsd—* lor Steinwayitjuiwuy and— "FORWARD MARCH WITH l.s - mortal. , : MUSIC seating of Goethe's poem- THE ETUDT- ARTIST’S LIFE Where is the mystery of the Strauss waltz? Is it in the entrancing simplicity of the melody, the naif Strauss orchestration, the unforgettable memory of the artist life of Vienna, or is it in the infectious interpretation, without which these waltzes lose their meaning? Artist's Life lias been heard in all the great concert halls of the world in the delightful bravura Tausig piano arrangement. Here are the original ingratiating themes.
JANUARY m3 THE ETUDE JANUARY 1943 EVENING HYMN The simplicity of a Mendelssohn Song Without Words marks Evening Hymn by Ralph Federer. Watch the pedaling very carefully and preserve as fine a legato as chord playing will permit. 1 RALPH FEDERER Andante e semplice; sempre sostemito M. M. J -iz
Presser Co. Copyright 1942 by Theodore 32 ’itish Copy rigjlt secured THE RWDK TYROLIAN ECHOES LOUISE CHRISTINE REBE
Copyright 1942 by Theodore Presser Co. British Copyright secured JANUARY 1943 33 A SEA MOOD ORVILLE A. LINDQUIST OrviJJe A. Lindquist, for many years professor of pianoforteplaying at OberJin and well known to Etude readers for his instructive articles, has'writ- ten, in A Sea Mood,a highly effective short recital piece. The reason for writing it on three staves is that of legibility. The pedaling shouldbe especially > i
f
I
JANUARY 1943 3S 6 ELFIN FROLIC T ’"* , “ ui “ i* -a- u ,fvi“"'S;'il — ib. b..a., ,i„ CEDRIC W. LEMONT,.Op._59, Allegro No.
• -O 3 ^ p » m # » •* g -jg£ tr ss PIANO ./_ri p mf ® 0 o =«4*- 5 5 * * iJi i " il basso staccato sc?npre 2
ROMANCE ROBERT SCHUMANN, Op. 28, No.
British Copyright secured Theodore Presser Co. Copyright 1938 by y 7 JANl/AltY 1913 AMERICAN PATROL MARCH the piano, is now best by The name of F. W. Meacham, once a very popular American composer for remembered this contagious American Patrol, which must be vigilant ! We must be diligent!,’’ sung a sveryone hears over the radio these days with the war-time words, “We as theme song by Phi J SpitaJny’s 39 JANUARY 1943 SALLY BROWN Brandon A TEASHOP DITTY Herbert J. ROBERT COVERLEY
42 THE ETUDE EVENING SONG NOCTURNE With Hammond Organ Registration JOHN FIELD Andantino Arr. by Ernest H. Sheppard Sw. Oboe & St.Diap.
Presser Co. 1942 by Theodore Copyright British Copyright secured 44 THE ETUDE JANUARY 19*3 THEME From the Piano Concerto in Bt> Minor 47 JANUARY 1943 F —— — a — — — DE CAMPTOWN RACES STEPHEN FOSTER Allegro Arr. by Ada Richter ' rfl-*4 — hJr— _ — J 4 —o — w— ICl A P ~ w r~ v c/ a o De Camp-town la- dies_ sing dis song, doo-dah! doo-dah! De Camp-town race - track
"‘f j come down dar wid my hat caved in, doo-dahl doo-dah! I go back home wid a
- CL m It . —E ! ? -^-4 £ p _* p —^f — £ — — L L— -k— J— — 1 — i F ^ j -\r~ A <5 A l CHORUS
THK MTUjE MY TEDDY BEAR HUGH ARNOLD Moderate m. m. J = £
”f My Tod - dy "Bear’s a growl- y fel-low, But I like him just the * same, I dress him up in
- - - ~ m :§= ? r> POLLY PAINTBRUSH See Technistory and application on opposite page
PAINTING THE RAINBOW
Co. Copyright 1948 by Theodore Presser British 50 Copyright secured THE ETUDE pMBfl For any instrument with piano accompaniment or for All Cl j ^DOAOS Instruments togethei in unison with piano accompaniment The Technic of the Month Wade,- MUtei by U cuer Conducted (j f Joi' %jlouncj. m,t V ludiciand
Contains 32 of the most celebrated compositions by the Great Masters On the first page of each composition as shown below is a picture of the composer and Technistaries for Boys and Girls a short biographical sketch of each and interpretative notes.
These little (lassies will do much to awaken Ihe love of Ihe young student for the beautiful in good music L, PrisJL B.'own They were selected for inclusion in Master Melodies because of having stood the test of time and well within the understanding of the young student.
With Application and Music by GUY MAIER CHARLES GOUNOD (Goo'-noh). Born in Paris in 1818; died in 1893. He was often called “The Idol of French Opera” He displayed great musical talent at an early age. His ( Illustrations by LaVay Williams ) compositions are noted for beautiful melody and his best known opera is "Faust" He was a great favorite with the English nobility and spent many years in London. Hosts of his ad- mirers and musical followers attended his burial at Saint Cloud, outside of Paris. PDLLY PAINTBRUSH 0, TENDER MOON: The six measure piano introduction should serve the solo well as regards tempo style and expression. To be played very legato, in a flowing manner. Note FAIRIES are born in her spear into yellow paint she tip- ALL MOON slight crescendo and diminuendo in third and fourth measures, also in measures five to eight of tree branch, the full silver light moon. toes to the edge a inclusive. . ZA of the , But one night in the half-silver then bending — gently—gently — she Adagio O, Tender Moon ^—-i gounod light and half-velvet dark of the tips just once the tip of a green leaf moon the tiniest fairy was born. The with the yellow tip of her paintbrush. other moon fairies named her Polly While Polly Paintbrush tips lightly (D Paintbrush. each leaf, she sings a song, softer pS=§ Just like the other fairies painting than a wind whisper of the trees, a with Polly Paintbrush silver song. paintbrushes, The above is reproduced to show just how each of the 32 After the cold silver moon of win- wears a smock frock, like a long loose compositions appear in Master Melodies shirt, cut from the gold of the moon ter the trees reach up their long CONTENTS INSTRUMENTATION and stitched and smocked with silver black crooked fingers and hang a Bn Comet-Trumpet cobwebs. blue-rim moon of spring in the sky. Von Suppe Bp Clarinets (Tho Bohomion Girl). Salle is the time for fixing the buds Waltz. Brahms Bb Saxophones In the pockets of each smock frock “Now Ah! So Foil (From Martha). Von O Tendor Moon (Faust). Gouno E[, Clarinets of flowers,” say the moon fairies. The Wild Rose. Strauss is a ruler to measure the leaves with. Coronation March (Tho Prophet: Eb Saxophones Valse Bluelte. Dr/go Meyerbeer Instead of a ruler each fairy carries Waltzor. Tschaikowrky Eb Altos Mcllophonos a pair of scissors in his smock frock Sacred Music Choral. Handel Trombone B.C. for snipping the green threads Home to Our Mountains (II Trovatore Andanto Rellgioso. Wallace pocket Trombone T.C. Verdi Angolus. Massonef holding the buds tight. Instead of a Funoral March. Chopin can of paint each moon fairy carries Drawing Room Music Onward Christian Soldiers. Sul Andanlino. Lemacc Miscellaneous a box of paints with colors named Hungarian Dance, Brahms
buttercup yellow, violet blue, dande- Carnival ol Vonice. Paganini La Czarino. Gann lion gold for mixing with drops of Lovo's Serenade. Von Blon Tho Happy Farmer. Schuma Minuet. Bach Thome Melody lrom "Concoi dew. Soldier's March. Crelg Tschaikowsky “Only Polly Paintbrush,” says one moon fairy, “the most careful painter HASH of all the painters of paintbrushes, SPEED MILLS cards j?or piano ^Jeache
The easiest and quickest way to teachi the piano keys^to tinv tots or beginners of any age. is with SPEED DRILLS by Wallace & Winning.
A System for Teaching Beginners on the Piano to Read Rapidly at Sight FOR CLASS OR INDIVIDUAL INSTRUCTION
contain material for single note drill, giving the student ^moon'll TIipSIIie; Ju training to play quickly at sight. With SPEED DRILLS students learn to play before learning the music alphabet. SPEED DRILLS consists
of Thirty-two Cards to be placed back of keyboard (on these
Cards in place is printed the staff and the note corresponding to the cards p key the keyboard) Keyboard Finder and a Book Com- on , of Down the Ray of the Moon prehensive Instructions for their use.
Each moon fairy carries a can of FOLLOWING ARE PICTURES OF THE CARDS SO THAT YOU paint mixed from colors of the rain- MAY KNOW THE WAY THEY ARE USED bow either yellow gold, crimson red, purple or pink to color with. Over the DRILL No. 3 DRILL No. 4 For stressing rapidity For stressing rapid visual left ear of each fairy is a long spear playing the keyi mental and muscular coordination of a paintbrush to paint with. Polly Paintbrush measures with the shortest ruler, carries the smallest can of paint, and puts the softest spear of a paintbrush over her left ear because she is the most careful painter, the best painter of paint- bluebell brushes. knows how to paint the PRICE - SPEED DRILLS EjgJ Complete and Book of Instrucfions In the autumn Polly Paintbrush is flower.” light Polly Paint- Published By Kansas City, fflo. the first moon fairy to slide down the In the half-velvet jcnHins music compnnr ray of the moon. Dipping the tip of ( Continued on Page 52)
JANUARY, 1943 "FORWARD MARCH WITH MUSIC’ 51 .
tor for the Doris Humphrey-Charles it should have. (The pupil must bear result to realize that the 'principle is Polly Paintbrush Weidman Company, and he finds in mind that though part of the correct and that careful practice will playing, improvising and doing bits breath is thus directed through the do the rest.
( Page 51) Continued from of composing and arranging for the nose the tone is not nasal. The tone In conclusion may I again remind modern dance extremely interesting. is actually placed above the nose, not the student that the singer’s three find- in it) brush slides down the blue ribbon of His major problem, he says, is most important assets are voice, tal- wants There are the moon. Carefully she mixes the ing time for all the things he many variations of the ent, and intelligence—and the great- away “ah-ung-oh” exercise bluebell paint with one drop of dew. to do. Fortunately he composes but the one est of these is intelligence. Without it given here is the Carefully bending over on tiptoe she from the piano and so can make use basic one and must the other two qualifications will not for his be mastered before dips her blue-tipped brush into the of time spent on the subway attempting to carry him through. Voices and talent writing. Chosen for League presenta- apply the principle to others. If done are bluebell bud—just once. Polly Paint- plentiful. Outstanding intelli- his long list of compositions correctly the student will immedi- brush listens. Softly—just once—the tion from gence is not. ately hear bluebell rings so softly that only Polly was his “Sonata for Flute and Piano.” the difference in tone qual- suffered a severe illness ity and be delighted at the hears it. Because he unex- pected ease of its Born in the half-silver light and some years ago, he is not eligible for production. After armed forces; but brief practice he should be able to half-velvet dark of the moon Polly admission to our Animals in Musical Haieff all ex- make the transition from to Paintbrush rings — softly — all the Cone, Middleton, and “ung” admitted soon, which “oh” without sounding the “g” so bluebell bells in the spring of the pect to be Scores means that a chapter of service will noticeably, and join the “ung” and blue moon. . . . And in autumn, bend- “oh” more smoothly. their lives before Later still < ing on tiptoe she brushes the tips of have been added to he Continued from Page 28) be able to place the leaves yellow green, yellow gold, we hear from them again. Afterward, will the tone cor- their rectly on the first “ah” red yellow, red purple and pink. when peace returns to us, it is without using plan to go on composing and teach- the trick of the “ng” at all. Needless helping to spread the best of to say, this placement must be used ing, mg shadows which musical culture to the widest groups for all of his vocal work, for the clutch at us under cover of the treacherous When you want to play so softly of the American people. principle upon which it is based is night; all about us are peering that no one but you can hear it, you That all four of these men will aid infallible and will bring immediate eyes and yawn- ing mouths; and the use Polly’s paintbrush touch. You do in this great work, which is unques- result throughout the entire range of very air seems laden with restless this by lazily lifting your whole arm tionably the task that faces the pres- his voice. pantings and forebodings of doom. “in one piece” from your lap; then, ent generation of musicians, seems These are the Why Practice Softly? wild and terrible while holding it over the keyboard doubtless. They are young, talented, regions of the Wolf's Few students realize that a voice Glen from Weber's with your elbow high and wrist hang- excellently trained, and their accom- “Der Freischiitz.” can be harmed just as badly by sing- And all the ing limply, touch a key top with the plishments give promise for the fu- destructiveness of life, ing too softly as by singing too loudly. with animals lying in tip of your third finger. After decid- ture. After presentation of their wait to devour Unless the voice is perfectly one another, ing carefully just how softly you works by the League of Composers placed is not limited to the the small tone will be pinched and woodiands alone; want it to sound, let your arm and last spring, the compositions were suddenly it dawns tight, and this is more dangerous upon us that finger tip quickly but gently into the again chosen by the Music Critics’ animals in music may than a big tone for the simple rea- acquire more than key, just as if you were giving it a Circle of New York City for repetition a mere amusing son that a big tone, if improperly tiny dab of color with a paintbrush. in their Town Hall Chamber Music Hold up to Man a sung, will soon break or crack and P1CtU1' e Don’t sink or push down at all: as Concert. * Ws unrefined sound SnsUnets soon as you hear the softest sound thus a warning, but the pinched tone will not. Moreover, e, en let your finger tip come quickly back may HHe the mood of ani- one ask the purpose of such “small mals themselves,; to the key top. Don’t hold the key how quickly is that practice? altered tone” The voice is made by ! down even for a moment ... If you Even" aslife phair- a physical mechanism and tomstoZt!of diead hold or squeeze a paintbrush on The Singer’s Intelligence to do in Weber’s overture paper awful daub not their best work the vocal organs must diS elled by you have an , a burst o' be exercised as thoroughly as pos- lifhUnlight in aTa descendingS a little dab of color! ( Continued from Page 20) c major so chord sible. One cannot develop one kind does Music itself Each day try several tones like this throw off its of voice for home use and another cloak of darkness, to see how softly you can play. Also to take on tFe and that it be kept so to the end of for public performance! shining practice paintbrushing in thirds, If a student raiment of kings. the exercise. The student must be occupies small In the hands a apartment and must divine aria Vhnii r j sixths and chords, singly and mouth on the He careful not to close his respect his neighbors’ desire for quiet together. to re- “go.” Equally important is it he will soon become so accustomed You will play these lovely pieces to y m C keep the mouth open and 8 °° d member to a small tone that he will be unable to Shephefd but beautifully if you keep your elbows descending His sheen T* the jaw relaxed on all use his voice correctly in lambs which floating, wrists high and your a larger He gathers your students will sing ascend- with His tones. Most place, yet in the professional career finger tips gently feeling the center 11 passages correctly, then tighten ’ become the ing he hopes for, his singing will all be symbofofa . don’t forget to of each key . . But Watch this moM^tend” the jaw on descending. done in large places. Neither can Humanity clinSing make up your mind first how softly one made carefully. be patient with singing “methods” song; they 654 through you want to play. are the livf which advocate prayer of much humming or the meek and sufferin' the use of abnormal, unmusical the Physician reca11 of “GalileealUee T** , sounds. Such practices are not short remembrance. to loving Ah - ung - go, (Breath) Ah cuts. They are detours which Coming Id the Front -carry the student away from his goal in- This exercise should be transposed stead of toward it. (Continued from Page 4) upward and downward, by half steps, It is on just such points that the Make throughout the whole extent of the student needs to use his intelligence Haste Slowly Hutcheson; vocal range. instead of obeying Newstead and Ernest too blindly the 'Continued from Page 6) from 1934 to 1939, he also taught at When this exercise is sung cor- suggestions of “teachers” whose it use of all the theories are not the Juilliard School, In succeeding rectly makes head demonstrable. Cor- Thus, he alone ic because as the “ung” is sung rect instruction is years he has supervised broadcasts cavities, always easy to fol- at the back of the mouth low and easily over several New York stations, has the passage proven. A principle breath must work cany^an^r^ on composing, teaching, play- is closed for an instant, the every time it is applied gone Weals. It ?s Recent courses .of cannot escape through the mouth not merely when the pupil is PMt o/his'jb ing and studying. in good musicology, com- alone, and it is thus cleverly diverted voice. This does not mean study have been that a stu- into head cavities as well. dent must music education, taken the upper be able to do instantly 1 position and from keeping ® the City of New In this manner, and only in this what his teacher suggests, faun at the College of but it whatever W manner, does the tone acquire the means that he must be that York. able to ap- color, roundness, and carrying power proach close 0 rtist became musical direc- enough to the desired musfgf Last fall he ralefrftalent, making\ haste sk "FORWARD MARCH WITH MUSIC” 52 the etude ? t f 1
Voice Questions Over a MILLION of These Books Sold—
Ai\JD THEY STILL JkamrJl', DR. NICHOLAS DOUTY HEAD THE "BEST- SELLER" LIST! No question will be answered in THE ETUDE unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, will be published. They re Exceptional in Content and Value!
PIANO PIECES PIANO PIECES for CHILDREN (EFS No. 2) (EFS No. 3) ably produced, which are pleasant in sound A Lyric Voice that May Grow Contains 60 of the world’s most famous This folio and upon which words can be pronounced. provides classic studies In Into a Dramatic One masterpieces from the pens of such great simplified version and A tone which requires effort and concentra- easy-to-play solos Q. I have a good lyric soprano voice and composers as Bach, Beethoven, Brahms, for the young pianist. tion and which is a m^re whistle, cannot be Features over 100 I have been told that it will take on a dra- Schubert, etc., expertly arranged for the compositions among which are: said to be within the natural, practical range Blue matic quality when I am older. 1 am nineteen. piano. Includes such favorites as: Lie- Danube: Dark Eyes; Elegie; of your voice. Examine yourself carefully and Humoresque; I have years, but I believe I have bestraum; Barcarolle: Spring Song; studied four determine what tones are good in your voice La Paloma; Song of India; Volga Boat not received correct training in breath control, Melodie in F; Prelude in G Minor and Song. Contents and what are bad. Restrict yourself to the are progressively graded tone other branches. I cannot many others 208 Pages for teaching production and good tones and practice them faithfully un- purposes 192 -Pages. afford to study with an expert teacher, but J til you can control them perfectly. Perhaps determined to learn to sing correctly for am they will grow in volume as you suggest and PRICE—$1.00 EACH my enjoyment if not for a career. I hare own , other good tones may be gradually added to years and I am studied the piano for many them. preparing to become a music teacher. Fill 2. An emotional, sensitive, imaginative in, cut out and mail today the coupon below, ordering the desired num- ever free scholar- ber of copies . Do good teachers offer temperament is absolutely necessary to the of the above and also a free booklet listing 53 books of about obtaining “Everybody's Favorite Series” for piano, voice, organ, violin, ships and how does one go public singer’s success. Without it he can only string, brass onct shall grateful any information and woodwind instruments. Price $1.00 each. I be for become a second rater. But he must have you may give me.—J. K. himself under absolute control. However, if his emotionalism and sensitiveness are so A. In every large city in America there pronounced as to border upon hysteria, they are music schools and conservatories as well become a liability instead of an asset. AMSC0 MUSIC PUB. CO. > 1600 BROADWAY • NEW YORK, N.Y. as excellent private teachers, who offer free Enclosed find $ for which scholarships to singers of exceptional talent. please send me copies of Your home city Is no exception to this rule. Falsetto, Head Voice, However, you should realize that you must Sensations of Resonance Please send me the booklet listing the entire “Everybody’s Favorite Series.” legiti- be sufficiently gifted so that there is a Q. 1. I am a tenor, twenty-one years old. mate expectation of a musical career for you flow dors one go about blending the head and Name in compensate your teachers registers the future, to chest Address for the omission of their usual fees. Commu- 2. Please distinguish between the Head and nicate with one or two of these schools and Falsetto registers, or arc they the. same ask several well known private teachers and S. What sensations take place when one is for an audition. From them you will learn progressing correctly as the registers blend in whether or not you are likely to succeed Can you give an exercise describing how the FREEMANTEL will JESSICA the difficult life of the professional singer. registers blend f several that not disturb train YOUR VOICE .}. I need songs do the smooth flowing line and that do not go "1 attended a concert given by Mary Stewart, a Vocal Range Once More former above F-sharp.—E. B. pupil of Frederic Freemantel. I was so the impressed by ftno I travelled 10 0(10 DRAGONETT of her slnping Q. Please tell me the voice ranges , E miles rrom Shanghai to New York for the privi- tenor baritone and bass.—G. K. lege America’s Beloved , of studying with Mr. Freemantel." Soprano A. 1. In these columns we have protested (Signed) Priscilla Pote-Hunt against the three register system A. Generally speaking, the ranges of the repeatedly FREEMANTEL STUDIO Star * your questions are difficult for us to an- 205 Wait 57th St. New York, N. Y. average male voice are: and Saturday Night swer because you seem not to understand the Serenade fundamental principles of tone production. 9:45 P.M. EDST (CBS) Tenor Every tone in the voice, be it high or low, is produced by the vibration of the vocal cords When in New York induced by the controlled action of the See This Broadcast breathing muscles. The tones are reinforced by the resonance of the bon-s and cavities of Write for FREE Tickets the chest, mouth, face (nasal cavity) and Concert Management head. These resonances should be present in every tone of the scale in varying proportion. ALBERT MORINI register, In the so-called chest a sense of one under 17 years old unless signed bv parent. 119 West 57th Street New vibration should be felt in the chest,- in the PERFECTUOICE 'NSTITUTE, Studio 5581, 64 E. Lake St„ CHICAGO York, N. Y. middle tones it should be felt upon the roof of the mouth, and in the upper tones, in the head, face and nasal cavity. In Lilli Lehman's book, "How to Sing,” there are several draw- IMPROVE YOUR PLAYING ings the purpose of which is to show defi- Splendid field for men and women musicians. endorsed Sons, Baldwin Piano nitely just where these sensations occur in 8choo1 by Stoinway & Co., Pianists Send for tree booklet show- W. W. Kimball and other leading piano mfrs. — scale. Co. ing how you may greatly improve your the various parts of the Remember, U’nf,' lor in! or mutton sensations. technic, accuracy, memorizing, sight- please, that they are only Do not Dr. William Braid White, Principal readlng and playing thru mental- try to place the tones in these spots. muscular co-ordination. Quick results. Practice effort production of the falsetto School of Pianoforte Technology minimized. Used by famous pianists, teachors and 2 and 3. In the students. No obligation. the crico-arytenoid and 5149 AGATITE AVE.. CHICAGO voice in the tenor, Broadwcll Studios, Dopt. C3-A Covina, California the thyro-arytenoid muscles do not act as There are many individual differences both firmly and strongly as they do in the normal of range and of quality. When the tenor music masculine tone. The result is a rather soft, is the tones produced feminine sound, which may written in the G clef, easily produced, Success in the field of singing involves more than just the air, sound an octave lower. occasionally be used, especially over the possession of a good singing voice, even if years of study but which is too small and thin for a large THE SINGER'S have aided in its development. Musicianship, poise, a knowledge of languages, hall with an orchestra. To “blend" this tone repertoire, even physical fitness, Nervousness are of vital importance. These the normal masculine one requires an practical elements, as well is clear but with as such problems as tone Q. 1. J am nineteen. My tone aforesaid muscles, production, voice placement, increased tension of the HANDBOOK etc., are authoritatively small, although 1 think it would grow through discussed in this new book by and a slightly increased pressure of breath. Dr. SamoilolT. An eminent developing exercises. My range is from F be- By teacher of teachers, coach of singers are able to accomplish this very a number of world-famous low Uigh-C. I can reach Few artists, creator of many young Middle-0 to A above well defined break. singers, and advocate whistle and difficult action without a of the Bel Canto method. Dr. U above Iligh-0 but it is a mere articles, LAZAR SAMOILOFF Samoilofr is well qualified If you will read Mr. Ruff’s excellent to prepare this "handbook” requires effort and concentration. for singers. From his rich describing just what occurs at the larynx, in experience he has compiled 2. 1 hare been under intense emotional strain Cloth—$3.00 for this book a special list of songs to Novemoer and December 1939 issues of suitable various for some time. Could this, enhanc'd by an ex- the types and registers— a real help to the aspiring singer in Etude, your ideas may be clarified. selecting songs tremely imaginative and sensitive nature, be The which will prove most effective for all- Look at Donaudy’s O del m ia amato ben ; important auditions and public performances. the reason why I am not able lo sing in public 4. Written in the early Italian songs, such as interest-holding style and in a manner easy to digest, When sing to pro- and some of this 1 a song each word seems THEODORE PRESSER CO. honk has a definite place Peri’s Invocuzionc a Orfco. Handel’s aria, in the voice studio and in the ceed from my own thought.—P. It. B. library of every singer student, amateur, or professional. .Jehovah to My Words Give Far, from the "Oc- 1712 Chestnut St., Phila., Pa. — Oratorio”, is difficult and sustained, A. 1. The practical range of a voice con- casional helpful. sists only of those tones which are comfort- but might prove WITH MUSIC" JANUARY, 1943 "FORWARD MARCH 53 p
Dance Music on India’s
Largest Island
Fantasies of the Awakening East
Lj Uerna
In The Etude for October 1942 Miss ruins still reveal his power and the ment was lined with little golden Verna Arvey -presented an article magnificence of his reign. He not bells, each emitting a musical sound upon “Ancient Music and Dance in only required all his attendants to be and pitched to different notes of the Modern Ceylon ” The following ar- musicians but “brought up in his own scale. With delightful insouciance ticle contains supplementary material palace the sons and brothers and this monarch, in the midst of a The upon the same subject. grandsons of many noble families, battle, once pretended that he was Mask Dance of Ceylon saying ‘Let them become familiar going to the chase. He actually left ... in music and dancing.’ ” To em- his headquarters with the thought phasize the worth of his commands, of marching toward Rajatakedara, he himself became a musician and but instead “betook himself to Kya- p s ’ and one of dancing IS, THEN, dancer, and his queen was also nagama accompanied by many skil- V rrnl T almost correct to say king 0t song. ful musicians, who made music Kandy had a skilled in the arts of dance and on bnlv nf t. that the Sinhalese brought their body of tom-tom beaters. It was during his lifetime that his- the lute and on the flute.” In his I dancing from India, for, before the With the decline not of the monarchy advent of the Indian captives, Ceylon toric documents first mentioned the view, music was only an aesthetic the aits did not flourish in tabor (udakkiya) a musical in- joy, but a means of doing honor to Ceylon as had several types of devil-dancers of as widely as before. But beings. the Ceylonese its own. In addition, sacred writings strument. Then it was to be used in sacred people did not forget them, and describe the dance. It was undoubtedly of This was also in the mind of the day to- “joyous spectacles represent- native Ceylonese music Indian origin, since it is mentioned second Parakrama who held huge dance and ing the actions of the devas as well are coming back in many a Sanskrit sloka. sacrificial festivals to Buddha in into the as of mortals,” as early as the time minds and hearts music and song, whence he employed of the people The of Pandukabhaya. Another person of dance had become Nautch Dancers the five classic Ceylonese instru- the sole property royal blood (B.C. 162-138) was said of a comparatively Atata, Vitata, and small to have been surrounded by a throng In many other courts of the land ments: Atatavitata people who lived in the (drums) : Susira (pipe) of singing and dancing women. were Nautch girls who danced to a and Ghana inteSr o (cymbal). Other monarchs King Gaja Bahu (A.D. 109-131) veritable orchestra of “lutes, flutes, not only °nly for drums and the like.” Nissanka Malla followed their predecessors’ examples 14 was the hero who captured and fair to becomea* b de to music, hist artX ? (A.D. 1102-1201) was another ruler in regard but attempted to W *S brought home twelve thousand In- coming into its who took an enormous interest in outdo them in splendor. own as iMb A dians, some of whom were dancers mUSiC in the Military tournaments versed in India’s traditional, sacred the development of the dance, and battles flavor. people, and were enhanced by musical dance-lore. Under the patronage of fostering of a cultured instru- H his court with ments to such an extent that ' their noble captor, they introduced in the adornment of they have both V' Peter Pt>1 era recentlv ' troupes of delightful dancers and were likened at various times to the Compiled illus- what is now termed the “Kandyan” trated booklets n musicians. “terrible clash of thunder” and ming dance, the word “Kandyan” being a to halese nursery °W Sin~ contemplation of Ceylon’s the “roar of the wide sea” in rhymel derivation originally In the ancient though l0lk S°ngS of the name these hale ’ music, one’s thoughts turn again and days. AX yet applied to those particular dancers. translated into pnS- been again to the extraordinary Parak- The Royal Household had various u Gaja Bahu, who had learned the arts halese people The Sin- Bahu, whose sleeping apart- cultural departments, over which to dXX’ and dance, was eager that rama cer- song, Uonal of song composed by he should be surrounded by an in- and sung XG - Perera under i-‘ w 1604 creasing number of courtiers who National Day * 011 at the y CeieM*b ‘' would be proficient dancers, and toria atiOns Park, Cof0 « Vic- adept in other arts. He assumed the X W melody 19u - is distinctly A . The burden of raising the children and in uentaI fact, reminiscent and is, grandchildren of distinguished fami- Hindu s°™ old theme. A01 his own palace, in order that X lies in Subsequent harm™- reason, its they might be trained for that pur- occidental lzatlon in the fashion , pose. After that, dancing began to ° ne tools ^'satisfactory. that it religious rites, should* take a leading role in sung in the Played or accepted u in the worship of Buddha. Men all the HiHmdu even voices anT fashion, gained prominence, where unison. “S dancers The sons tuments in women had won greatest ac- i. Sung before functions in CevloA at state claim. Newspapers most . i/c’F Arts of all kinds received their iong now articles relating JA Publish in Ceylon during the Ceylon’s the forceful impetus music history of Bahu I (1153- aL,® f° reign of Parakrama various single uohlng upon cultured monarch aspects . This exhort f lt 1186 A.D.) the people ° ' They also and hero. art tn was adept as statesman of folk Perpetuate the reforms; vast danom ‘‘ Success greeted his ^ontinue7tS m W1™ 11 pPa9e 65) 54 The etude —t ? —? 2 3 1
These are MEW Compositions of Organ and Choir Questions RACHMANINOFF Piano Solo S. Suite in E Major from Partita for Vio- Msweredly HENRY FRY, Mus. Doc. lin —Bach. Prelude-Gavotte-Gigue . 1.50 Lilacs. Ex-Dean of the Pennsylvania Chapter of the A. . . .60 Lullaby-Tschaikowsky . . . .75 G. O. 2 Pianos—4 Hands Symphonic Dances, Op. 45 • 3.00 ******* No questions will be esnstvered in THE ETUDE unless accompanied by the full the inquirer. Only initials, or pseudonym given, will be pub- Rapsodie on a theme of Paganini. .3.00 name and address of lished. Naturally, in fairness to all friends and advertisers, we can express no opinions Concerto #2 (in Album with Waltz as to the relative qualities of various instruments. and Romance, Op. 17; Prelude C# Minor) 2.00 From your accustomed music store CHARLES FOLEY I5> 22. No !. A- \V,. I course, more use is made of the we would prefer a new ]•'- fication. of :( and adequate instrument. The "grumble” 699 Farewell to the Piano. Beethoven unification, but we prefer the 44 pipe Bourdon 1818 Flower Song. Simplllled. F 2 . I pedal department, with the twelve when the Crescendo pedal is used, is probably 626 Gertrude's Dream. Waltz. 1th— 3_..Rcelhoven for the 521 Golden Star Waltz. (.' „.Streal>lioR due to the 16' stops being brought into action, 2 pipe soft 16' stop. In the larger specification 627 Gypsy Dance. Dm—3 I.lchner as well as 16' couplers. the derivation of the 32' Resultant Bass in 1222 Humming Bird. Waltz, F 2 _Schll!cr 1179 Hungarian Rhnnsody No. 2. Cm -7. I.iszt indicated. For information the pedal, is not 2262 Hungarian Dance No. 5. Easy. Cm— 2 Itrnhms Q. Enclosed you will list as to pedals to be attached to a piano we find of stops and 2251 Impromptu in Ah. An— 1 Si’rgu-rt couplers our small 698 Invitation to the Dance. Op. C5-Do—5 Weber suggest that you get in touch with an organ on two manual organ. Will U 2749 Japanese Lantern. A — 1 Hopkins avail- you suggest best registration — builder who might have a pedal board for hymn playing 270 La Paloma. Ith -4 YradU-r •'X.vltrhcU and some good combinations solo playing 272 Largo, G —3 Handel able, or address the parties whose names we for 2467 Llebestraum ( Love Dreams) G :t. Easy.. mail, who have pedal —I. B. L. I.iszt are sending you by 278 Lily ut the Valley. (>;, II. K- boards available. 2746 Little French Doll, A. C— X.. _... .Unpkln3 A. Not knowing the comparative strength 1613 Little Hondo. Martin 3133 Lovu Dreams (Waltz). An ; of the various stops of your organ we suggest IRII March. of the Boy_ Scouts, Q. Our church, which seats one hundred and — _ ...... c—„ Marlin small that you try the following for hearty congre- *3122 May Night. K -a .. S. P.:!mgrc*i is considering tne purchase of a 1* fifty, 1648 Military March. No t. :t ... Schubert to install an gational singing: Great Organ—Open Diapa- 2519 Moonlight Sonata . . . even One firm has offered (Simp). Cm 3. lL-etluiven courageu. 1 ried many different products nine' organ. 8’ 8' 8' son Salicional Flute Swell Organ 1176 Nocturnu. On 9. Nu j. |> i — t hnpln razors. Nothing was satisfactory. Then I developed a the specifications enclosed. J would — — — organ of 23118 Norwegian Cradle Song. :: 8' I' . Morel simple, painless, inexpensive method. It worked. X your opinion as to Concert Flute and Flute Harmonic 4'. Pedal like very much to have 1024 On the Meadow, Op. 95. No. 2, (3 — 2 l.lrlmcr have helped thousands win beauty, love, happiness. Bourdon, Swell to Great, Swell to Pedal Plzzlcntl (Sylvia). -3 these stops are the most satisfactory and 358 Eh .. Delibes My FREE hook, to Overcome the Superfluous whether 854 Proludes. <>p 28. No. 7„ Chopin “How church organ. If not, please Great to Pedal. If additional brilliancy is re- actual ones for a small 1531 Priests' March (Alhallal. F — 4. -Mendelssohn Hair Problem", explains the method and proves quired one of the 4' couplers might satisfactory. be added 368 Pure as Snow. Op. .H. Kw t success. Mailed in plain envelope. Also trial ofTer. No advise what stops would be more I.anco (Swell to Great 4' or Great to 4'). 2129 Robin's Return. The (Simp) (i— •> 9 |'|s|„ obligation. Lanzette, P. O. Box the price about right ? Great r Write Mme. Annette you consider 1210 Romance Sans Paroles. F—3 str-,i,i.„.. Do Combinations for solo playing will depend 4040, Merchandise Mart, Dept. 379, Chicago. on 1312 Scales and Chords. 2 Kohler the type composition being used. You might 696 Serenade ( staendchen) -Dm—6.. scluibert -Liszt try as solo stops: Swell Vox Humana—Swell 2196 Serenade (Stncndrhen) Dm— :t .. Schubert The specification you quote is very lim- 655 Shepherd Boy. The, G -3..., Wilson of RECORDED A. Concert Flute (also with Harmonic Flute 4' ENCYCLOPEDIA containing two sets of pipes only—(no ited, or Piccolo) Swell Viol d’ Orchestra unified and duplexed. Our sugges- (also with Piano Duets, 15(’ eaeh off the press! Diapason) Harmonic Flute or Piccolo). For accompany- MUSIC — just be enlarged (4 Hands) tion is that the instrument to Lists every serious composers ing stops use Great Salicional or Flute 8'— A Bunch of Daisies -1 worthwhile recording of sets of pipes—the addition! ones (Valse) .. Martin include four (lave, Including mid- 1942 releases—650 pages— cloth bound. Pedal Bourdon, and Great to Pedal. Amaryllis, dc Loul i XIII, F -3. .Ohys Diapason and Dulciana. While not Barcarolle, It is unique in inclusiveness, accuracy and usability. to be Open Tales of HotTma -3-Offenbarh Chop Sticks. Wall z. 1 artists ideal to have so much unifying and C ... Do t.iilll No lover of great music performed by great entirely Q. In The Etude, under Country Gardens. be so treated, Organ Questions I F— 3 __ ...Tradition it will be without it. Send $2.95 to duplexing, the new stops can Elizabeth ONLY notice at times that Waltz, C— 1 Marlin the Great organ, you have information Golden Waltz. The GRAMOPHONE SHOP. Dept. E producing an Octave for about Star G — .. ..Slreubboe 2%' 2'. pedals which may be attached to the Invitation to the Dance. Op 65, Dh 5 Weber 18 East 48th Street, New York and Dulciana of 4', and piano for practice. Please send me informa- Lustsplol. Overture. 1C— 1 .Keter-Rela March Mllitalre. D .... Schubert tion concerning these pedals. E. B. — W. Over the Waves. Mux Waltzes. :< organ in our church has a tendency Rosas Poet nnd Peasant. Overture. I’ cipher, and the BUY WAR BONDS AND When it starts to A. We suggest your consulting with some Shadows on tiio Water, F—
i is pushed and then put on p off organ builder about securing a new or used ipher censes. Can you advise me as Piano Trios, 15^ eaeh STAMPS VICTORY pedal board, which you can have attached to FOR mditions could cause this trouble, Instructive Ensemble Numbers for Six Hands your piano by a skilled organ mechanic. We (Threo performers on one Piano) my in which it can be remedied also are sending you by mail names of per- 3089 A Little French Doll (T,nIL), F—1. Hopkins sons who might be able to supply you with 3092 An Old Moss-Covered Church, C— t Donkins 3096 Barbara (Waltz), (12 M OreoiimnUl Schools-Colleges used instruments or pedal board. 3071 Big Drum Maior, The (March) ,F 2..Hopkins chest, which — A. You do not state type of 3088 Big Bass Fiddle (Hutn'csque). V— l..Hopliins be of the Ventil style. The trouble Q. The Benedict 3097 Cuckoo Song. (’ 2 AInrt'n might us in Maundcr's “Communion Floral 3004 Pnrado. Tho (Valse), C—2.....'..Mart In be caused by weak puffs (which would Service” is written in 3070 Golden might nine-right time which Rod iWaltz), C— 1 Hopkins CONVERSE COLLEGE" to be renewed) or a leakage of wind in changes to three-four time for last three 3093 Humming Bird (Waltz), C—2 Schiller have 3095 Kroat Bacon, Bean, Bpariansburg, C. Idle Moments (Waltz). C— 2 I.lchner S. pitman valve of the stop action. We sug- measures. What is the correct way to secure the 3090 School Pictures (Waltz), C- v Hopkins mechanic 7 gest that you have a reliable organ the proper rhythm for this number —M. L. M. 30 2 Sunshine Waltz. C—2 Hopkins 3069 Sweet Memories instrument, and make whatever (Reverie). G— 1 Hnnklns examine the .3091 Watching tho Soldiers. 1 Hopkins Galesburg. 111. necessary. W- James MacC. Waddell, Chairman. repairs are A. We suggest counting three to a measure Numbers so designated are not available in Canada KNOX Catalogue sent free upon request for the entire number with three eighth notes Our complete catalog contains over 3.000 composi- enclosing you a drawing of the to a count in the nine-right portion and a tions. consisting of PIANO SO’ OS, DUETS and Q. I am TRIOS. VIOLIN ami PIANO. DUOS—TRIOS ami in our church, as will as the specifica- quarter note to each count in the three-four QUARTETS— BANJO—SAXAPHONE PIANO organ —MANDOLIN and tions of the instrument. Can yon give ns some time section with no change in the tempo ami GUITAR and VOCAL. Also. Ensemble numbers for various instruments. This is wrong? The instrument seems counting that is, use the same speed in SHENANDOAH idea of what — catalog will bo mailed FREE to anyone on request. to plenty of volume, hut the sound does counting for both sections, making three .. _ Courses leading to hare the B. Mus., and B. Mus. Ed. degrees. Rntes not seem to go through the room. Is the organ eighth notes as a unit in the first section and CENTURY MUSIC PUBLISHING CO. reasonable. In the 254 West 40th St„ New York City heart of the Shenandoah loo small or is it enclosed too much? The a quarter note as the unit in the second or Valley, Dayton, Virginia. ceiling is 12' high, six inches aborc the tallest closing section.
JANUARY, 1943 "FORW'ARD MARCH WITH MUSIC 35 — — ”
without turning a page. Analysis is long composition, or he plays so ex- lully, and I can tell immediately if How Public School Music the root of a dependable musical pressively at first that he cannot they will meet my needs. On an aver- memory; and, if the over-zealous draw in the reins of his emotions at age, from every ten new songs that student has played more pieces than will. With the shorter piece he can Helps the Private Teacher are gone over, I retain and learn, he has analyzed, no concert platform express his feeling and still maintain perhaps two. will be large enough for him. his full control. And he will not play After ( Continued from Page 18) studying with my first vocal “He who has laid up no materials a long piece well until he plays a teacher, the late Gaetano of can produce no combinations,” said short one better. DeLuca Nashville, I came to New York and life is to promote music education. Sir Joshua Reynolds. Every pupil Liszt, Chopin, and Rubinstein chose the comprehen- teacher that I thought Private teachers are welcome at these should lay up a stock of played shorter works with great suc- would be good for my personal needs. conferences, which include group dis- sive pieces each year. Neglecting this, cess. No one denied the difficulties I have great respect for Enrico Ro- cussions in the teaching of all the he may reach concert pitch with or questioned the brevity—of their sati who helped me to develop growth various instruments, and voice, only a few long-haired compositions, presentations. The same pieces live and power in my voice. theory, eurythmics, conducting, and always in need of brushing—a sub- today, as they did then, for pianists To-day, if vou want a career, you so on. stance-hungry repertoire. to respect and to play. must constantly — grow, develop, During the many years I have Programs presenting the greatest and give something new to the public maintained a vocal studio in New variety of combinations are in the every year. Rosati onened my eyes to York City, there has been ample greatest demand. With groups of dis- bigger vocal pos- sibilities; he gave proof of the many benefits derived tinctive, short classics, the student me many vocal and breathmg exercises; from music education in the schools. can exhibit perfect examples of his and he gave me difficult numbers Coming from all over the country, range of style; while, with the longer You Must Go to Work to sing. All of this was needed to the majority of my students had the piece, the fever of perfection may handle the bigger woik later. As a fire of their ambitions kindled the catching. game fish will swim at not be ( Continued from Page 12) up stream, I had time of a successful vocal perform- Dryden has said, of extended works, to extend my efforts considerably for ance at school. Those who had the “Too much labor often takes away the climb up hill. If you will attend to the business opportunity to study piano or some the spirit by adding to the polishing; Concert of singing, it will look after Programs other instrument, music theory, ear so that there remains nothing but a you. Singing is a job that lasts twenty- Concert audiences training, or sight reading, make dull correctness; a piece without any should be en- four hours a day, every day. tei tamed and for much more rapid progress than those considerable faults, but with few this reason the You must be systematic in your P Ch r0gram who have no previous music educa- beauties.” building Should hp n?-,t f^°?that schedule. You must have rest, peace ‘ Wl11 develop tion. And if they have had the usual . audience A C01 rt Endurance of mind, proper exercise, fresh air; pr°gram can be built two years instruction in vocal classes, with i^ eat simple food, but never coddle a solid foundation they have formed good habits in deep In the shorter writing there need but every yourself. There should be no compro- ’ Wb ber is breathing, free voice production and be nothing between the composer’s a classic or an EnglishS h ^ expression of mise in the effort to attain perfection. Amencan song, should distinct pronunciation. Also they sing idea and the pupil’s on thp ^ be A singer should vocalize for at least rogram for one with a directness and simplicity that idea. Moreover, a great ideal can shmurt J purpose; it one hour each day. This can be done ld h Ve audience appeal much to be envied by experienced now be reached: that of giving at- tl r and en- in four fifteen minute periods, tertam I am now singers. With such a start, building tention to each note and phrase with- spread recording a good over an interval of several hours. share of John the voice and expanding artistic ex- out losing the ease of playing the McCormack’s reper- However, one cannot always do this pression make it possible to reach the composition as a whole. Can the pupil because of performances, or the study goal of singing professionally in a do as much in the longer piece? of repertoire. much shorter time than would other- As the briefer classics accumulate pupil will wise have been possible. This is ex- in the repertoire, the Song Repertoire tremely important in the vocal field, understand these words of Emer- I have roamed the entire world for the public enjoys a youthful ap- son: “A few years will show the of song literature. Learning 2,250 songs pearance as much as they do the advantage of the real master over the show- is not an easy job, but to-day this sound of a fresh young voice. the short popularity of solved that 1 have number is in my repertoire. These many 0f man.” Problems by include arias, lieder, modern learning how to Piano playing requires greater en- songs, Work Scotch, Irish, and American folk durance than is recognized by the songs, old traditional songs, over-reaching pupil. Sometimes the Negro is spirituals, songs by American com- Is the PiecG Too Long? student’s endurance in playing ballads, and repeatedly broken, after months of posers, well-known oper- The Violinist etta favorites. It is good Takes Up practice on a composition. The my fortune ( Continued from Page 27) have absolute pitch. I teacher may commonly attribute this to look at a song, and automatically the Music to nervousness, a poor memory, or a tune Again ears. forgotten. When the student can see lack of concentration; whereas, this comes to my Mentally I like to photograph the melodic line for (Continued the ending on the very next page, same teacher might be of immediate the from Page 25) purpose of memorizing, there is an incentive to memorize the help if first he asked himself and the in- want to do with piece immediately, instead long for terpretation comes from an intelli- immediate iC Sn th of turning whether the piece was too future andTriVr pages aimlessly for months hoping or physical gent survey of the combination of needed “ — the student’s intellectual the for this, Woufd lyric wedded to the “ ke they will eventually memorize them- strength. After all, it is only when the musical construc- portant difference. an lm selves. And what greater delight than student has proved that he can en- tion. I never learn more than one memorize an entire composition that he should be song at a time. My whole repertoire listener/ ability to Pleas to dure all things and^ee?*? . in an afternoon! urged to venture all things. has been learned in this manner. to please S6lflsh to tr: themselves ni little self- e The teacher who will tempt the A serious pupil, with be reassured ' they eai Operetta Repertoire that thf?their enthusiasm with an appeal- the most dif- enable Playing cai student’s confidence, might play othersh to0 u star the be ing short piece, will find the quickest ficult piece ever written—if power As of Palmolive Beauty the other :ma\ ertime- emrwrth way to accomplishment. He will learn and control had only two pages to Box Theatre, I have performed fifty- Play. For Uom the: music is , five operettas moll101 e f to think it through his fingers—away go! And Rochefoucauld described on the air, but never sociably. un pursue) from the piano. He will not forget its forced performances with this sen- on the stage. There are few popular its melody thing from songs whose tunes I could message if he can hum tence : “Nothing hinders a not whistle concentration as the and whose titles I could nor will he relax his appearing natural so much not recall. he will ourselves to make it seem Ever since boyhood I have before its early end. Now straining carried a instead scrap of paper in begin to listen with his ears, so.” my pocket for the Sustained emotional control is dif- purpose of writing down of his eyes. new song- pupil. Either he plays titles as I hear them. The student will soon become in- ficult for every When new songs s*ntimentTlZVr ely feeling at all in an effort come to me analyzing—il he can com- with no — from the composer or * ^which terested in differed phrase and modulation to stiffen himself for the ordeal of a publishers, they are gone over care- pare every Henry "FORWARD MARCH WITH MUSIC Ward Beecher 56 the etude Violin Questions
Answered ly ROBERT BRAINE
Definite and Practical System So questions will be answered in THE ETUDE unless accompanied by the full name which ALL Piano Students and address of the inquirer. Only initials, or pseudonym given, will be published. Teachers Should Investigate
* Vol. 1—For Begi . . . 1.00 About George Gcmundcr student’s orchestra, and study the art of con- ducting with one of the teachers H. L.—In the opinion of many authorities. of this .* 1.00 George Gcmiinder of Astoria. New York, was branch in the conservatory. You ought also produced by to get a superficial knowledge of all the prin- Vol. 3—Advanced Students *1.00 the greatest violin maker yet America. Heinrich Bauer, a noted violin au- cipal instruments of the orchestra. You might also get opportunity, occasionally, thority. says of Gemiinder in his book. "The an of di- IMPROVISING recting SHEFTE PIANO Practical History of the Violin.” that this the student’s orchestra at some of the rehearsals. also advise most *1.00 maker was a pupil- of Vuillaume (of the I would you earn- PLATIRS Ready, and able to turn in a fine French school) one of the greatest imitators estly to get the book, "Treatise Upon Mod- ever ern Instrumentation and Orchestration," by performance because of supreme of old master violins the world has known. At the Vienna World Exposition, Hector Berlioz, the famous French composer. confidence in her command of This book has a fine chapter "The Orches- some of his imitations were declared to be on tempo. When the timing cannot Gemiinder’s tral Conductor Theory of His Art.” This genuine old instruments. One of — falter a split-second from the score purchased for Theodore takes up the technic of the baton, and all finest violins was ...it is then that professionals, noted orchestra director, by the elements of conducting, which you need Thomas, the teachers and students alike turn to August Wllhelmj. famous violinist. This vio- at your present stage. It also devotes a chap- catalog ter to each of the orchestral nstruments. the musical world’s standard of lin was later offered for sale in the LONG STRONG LIMBER FINGERS hundred accuracy, the of an American dealer for fifteen Violin and Piano our new inven- as follows. players need dollars. The violin is described Learning the Art of Violin Making tion. Saves Time. S-vcs Money. Saves Praelisc. flam'd maple, The back Is of two pieces of M. Y.—For a moderately priced book on Used and endorsed by World’s Greatest Artists. grain ILECTRONOME sides to match. The top is of wide violin making you might get “The Violin and Also new violin invention. Keyboard, makes it with (Trade Mark Rec- U.S. Pal. Oil.) is of golden brown color. easy to always play in perfect tune. yes. and to spruce. The varnish How to Make It,” by a Master of the Instru- state of pr-serva- learn without a teacher, in your own home. The violin is in an excellent ment. If you have had no experience in violin beautiful quality. ELECTRIC METRONOME Write—Dept. 12 12. 2537 N. Bernard St., Chicago. tlon, and possesses a tone of making, you would save time and trouble if FINNEY SYSTEM you could take a course of lessons in violin VIOLIN KEYBOARD Simply plug in, flip the switch, and it the Violin making from an experienced violin maker, If To Clean begins beating out the tempo, with I cannot tell you what to do to- there is one in your city. Besides the little j h. C.— supreme accuracy from 40 to 208 For Authentic VIOLIN Information Read wards improving the tone of your violin with- work mentioned above, you could get more great distance beats per minute. Change tempo right out seeing it. As you live not a expensive works, "Violin Making as It was VIOLINS and VIOLINISTS violin while it’s running and with one hand, from Seattle, you might take your and is," by E. Heron Allen; "How to Make lead- at that! No matter what your instru- An American Publication Devoted to the there some time, and get the opinion of a Violin.” by J. Broadhouse, or “How to Make Interests of String Instrument Players ment, your practice will be doubly violin makers. They may be able to im- a Fiddle," by L. H. Hand. ing valuable, and your performance doubly Subscription $2.50 for 12; single copy 25c prove the tone of the instrument. 2. For "Liquid Jftective' when an ELECTRONOME WILLIAM LEWIS & SON, 207 S. Wabash Ave., Chicago cleaning your violin you might use For Sticking Pegs cleaning painted Metronome sets the tempo. Send lor Pn'uue and Instruct ire Catalogue ol Veneer.” a preparation for H. P.—Your trouble in tuning your violin varnished surfaces. First, take a clean 5-year service guarantee in writing I or may come from the p^gs not fitting the holes the violin. Pour a rag. and dust the dirt off In the head of the violin perfectly. It requires on a piece of cheese PRICE *12.50 little of the mixture an expert workman to fit a set of pegs with carefully over the violin. It Is il your Music Store or THE SECRET OF VIOLIN TONE cloth and rub mathematical exactness. If you have difficulty See a! bottle vigorously be- trial offer has been reached thru the use of electrical devices important to shake the in turning the pegs, you might rub them write to us for 6-day not age nor to mix the ingredients for analyzing sound. It is not varnish, fore using, so as with a minute amount of vaseline, then rub service Natural Physical Laws in —but in obeying thoroughly. them with a cloth where the vaseline has construction (musical laws). livery instrument is FRED.GRETSCH mfg.co. applied. After doing this, rub the pegs a musical gem. Violins, Violas and Cellos. been At Instruments Since 1883 Information on De Lorenzo Makers of Musical Attractive introductory prices. No with powdered chalk. After applying this C. C.—Sorry I cannot find any information treatment, be sure, when tuning, to push the 60 BROADWAY, BROOKLYN, NEW YORK V. L. Schwenk, Maker Lorenzo” about a violin maker named “De peg firmly into the hole in which it Is fitted. 922-No. 17th S«. Milwaukee, Wis. and his violins made in Italy about 1875. The system of tuning you describe which Write to some of the dealers in old violins permits the violin to be tuned with one In Tim Kti he. They may know Adver- who advertise hand, from a playing position, with the violin Answering Etude something about this maker. chin, SWING PIANO! held In a horizontal position under the Learn to play real Swing Piano. Send for free Home difficult, hard to acquire with- tisements always pays is rather and Study Folder. TEACHERS: write for business offer Metal Bows out having it demonstrated by an expert CHRISTENSEN STUDIOS. 52 Kimball Hall. Chicago early judge the I and delights the reader. I F jj C.—It Is rather too to player. However, a good teacher could impart value of the new bows with sticks made of the theory of this method of tuning in a hollow chrome, tapered steel, which you de- single lesson. scribe. They may prove valuable, but I am doubtful if any bow-stick can be made which To Get A “Hopf” Violin Is an Improvement on the sticks made of J. D. D.— 1. Any good violin repairer can Pernambucco wood. However, it will do no All the FUN out fix the crack in your old violin. 2. This violin, harm to try the new type of bows. according to your family tradition, belonged of to a family associated with the Austrian Im- your Music Several Questions perial family. 3. The violin is a Hopf. accord- p. l. i cannot tell whether you could N, — ing to your letter, but I am sorry to say a symphony violinist, starting at the °T TONKabinet become that "Hopf” violins are not especially valu- of seventeen, without knowing you and No age able. There were only two violin makers irritating hearing you play. Better get the advice of a searching for mu- named "Hopf,” of any note—David Hopf and good violinist who has had large experience sic when you own Christian Donat Hopf, beth of whom worked a TONKabinet. In teaching. If you have not such a teacher No near Kllngenthal in Germany. I have never misplaced music. in your home town, it will pay you to consult No known these violins to sell for more than torn, frayed, one in the nearest large city. 2. The viola is a soiled sheets. $200, if fine specimens, and genuine. There and interesting instrument and it is a TONKabinets file noble are thousands of imitation "Hopfs” on the your stroke of good fortune that you have been music easily market, also, which sell for nominal prices. in specially design- play the viola in a string quartet. If chosen to You could have your violin appraised by Lyon ed* file-trays, keep play the violin well, and have tal nt. and Tt ready atyour you and Healy, violin dealers, Chicago, Illinois, fin- FOR .SALE: Studio discontinued. apply yourself, you no doubt will be able to ger-tips. Beauti- teach- or The Rudolph Wurlitzer Co., music dealers. fully Visuolas. Electric light keyboard for master the viola, as the technic of the two crafted styles $000.00. I 'nee New York City. for schools, stu- ing younger children. Cost instruments is the same, only that the viola Box IO dios. homes, hold- $300.00. Or sell separately. size than the violin, and the c/o is of larger ing from 450 to ETUDE. student with very A Child Prodigy 1800 de- stretches are longer. A sheets. Made EXPERIENCED LYRIC WHITER by master artisans short fingers cannot wrll master the viola. 3. K. M.—I remember very well your writing sires contact with composer. Address from fine cabinet William Primrose may be addressed in care of to me about your little four year old daugh- ETUDE—FBIT. that time woods. See your National Broadcasting Co., New York City. ter. Karola Muller, who had at dealer. FOR SALE: Used classics, back songs, the He has. or find any information about a vio- just commenced the study of the violin. I can easily get them records. Lists 10<*. Fore's (Dept. E), dial 4. I cannot to hear has just made her for you. Moder- High .Street, Denver, Colo. lin maker named Johann Carol. The nearest am glad that she Hall” concert hall in ately priced. I find is J. Carlo, who made violins at debut at the "Town played Milan, Italy, in the eighteenth century. New York. She certainly an ambitious TONK MFC. CO. ANNOUNCEMENTS program for an eleven year old child, includ- Chicago ing the Mendelssohn "Violin Concerto.” the LEARN PIANO TUNING Simplified, To Be a Conductor — Eelimo Tarunhllt by Wleniawskl. a Beetho- authentic instruction, $1.00—Literature A. C.—As your ambition is to become an free. ven "Sonata in F Majcr" (Spring), Prelude Prof. Ross, 456 Beecher Sc., Elmira, orchestral conductor, the best thing for you N. Y. permit, go to in E Major. Heifetz-Bach, and other works of to do is. if circumstances to TONKabinets VIOLIN Karola is American born REBUILDING—95% of all vio- York. Boston. Chicago, or any other large similar difficulty. II ns are tonally New defective. Violins retoned and become a student in a and a pupil of Illuminato Miserendino: and by me have power, sweetness, of best, old American city, ought I am sure she will be a credit to her native or new instruments. Rebuilt violins for conservatory or school of music. You for Sheet Music j sale. Ralph Cobs. Harvard. Illinois. to study the violin and piano, play in the country.
JANUARY, 1943 "FORWARD MARCH WITH MUSIC” 57 E , T
syncopation Mexican Musical that results. It is true that the rhythmic contrasts of the Attractive, Easy tirade Spanish melodies are much richer Folklore than the Mexican examples. But the latter lose their romanticist stand- i Continued from Page 17) Mew Piano §®1©® ardization when performed to an ac- companiment. When FOR STUDY, RECITAL, AND RECREATION Ex. 3 this occurs, the superposition of several rhythms © © © leads to intricate combinations; the lelative GRADE OK monotony of the melody is thus Bed Time. With Words (2720S) Berniece Rose Copeland .25 compensated. The instrumental Chipmunk*. Louise E. Sian' .25 With Words (272 18) group that interprets these id tile Squirrel* and Chipmunk*. With Words (27161) M)ra Adler .25 corridos is On the Itmlio (27288) Ada Richter .50 known as mariachi. Pretty White Sailhont. With Words (27185) Charles E. Overholt .25 Two Little Towhead*. With Words (27207) Sidney Forrest .25 Wuking Snowdrop (27175) Emma Peterson Talbert .25 GRADE OKE-AKD-A-DALF witn Bohwhltc. With Words (27285) Burton Aram .25 tu cor - tas do los a - zu - les y yo a thorny Bright .Morning problem The Cali (27269) - Anna Priscilla Rjsber .25 most widely accepted nanny Babbit. With Words (27229) Ada Richter .30 explanation traces it El rat Stur. With Words Richter to the French (27151) Ada .30 m age Funny Cirdu* Clown (27289) Sidney Forrest .25 Durin e the Napoleonic Ilcigh-lio! ZZt ; Theodore Cause - V Away We Go. With Words (27152) how .25 to - - ntl de dos co lo res. °n ' 1 ^62-67 ^ In A Sailboat Richter > ^ would seem (2716-1) Ada .30 th f Th Mister Frog’* Morning Swim. With Words (27185) Sidney Forrest .25 The verse endings, which are sung nch soldiers applied the On * F fv n Winter Bay. With Words (27176) Louise E. Stairs .25 peculiar ™ tbe popular Owl, The. with a very intonation, may bands that With Words (27136) Ada Richter .30 played1 Baiuy be considered one of the at all marriage Day. A. (27281 ) Anna Priscilla Richer .25 most typical festivities In Star-Spangled ths Banner. The. (27261 ) .Smith-Richier .25 melodic turns of the Mexican ™' of Mexicans, That Turkey corrido. manage be- Golihlor. With Words (27162) l.outse E. Stairs .25 ,a Two Little Even the brisker melodies are of a Neighbor* (27165) Berniece Rose Copeland .25 SSL’ °f merit this languid effect. When their closing Ve ' the GRADE TWO dav muriMU to- note is of long duration it serves as m°St typiCal Angelic Dream. (From Kammenoi-Ostrow, Op. 10 No. (27210) Rubinstein-Spencer .25 a 01 Mexican , 22) bands Ballet Music (From Alceste) (27211) von Gluck-Carleton .25 period of repose which contrasts BrooniHtick Parade (27301 ) Hugh Arnold .35 1 sharply with the vigorous opening: ' ™Tent ( basing Butterflies mar'achi ensem- (From F.tude, Op. 25, No. 9) (2721 1 ) Chopin Rolfe .25 ble'cnn^iof S °£ two Cheerful Tinker, The (27307) Lewis Broun .25 violins, one vihuela Dolly’s Bedtime The Fifteenth of August < guitar iii, Song. With Words (27133) Robert A. ilellard .23 instrument) Dreamy Daisies (27227) Stairs with the Louise E. .23 On the fifteenth day of August P V1 by Gavotte in B-llat (2721 3) HandA Hudson .23 the 'large Gentle Zephyr* (To forget I try in ha p) T° 5 (27300) /, ]. Thomas .35 vain) the latter Hungarian Dance (From Rhapsodic No. is instrument 2 ), (27216) l.iszt-Carleton .23 They took out every man of us us mm, ? Jolly Cobbler, The. With Words (27139) Louise E. Stans .25 by the Oaitarror. Little (large Red Hooking-Chair (27270) Marie Hobson .25 And embarked us on this train. 1 1 ^ easier to lug Little Tlck-Tock, The (27295) Eleanor Kriens .25 ®? Ex.4 toK atieets. Merrymaker, The (March) (27310) Thomas .35 The melody is / J. sung fh. Miuuetto (From Rigoletto) (27218) bv VerdiSawyer .25 11 and ar “ Night Lullaby ers in Pdn Play (27252) Opal Louise Hayes .25 Uiirds^MfSlxths Ou Tiptoe (From Sonata, - or tenths (the Op. 49, No. 2) (27219) Beethot en-Rolje .23 latter f w, \ Orchard Swing, Tl«e (27275) ° N. Louise Wright .25 ’ wllile the violins take Reverie (From Children's Pieces, Op. 72, No. 2) (27220) Mendelssohn-Spencer .25 Part inn th Sabbath e Morn (From String Quarter, Op. 77. No. 2) (27222) Haydn-Spencer .25 inteVu andaralngth Sleepy Time Piano (From Concerto in E- Hat Major) (27223) Mozars-Rolfe -25 de?%^rLthe sln£ers restt Soug of Sometimes Sadness (From Op. 40, No. 2) (27224) Tschatkowsky-Carleton .25 th„ lband Ten Step. With Words quie - re ls enlarged to (27187) Hugh Arnold .30 me ni_a cor - dar. include six H Two Little Kittens (Chasing Their Tails) (27309).. Berniece Rose Copeland .35 anc more ists. instrumental- Waltz (From Op. 39. No. 2) (27225) Brahms-Carleton .25 When I Wake Ip. With Words (27228) Berniece Rose Copeland .25 Wind’s Song, The. 81” 1 With Words (27206) Ada Richter .30 tionofhasoj, ™8 o£ his transcrip- GRADE TW< >-AI\D-A-HALF has pres^r^^'-BlasGaiando An a the Old American Tune (27277) .Arr. llermene Warlick Eichhorn .40 which exact manner m Castanet Dunce (From Cannen) Bizet-Felton .25 (27212) interpreted ta Dancing Party, The (27191 ) Alexander Bennett .33 his native ja Five* In the Moonlight (27204) Stanford King .30 i°sco- Flemish Dunce (27299) Milo Stevens .35 - — «_cm-uar - car. Gavotte (From French Suite V) (27214) Bach-Carleton .25 Son Mariachi Glider and the Gull, The Stevens .35 (27203) Milo Many of these melodies (transcr. Intermezzo (From Rosamond) (27217). ....Schubert-Hodson .25 hay Bias Ghlindo) influenced by the My Sleepy Papoose (27254) Hazel Wood .25 harmonic fc x.5 Playful Ilreezes (271 81) Robert A. Hellard .40 piano salon music which * Violins Romance (From Op. 28. No. 2) (27221).. ..Schumann-Sawyer .25 such e popularity in Mexico dur last century. Like the corrido ROOSTER ON THE ROAD-By Sidney Lawrence numerable waltzes, polkas' tische, and so on, which floor market at the time, showed - preference for dominant seven nmth chords in their harmonic ture. The corrido, however rei immune to this process of vo ^ b“to rhythm. ~ The alternation of binary a . Rooster on the Road (27312). Sidney Lawrence .25 tiary rhythms and Lewis Brown the gene~ Rustic Holiday, A. (27282) .IS hty of rhythmic Spangles (March) (27233) /• /. Thom,is .35 concept Silver examples), Vee 1 Sunny Morning, A. (27290) Lewis Brown .35 are outstanding Concerto in B-llat Minor, Op. (27236). .Tschaikowsky-Peery lC Theme (From the Piano 23) .25 tenstics of Spanish White Sails (27243). Vernon Lane .35 The POpuL succession of six-eight" eight measures, f or Examination Privileges Cheerfully Extended to Teachers examkt1, is suddenly interrupted f three-four (or THEODORE PRESSER CO. two eight four), imparts Street, IMi i 1 a it e Ip h i a, I»u. a great r « Chestnut and st1' 1712 variety to these ? a.i because of
58 THE ETUDE 9 , —
The Woodwind Ensemble WHERE SHALL 1 go to sjik>y?
( Continued from Page 24)
it would be best to lead complain. However, here is a point writing. And Private Teachers (Western) Private Teachers (New York city) S that must be taken into considera- up to this note, more or less stepwise to have it required to be tion : the clarinet is unique among its and not ROSE OUGH MARGARET HENKE sustained. Usually F, or possibly G fellow woodwinds, the flute, oboe, and VOICE Oratorio & Concert Soprano this A, is as high as one would Former Assistant to Lazar S. Samoiloff bassoon. The flute is weak, apologetic below Teacherofthe "Old Italian Bel-Canto Art of Singing" in Hollywood m Overstrained, defective voices adjusted x and retiring in its low register and want to use the horn. Reopened Her Voice Studios at — 610 Riverside Dr., New York Washington, D. H the other hand, go as low as 1931 8TH AVENUE OAKLAND, CALIFORNIA C. gets stronger and more penetrating On Telephone Glencourt 6115 Edgecombe 4-2388 N as it gets higher and higher. Just the you wish within its range; the horn opposite are the oboe and the bassoon goes to C below middle C (F concert) EDNA GUNNAR PETERSON ‘ blME. LEE which, very powerful and thick in and if you have to use this note be- FLORANCE HOLTZMAM Concert Pianist—Artist Teacher Teacher and Coach their low registers, thin out greatly cause the bassoon is otherwise en- 229 So. Harvard Blvd. Los Angeles, Calif. VOICE—OPERA— notes RADIO—CONCERT j! and become in their gaged, you may do so. The low FE. 2597 much weaker Internationally known M on the horn, while unnecessary and high registers. The clarinet differs 58 W. 57th St. New York City 2 writing, are use- LAZAR S. SAMOILOFF utterly from both systems in that it ineffective in band Tel. Ci. 6-9323 J make Voice teacher of famous singers has its weak, thin portion right in ful in woodwind quintet. They From rudiments to professional engagements bass, while leaving ALBERTO JONAS H the very middle of its compass. an excellent true Beginners accepted. Special teachers' courses the bassoon free for lyric work or Dr. Samoiloff will teach all summer at his Studios. Celebrated Spanish Piano Virtuoso This is known as the “throat reg- for catalogue M Write —Special rates for the Teacher of many famous pianists resting. Do not write extended mel- duration. m ister,” and extends from B-flat to 19 WEST 85TH ST., N. Y. C. Tel. Endicott 2-8920 m passages in the lowest fifth of 610 So. Van Ness Ave., Los Angeles, Cal. " about this odic On Thursdays in Philadelohia, 132 South 18th Street. the horn range; they are difficult, as Tel. Victor 1577 or Locust 9409 Ex. ELIZABETH SIMPSON Not connected with any Conservatory. the low notes often do not speak Author of "Basic Pianoforte Technique" These low, first octave notes easily. Teacher of Teachers. Coach of Young Artists. EDITH SYRENE LISTER on the horn are better in sustaining Pupils Prepared for Concert Work. Class Courses This throat register and in Technique, Pianistic Interpretation, Normal AUTHENTIC VOICE PRODUCTION is weak, line) and J passages (or as a slow bass , Methods for Piano Teachers. 405 Carnegie Hall, New » should be used (in solo parts) where York City the lowest 609 Sutter St., San Francisco; N care must be taken about Collaborator and Associate Teacher with the late W. there is con- 2833 St., Berkeley, not too much for it to Webster Cal. Warren Shaw and Endorsed by Dr. [* fifth of the French horn range. These Floyd S. Muckey tend with. a Wednesday: Troup Music Studio, Lancaster, Pa. In endeavoring to make entirely clear, and M notes are not Thursday: 309 Presser Bldg., Philadelphia, crescendo on these notes, too often Private Teachers (Mid-Wast) Pa. n worse yet, they tend to be quite sharp the pitch is altered, and anyway, a pitch. (Frank) in ALLYN Ph.B., (Ernesto) ff (if attained!) in this register RAYMOND SMITH, A.A.G.O., An invaluable asset of the horn in Dean LaFORGE-BERUMEN STUDIOS coarsens the quality of the tone pro- t quintet is that it is the only instru- Central Y.M.C.A. College Voice—Piano duced. School of Music Frank LaForge teacher of Lawrence Tibbett since 1922 ment of the five which possesses true Complete courses leading to degrees. Coeduca- w All the notes below this F first tional. Fully accredited. or 1100 Park Ave., Corner 89th St., New n resonance. It has a golden power and Day Evening. Low tuition. York space, comprising the “chalumeau” Kimball Hall, 306 S. Wabash Ave., Chicago, Illinois Tel. Atwater 9-7470 strength which is a delightful addi- register, are fine; as are also all the tion in the generally light-type music notes above this B-flat third line, quintet. Here is a place (from DR. FRANCIS L. for YORK RICHARD McCLANAHAN ! known as the “high” register. For Advance Piano Interpretation and the Theory work Dervish Dance of G. Horvath) Representative TOBIAS MATTHAY the required tor the degrees of Mus. Bach., and Mus. quintet to Private lessons, lessons * writing, it seems best not power of cres- Mas. class in Fundamentals where only the great Lecture-demonstrations DETROIT INSTITUTE OF MUSICAL for teachers venture above the D above the staff, the horn makes this ART cendo possible on Detroit, Mich. 806 Steinway Bldg., New York City m Ex. 10 passage effective for woodwind quin- of the five in- although it is often done tet. Only the horn, Private Teachers (New York city) available, can render this struments EDWARD E. TREUMANN E * and can be very well played, in good passage: SUSAN S. BOICE Concert Pianist—Artist-Teacher Teacher of the ART OF SINGING and SPEAKING Recommended by Emil Von Sauer, Moritz Moszkowski hands, up to about F or G above Ex.12 Study for Cultural Values and Josef Hofmann. Briskly Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. this D. CARNEGIE HALL 154 West 57th St. Flule Tel. Columbus 5-4357 New York City N jji o Studio 121 New York City — . Summer Master Class June to Sept.—Apply Tel. Co. 5-4629 now. m The French Horn tr The horn differs from all the other Oboe FREDERIC FREEMANTEL CRYSTAL WATERS - members of quintet in - the woodwind X? •1 ’I*- Instruction i,- Voice Teacher of Voice „ that it alone tone capable possesses a Author of 24 home study lessons, Radio, Screen, Concert N "The Fundamental. Principals of Voice Production and. of expressing majesty or grandeur. Clar.in Bl> Singing"; also "High Tones and How to Sing Them"i Opera, Pedagogy „ The following Marche 405 E. 54th St. New York * theme from -i rh * Studios: 205 West 57th Street City 1 Tel. Vo. 5-1362 - Hongroise, by Schubert, is well adapt- New York City Phone Circle 7-5420j ed to the horn: Horn in F
Ex. 11 J , jj PLAT A DEAGAN MARIMBA a poco cre “Wo WM. S. HAYNES COMPANY Easy to master . . . Flutes Distinction of always popular . . . ? 1-h1 9 STERLING SILVER—GOLD—PLATINUM richly satisfying. It is also capable of playing quite Catalog on request Write Dept. E. has been our experience that the rapid passages, but beware of incon- It 108 Massachusetts Avenue, Boston, Mass. J. C. DEAGAN, INC., CHICAGO be the least inter- gruously florid horn parts; be sure a horn parts tend to five parts in the aver- solo is suited to the nature of the esting of the number. This was instrument. A flowery chromatic age woodwind LEARN "SWING’' MUSIC of the passage increase understandable in the old days Quick courso to playorB of ^all Uisminicnto—mako^your on the horn may learn precision tuning. Our now chromatic embcHlBlimcnta, figurations, blue notes, whole tones, etc'. and enormously your ex- hand-horn which lacked a Beat Gauge is an infniliblo respect for the MODERN DANCE ARRANCINC eliminates guess work; to be allowed for ecutant scale; and time had Ducts, trios, quuricitcs ami ensembles—special choruses (or executioner ! ) .Do not write —modulating to other keys—suspensions —anticipations Bo Independent! a dozen changes of too high for the horn: it is not de- making perhaps —organ points—color effects —stvingy backgrounds Make Money Quickly and Easily! Write today. Modem facilities for oral during a single medium length students. -10th yr. sirable in the woodwind ensemble. A, crooks ELMER B. FUCHS Diploma granted. Write for Free Booklet, Brooklyn, v uninteresting horn 370 Lewis Avonuo N. Y. B R e NT erunni.. 78B. Augusta, Mich. (he first ledger line above the treble piece. Weak or in the com- staff (sounding fourth line D on the parts should not appear F horn) is positions of to-day since we have a Buy More War Bonds and Stamps for Victory , surely the highest one should go on the horn in quintet (Continued on Page 66)
JANUARY, 1943 "PORtrARD MARCH WITH MUSIC" 39 . :
B complex.” to get an adequate amount of certain The cheapest source of Vitamin B 1 vitamins. The Help Musicians daily diet of the aver- How Vitamins Can is in what millers call “middlings plus age person is often woefully out of germ” or “the scalp of the sizings.” balance and seriously lacking in the In the search for a white flour, mil- requisite amounts of vitamins. ( Continued from Page 8) lions of tons of these “sizings” were Here is a sample daily diet with removed from whole wheat flour and natural vitamins, recommended by actually fed to the farm animals. Out Dr. Russell M. Wilder of the Mayo sumed in dosages more than 10,000 daily in their study. of every pound of flour, seventy per Clinic, Chairman of the Committee Countless numbers of sick and ail- International units a day, they are cent of sizings were taken, leaving on Food and Nutrition of the Na- out that their not likely to be injurious. ing people have found only thirty per cent for the so-called tional Research Council: vitamin de- On the other hand, we all need a condition was due to staff of life. The pure food prota- “Healthy adults need nothing more ficiency caused by: proper amount of both Vitamins A ganists, notably Dr. John Harvey complicated for good nutrition than (a) Ignorance of the proper foods and D every day, as well as other Kellogg of Battle Creek, Michigan, to eat the following foods in vitamins, to maintain a normal con- some to eat and the proper vitamin bal- realized this dietetic tragedy and form every day: dition of health. These should come, ance to maintain fine, normal health. fought it for years, amid storms of Milk: 2 or (b) Manufacturing methods which for the most part, from our daily diet more glasses daily for ridicule, before the world realized adults; through rational exposure of the 3 to 4 or more glasses daily made foods appeal to the eye but and that one of the most precious life but for children; to drink sunlight (Vitamin D) , and combine which cut down their food value, as body to substances was being passed on to synthetic with other foods. in the case of white flour. One pound should be supplemented by barnyard. Now, in the many parts of Vegetables : 2 or of manufactured flour, such as that vitamins where there are deficiencies. the laws more servings daily the world, compel millers besides available to us are of two 1 potato; 1 raw; sold in 1870, had a vitamin potency Vitamins to add Vitamin B to wheat flour. green and yel- low often. flour types: equal to one hundred pounds of Composite vitamin tablets or cap- Fruits: 2 that may be procured to-day (not the (a) Vitamins in food. or more servings daily; 1 sules are widely sold upon the market, citrus (b) Vitamins manufactured syn- fruit or tomato. vitamin rich white flour, recently combined with minerals such as cal- S: 3 produced) thetically in chemical laboratories to to 5 a week; 1 daily pre- cium and iron, because many re- fenX (c) Ignorance in the matter of approximate the natural vitamins in search workers feel that the admin- Meat, cooking and preparing food. Vitamins food. Cheese, Fish, or Legumes: 1 istration of minerals and liver extract or more are destroyed by over-cooking and The synthetic vitamins are so near- servings daily. with vitamins facilitate results. In ly like the natural vitamins that the Cereal or through wasting the water in which Bread: most of it whole the case of illness, however, only the grain foods are cooked. Thus, vitamins are difference is usually infinitesimal. or enriched...... skilled and experienced physician , that this ^ J auwncan fed to the drain pipe, rather than to Yet. pphysicians^ recognizeB ...... 2 01 more daily, • tablespoons • determine the proper prescription the human being. (Steam pressure infinitesimal difference may contain ether foods de- and d Howe the comB „ may be added as something of very precious unpor- seed, cookers of the Flex-Seal type help vitamin and minpr„’, m moderation. vitamin and mineral products, in to preserve vitamins.) Vitamins are tance in achieving a maintenance A suggested be which there are no massive dosages menu, which can lost in vegetables cut too long before dosage. Therefore these valuable syn- asily varied, have been used widely by the may be as follows: before thetic vitamins never should be re- general eating or permitted to wilt public, many individuals Breakfast consumption. garded as substitutes but as supple- reportingS One extraordinarily fine results. orange or half grapefruit or mineral mentary to the best diet obtainable. a (d) Deterioration of the n glass of (Thia- One of the significant J; tomato juice. content of the soils in which vege- Literally tons of Vitamin Bi_ things which be learned ole B^ain Vitamin B about f} cereal, if desired, tables are grown. mine Hydrochloride) and vitamins is A that ole includes from twelve relatively few vitamins wheat or enriched bread Complex (which are toast tore“ “ “e with butter. The Necessity lor Accurate Infor- to fifteen factors) are sold daily to human body for any lengthf of time. One glass of mation the public. They rank next to aspirin Therefore, the supply milk or buttermilk. must be replenished One egg. igno- and chewing gum in drugstore sales, daily. The Because of these results of body Coffee is excretes in urine from if desired. rance, the world found itself only a The tonic effect of these vitamins forty to one hundred units of the Luncheon few years on verge of vitamin in many instances amazing, and precious ago, the mm ° Complex Vita- there have been no reported dangers daily. If one made cock- starvation. The almost miraculous uc takes too nutritious with proper administration. ™ of thls vitamin— sy water cures of many ailments from the use from their . that is more from vegetables and meats, M.D., Pro- “an is required for reen of naturally led the public Henry Borsook, Ph.D., the maintenance leaf salad: cabbage, vitamins 01 od lettuce, fessor of Biochemistry, California In- S° health—the body, 85 to believe that they were a cure-all. as in the ’ WUh sliced carr0tS in his case °f an electric tomatoes However, the vitamin rage stampeded stitute of Technology, says circuit breaker — proceeds to get rid have been highly acclaimed book, “Vitamins of it, just le Wheat or the country and thousands ou'ouit as the or enriched bread What They Are and How They Can breaker goes into toasttoH!“with benefited by it. The danger was that action on butter. You," (The Viking Press, electric circuit when he the individual’s ailment might not Benefit the power glass of becomes too ioad milk or buttermilk. but to 1941) great. Sert: be due to vitamin deficiency Any fruit: sliced peaches. is modern, scien- n b “f„ cause, and “Vitamin B the a as so some totally different ’ berries, and S UaminS cantaloupe, substitute for the sulphur and uch ’ on lost through failure tific as7‘wWchTre“”Vd valuable time was i in molasses, bitters, and tonics of our to consult a competent physician Wie Dinner grandmothers and the medical For this reason, °C these* - the first place. v'V 8et les: quacks of the last generation—with very large doses minS in one Potato, medium It is therefore very important for become aee sizlri f^ ' the difference that Vitamin B, used and toxic Cumulative CaSt TWO other fresh Veg6 the general public to know more and to some. Thev n tables intelligently, is effective. * * * In the be taken in should more about vitamins, natural and these strong n e otencies at : Lean course of other studies, the author cept under ex- . meat or sea food. probably no the . synthetic. In most cases, supervis’10 ^ , Sa unsolicited reports petent a Com ~ ' me harm has been done by their use, has received many doctor. The ^^ as for lunch. amQ UntS Wh ' this tonic effect. Housewives, for vitamins °.f these h6at bl ea although the needless consumption of found in the wi ” enriched C°mt5inati th buttm- instance, found that doing their vitamin pills or °h of harmless vitamins is of course a capsuleS the er ' housework called for less effort than ket are relatively ° mar - UStard pudding waste of important food elements as small h cheese, ’ milk formerly; salesmen and teachers did sumed daily are con“ frui^ well as money. by thousa nds of 1 age consult not feel their usual fatigue at the seeking a tonic. P eoPle ' 11 the full of It is always a good plan to ha^hf quota of day. These people, en obtained, may vitamins end the by , coffee a physician who is up on Do not think that bP . tea or customary standards, were well peo- lllg 1101 There is, however, can take the vitamins t0 ° much sugar, before using them. place f fc™' use, ex- pie. but clearly they had not been some g00d At leas t a day. slight danger in their diet with nati ^ole- four glasses very Ural° Vvita urpfoi this danger getting enough ‘Vitamin B’ for prime mins. y betwee cept in massive doses, and purpose of The “ meals.” health. Their thetic Next confined to Vitamins A and abundant improvement is to supplement f^J vitamins month the special potencies is largely of tip® in doses such as resulted from a daily supplement of the past deficiencies most important vitamins for which, when given or tli^ of , D 1000 International units of Vitamin Present mu units for ar- modern - addition. 300 000 International diet conrtV Under the wm be given. In B ! daily, taken in some form which with 8, part 6 can Be toxic or poisonous to those comnen^T *cularlv y dls°ussed vitamin, through thritis, conveyed the rest of the Vitamin t0 eat wiling When not con- also rants, it is in restau- any claim restored certain individuals. frea grav,l “, to have 8 will ^ ^ difBCUlt air to its normal color, "FORWARD MARCH WITH 06be Liconsidered.i <50 MUSIC" THE ETUDE ^ - -- - - ' - wpm1- .T- — The Pimd Accordion flllXei'LJ
Distinguished American Tenor of the Metropolitan Opera Association Orchestras The Accordion in Dance IS INCLUDING PAUL NORDOFF’S EXQUISITE SONG WHITE NOCTURNE Pietro 2b, Words by Conrad Aiken
As told to ElVera Collins
NE OF OUR READERS, an or- jects can be taken up at the same chestra leader, has written to time that technic is being developed instrument O this column to voice his opinion and the mechanics of the given being mastered. that the accordion has not been IN HIS CONCERT REPERTOIRE THIS SEASON. PRICE, believe 50c = a fair chance with orchestras. He After this explanation we A PUBLICATION OF Theodore Presscr Co., Distr. = states there must be that accordionists will agree that the OLIVER DITSON CO. that he is sure 1712 Chestnut St., Phila., Pa. = some place the accordion in dance solution of this problem rests with for min orchestras other than merely playing themselves. We are confident that rhythm. when more accordionists are compe- orchestras will have them. THE PR ACTflCi This is an interesting discussion, tent, more HOOl is no prejudice, and we are glad that he asked our As proof that there should be a delight, not a chore fact that opinion. him that we call attention to the We agree with It will be if the piano is in condition, but no student accordion artists who can there are not nearly so many ac- practically all do justice to himself or his teacher if discordant notes and are kept cordions in orchestras as there should specialize in orchestra work unresponsive action hamper his practice. most of them be. We also agree that they should busy continually and A skilled technician can restore a run-down piano and artists did not make study profitable instead of expensive. not be limited to rhythm playing. are featured. These Be sure your tuner is a qualified technician. Beyond that we cannot agree, for we gain their foothold in the orchestra happened to do not share his opinion that or- world just because they AMERICAN SOCIETY of PIANO TUNER-TECHNICIANS group of chestra leaders have been unfair to excel in the playing of a spent years the accordion. This may sound as solos. Many of them Seo THE SUPER A fundamentals of music. DO YOU PLM.Y though we are letting down our fra- studying the ACME entire orchestra- ternity of accordionists, but in de- They can arrange THE M.CCOHDSON? Their technic is fast SEND FOR OUR 1942 CATALOG PIETRO DEIRO ACCORDION fense of orchestra leaders we feel it tions if required. CONTAINING SOLOS HEADQUARTERS The and clean cut. Their mastery of the 1000 AND 46^Grconwich /Wo.. N.Y.C. is only fair to state the facts. ( makes their accor- 125 METHODS AND FOLIOS truth is that there are more calls for shading of tone Acme Accordion Co., Inc. tones of an 'ree to Etude Subscribers orchestra accordionists than there dion emulate the deep thereby provide a rich DEPT. £ are competent players to fill them. organ and for the orchestra. 0„ PAGANI & BRO. It is unfortunate that such a large tonal background 289 Bleecker St. concede that the orches- Jjeam to percentage of accordion students We shall New York, N. Y. play the has one obstacle to ACCORDION BY MAI cannot be convinced of the necessity tra accordionist that is the fact that of a thorough musical education, and overcome, and orchestrations right there we have the explanation there are rarely any parts for the accor- of why there are not more com- published with certainly should petent orchestra accordionists. Too dion. However, this stumbling block to accor- many players are more interested in not be a who know music and can learning some seemingly difficult solos dionists AND STAMPS FOR VICTORY arrange at sight. We hope BUY MORE WAR BONDS for exhibition purposes than working read and accordionists who are really sin- hard for a period of time on the that their desire to play with an OF MUSIC fundamentals of music. They will not cere in NATIONAL INSTITUTE AND ARTS will make up their minds take the time to learn key relation- orchestra and INSTITUTE OF EDUCATIONAL MUSIC and prepare themselves ship, transposing, modulations and to study (World’s Largest Music School) work. They will improvising. not have the thoroughly for this They do Give your child the benefit of MODERN instruction in symphonic music. is no discrimination patience to delve into the study of find that there competent Orchestra part of curriculum. Studios Midwest to Pacific Coast. chords Perhaps they against them if they are and harmony. See pages 512, Aug. Etude; 952 Sept. Etude. is no place for in- reason that the many hours devoted but an orchestra ( Teachers interested in joining our faculty, write us.) competent musicians whether they , if to these studies will have no outward Los Angeles, violinists, accordionists 951 S. Western Ave. Calif. effect upon their playing. In other be pianists, words, they would have nothing to or just drummers. show have this for it. Students who Overcoming Bass Difficulties opinion should change it immediate- from one of our ly. True enough, rapid technic is Another letter provides an interesting sub- vitally essential to orchestra work, as readers discussion. A young lady is also rapid sight reading, but the ject for has difficulty playing foregoing subjects are equally im- writes that she basses from A-flat down portant, and lack of knowledge about the lower manipulates the bellows. Engravers them will form the barrier which will while she i/ be caused by keep many accordionists from or- This difficulty may 311 reasons so we shall chestra work. It takes more than a several different Lithographers bass strap which in this line dozen or so of well-executed solos to enumerate a few. A Write to us about anything hamper the free ac- open the door to the professional or- is too tight will SEND FOR ITEMIZED PRICE LIST while which is chestra field. tion of the wrist one Page 66) Remember that these extra sub- ( Continued on MUSIC." 61 /ANUARY, 1943 "FORWARD MARCH WITH — ;
were the Britons whom the Saxons of ten thousand school children, ac- Let’s Have More Music on All Frants drove into Wales during their inva- companied by bands and artillery sion in the Sixth Century, at the (supplanting drums), drew a crowd same time forcing many of the same of two ( Continued, from Page 11) hundred thousand to a great people to cross the English Channel community sing on the vast Belmont to Brittany in Western France. More Plateau in Fairmount Park. the Stars Admis- surrounded enemy’s camp at immortal The and Stripes For- than a thousand years had passed, sion to the sing was an American flag. night and suddenly emitted the ear- ever. Instantly the whole nature of and now these two offshoots of the Airplanes rained down millions of splitting crash of all the instruments the men was changed and they original British stock met on the bat- tiny American flags on the crowd. at once, we hardly require Biblical seemed to be fed by some strange tlefield, to find that they spoke the The result was that photographs authority for believing that the en- power. The gloom was dispelled and same language and sang the same of the meeting, with two tire camp was thrown into a panic, the boys struck out with new life songs. In this we see hundred thou- how a people sand flags waving, and fled for their lives. (Judges VII: and new spirit. clings to its appeared in news- national songs. The one papers and 22) in moving pictures in all In the First World War every regi- connected with this story is still sung parts of the country, Tyrtaeus, a Greek poet who flour- ment of British troops had a divi- in Brittany as Emguan Sant-Kast and did much to stir others to ished about 680 B. C., inspired sional band. These bands played at (The Battle of St. Cast) realize the need of so the , and in Wales the hour. This Spartans by his warlike songs that football matches within eight miles is now known as the popular famous public event, Cap- Winch was they vanquished their enemies, the of the front. They were at times sup- tain Morgan’s March. generally admitted to have been the Messenians, in battle. So powerful plemented by individual players celebration which first Annie made America were these poems that at one time using any sort of instrument avail- Laurie Goes to War war-conscious, at the time they In the was known as were translated into English able, even the mouth organ, and the Crimean War, the night be- “A Field of Voices and and a Sea of Flags.” circulated throughout the army paper-covered comb, when nothing fore the assault on the great stone It was conceived for n organized the purpose of fostering the war- more exalted was at hand. Hundreds fortress, Makaloff, one of the English by the present Editor like ardor of the soldiers. and hundreds of phonographs were soldiers, began singing Etude, Dr. Annie Laurie p . James Francis Napoleon knew the value of used, and pianos were found in the Another soldier e and was music, took it up, and ’. widely acknowledged an- an for when the French Army in many improvised Y. M. C. A.’s which other and another, nvaluable was and soon the . patriotic tocsin at a vn , ioour Dresden, he sent back to Paris to get had been converted from old barns, whole British Army was singing in our national history. it in i T e the singers, actors, players Song rallies were held at frequent in- one grand chorus. This are at this and of incident is moment countless Paris. He did it often well-known immortalized by opportunities for because he knew that tervals, led by Bayard Taylor in capable and vital the his musicians soldiers in the French Army had tenors and baritones. It was prac- beautiful lyric, Song of the Camp to emulate this example to have ake music. Music also played an tically an established rule that one stanza of which runs thus: contin ual contributions to important the ™ar part in his transit of the twenty-four hours before a contem- “They sang sP ir it of our homeland. Dr. of love and * t Alps. °* * ame r r ls Opera companies, plated charge, great concert was ’ a dramatic a Forgot they °. Sain the Chairman of the Britain’ Sl1 °ly ;, companies, and singers and actors held for those who were to take part, ’ w MUSIC Section Each heart recalledr, °t the Council of accompanied him, and they thousands of soldiers usually attend- different Defe, ’se “‘ per- name, u the oity of Philadelphia, formed upon the mountain tops ing such an entertainment, T for But all sang Russian Army Annie Laurie which , of to-day, the French soldiers. In the Egyptian In 1918, General Pershing ordered 0* (mined immortality for its campaign, Napoleon’s musicians were all army bands to be improved and There is a story about astound) ng the famous courage, is essentially a inpmt.lp hcn-itnwn Ttfl- • — sinai a vital part of his wise system of strengthened, so that the troops operatic baritone, S ly Maurice "Renaud* ' °n its lon it ’ S marches promoting of first singing Wolfram’s has had th . military morale. might have the inspiration Song to the tbe ooni’nual ning Ev the n inspiration of The retreat of the British before class martial music. French officers Star from “Tanhauser” fUl to th" ' cimructeristic folk Mons in 1914 had proved too much believed that a large measure of their French soldiers in the songs o7th trenches di r 6 musical Russian peas- for a certain success at Verdun was due to the ing the First World ants Rue? contingent of troops, War. The trench" Slan genera The es were ls have consid- men lay on the ground, played effect of band music in keeping up so close to the'enemv’s ered th r" S°ngS a asset in out, indifferent, and benumbed. The the morale of the troops. that the Germans joined ^ fortifvtmf th in thee a _ coura enemy was coming, but the men One of the most touching stories plause. P blesmvh Se and indomita- were P 1Cb too tired told by a The history have brought undy- to care. Their commanding from France, in 1918, was of the ing i e7 famous Don r ~ wrn t0t tlle officer looked about soldier who was sack Chorus S valiant armies of at them in despair, nurse a goes back to thp • Russia 11S°n Commands and entreaties to march brought in on a stretcher. Though camps of Tschelengir, near Con ? t V rnmenfc on were of hungry, thirsty, sleepy, and much in nople, where the ° f the United no avail; the men refused fortunes of States o?A„ the 11S ^ n a to budge. Near at hand was a toy need of a dressing for his wounds, World War had °f has spant millions carried this ern dollars ii7 * “first aid’’ was a piece of men. Hunger, ° f stallin Hammond or- shop, which had been abandoned by his idea of cold, and gans, piano " 6 sickness^ re and the proprietor when the retreat be- music. When he heard that, his the daily companions in °‘ber instruments of these ^ the came’ ,. rr>u~ -c — ~t— ke gan. The officer made for the shop, nerves were calmed. oners. The nniv v™.?,,-*,*. _ . . of the p up the spirlts spot in bore d' ? In 1809, the bravery of the young day was at their daimg the train- and a moment later appeared with nightfall when the ing of *he drastic ulatto drummer, Jordon Noble, ered around Batb ' the • is Peri°d ' ThiS camp flre t in addition music from the drum and the whistle “who beat the drum during all and songs of the 8 the tothe^tthe instruments pro- homeland vided for sfrim? hottest hell of the Wh™611 dis- awakenedned the benumbed men.men, stiff- every fight, in the covered by an -- -- ymmtar astute concert Many y purPOses. fire,” was complimented by General ager, . man- MiUon ened their legs and spirits to further they were smging War 01 recent sales oI Jackson himself, after the battle. ^ the Bonds alreen effort, and they arose and marched Russian • eady Embassy chu^h^ the stimuinti can be credited to When the British invaded France, where *n ten miles to safety. they had been
A Teachers Diploma
"ABachelors Degree 11IN1 IMUSIC In Your Spare Time at Home
We offer them without obligation to you. This great musical organization now' in its 39th suc- N EVERY COMMUNITY there are ambitious advantages o cessful year—has developed and trained many musicians men know the r and women who We are the only school giving instruction in music by and many successful teachers. To you w e offer the same new for their musical a / inspiration and ideas the Home Study Method which includes in its teaching given them. Courses are advantages which have been to Don't wait vancement. It is to those our Extension necessary to obtain all the courses the Degree of Bachelor any longer! The coupon will bring you our catalog, illus- of the greatest benefit. of Music. trated lessons and information about the lessons which very The most successful musician, of course, is the will be of untold value. time tor Openings in the music field are busy one. Yet he is the one who finds extra Extension growing very rapidly. There are This Is YOUR Opportunity Mail the Coupon TODAY! something worth while. And to such a one — possi- paying positions for those Courses are the greatest boon. It isn’t always big ready for them. UNIVERSITY EXTENSION CONSERVATORY, Dept. A-319 ble to give up interesting class or position nd who are an 1525 E. 53rd Street, Chicago, Illinois. go away for instruction. Please send catalog, lessons me sample and full information regarding course I have advantageous to Do you hold the Key marked with an X below. The Home Study Method is equally work can be Piano, Teacher’s the beginner or the amateur. Because the to the best teaching I] Normal Course Harmony Violin Piano, Student's Course Cornet Trumpet Cuitar done at with no interference — home in spare time, Public School Mus.— Beginner's Advanced Cornet Mandolin with each day may Diploma? J one’s regular work, many minutes position—a J Public School Mus.—Advanced Voice Saxophone be Advanced Composition Choral used which ordinarily go to waste. J Conducting Piano Accordion Ear Training Cr Sight Singing Clarinet YOU. On your J Reed Organ Year It is up to History of Music Dance Band Arranging Banjo Look Back Over the Last own decision will rest your future success. Fit yourself for What progress have you made? Ferhaps you have Name Adult or Juvenile. a bigger position — demand wanted to send for our catalog and sample lessons be- larger fees. You can do it! Street No ^ore—just to look into them. That is your privilege. City State
Are you teaching now? If so, how many pupils have you? Do you OLe UNIVERSITY EXTENSION CONSERVATORY hold a Teacher's Certificate? Have you studied Harmony? ILL. (Address Dept. A-319) 1 525 E. 53rd ST., CHICAGO, Would you like to earn the Degree of Bachelor of Music?
" JANUARY. J943 FORW'ARD MARCH WITH MUSIC" 63 Public the Schools of Cincinnati, a fine opportunity to earn an educa- Opportunities for Ambitious Evanston (Chicago) Detroit, New , Spo- tion and at the same time serve their kane, Kansas City, and many other country in this great emergency. posts. In office Music Students my there is a map It has been my considered opinion, locating some three hundred super- founded upon many cases of individ- visors who have been graduated from ( Continued from Page 7) uals with musical training for many Wichita, all of whom hold fine posi- years, that when called upon to do tions. Many other schools report that work in other net doing very much. Of course, the tunities for travel and plenty of time fields in which ac- they cannot fill the demands for ca- curacy, interpreter as well as the composer for reading, self-advancement, and judgment, orderliness and pable graduates. swiftness must take time to dream, but he practice. The fine name band is really are demanded, the musi- But from a general educational cian should work when he works and a collection of virtuosi, many of even often eclipses other applicants. standpoint, I have followed the ideals dream when he dreams. Not one stu- greater technical skill than players Business men who at first doubted of Dr. W. Jardine, President of music hundred the least idea in the great symphony orchestras. In as a foundation for superior dent in a has Wichita College and. Secretary have been composed of of mental material, of his capacities and what might be fact, some Agriculture have been forced to in President Coolidge’s realize P., power. We young men formerly in symphony or- the value in this respect. called his B. or brain 1 Cabinet, in first of a" , endeavoring chestras. to There are without are each of us a world in ourselves. employ art opportunities and music :.i developing number The firmament of civilization is made In the great reconstruction period ahead for musically trained a loftier type of human material. young up of millions of individual bodies which is coming after this war the people, in and out of the pro- What this means can best be illus- coming and going through the cen- importance of music from a socio- fession. Even the young men and trated by the attitude of the heads of turies like the stars of the heavens. logical and industrial standpoint young women now serving our coun- some of the present great airplane cannot fail to be recognized. Music tiy in the Each individual music student, plants at Wichita, military forces and in de- who make clear fense whether he knows it or not, is a will make the worker’s tasks lighter work, who have had that they must have primarily previously world and pleasanter. The tests that are ex- a musical unto himself. cellently trained human training, will find it a great now being made by the introduction intellects asset after the with orderly, quick-acting war. To Be a Caruso Requires Work all minds, and of music in some great plants The following are Lieur- bodily coordination. They claim among Dr. point in this direction. This certainly that ance’s best In other words, we are all built in three months they known compositions: opportunities for can train such By with limitations of time and space. will provide new the Waters of Minnetonka, material into a finely skilled However, music students who have the musi- and piano solo; very few students ever voy- highly paid operator, By the Waters of Minne- educational, and business back- whereas with tonka, age toward the horizons of their own cal, the ordinary song; Wi-Um-Tewan Pueblo person it usually takes possibilities. They slip long before ground to take care of this need and (lullaby), a far longer time, even if women’s voices; Romance to negotiate with business and indus- results may ln A they reach the limits of their talent. , piano solo; be attained at all. . The Angelus, mixed trial leaders so that it will be under- voices; I see this over and over again, and it For instance, By Singing mixed the offices of the Waters, is hard to make young people realize stood and properly rewarded. voices; A great Boeing airplane plant, Prayer, mixed voices; My makine: Oliver what they could do if they ran on all “Flying Fortresses” Throated women’s Opportunities for Service in Wichita, has Fawn, eight cylinders instead of one or two. provided voices; two hundred jobs for Remembered, mixed voices; They all want to be Carusos, Pader- These war days are teaching us all stu sunrise, dents in our Fine Arts piano solo; Away in a Man- ewskis, do great things. They are revealing that Department ger, or Melbas, but they not That is, vocal solo the students, both boys or duet; Indian Spring begin to do the work which a great we must realize our potentialities and ei^g, girls, spend their mornings women’s voices; Love Songi made possible by intensive, thorough, at the master must put forth to achieve re- University, studying women’s voices; music or art Pakoble—The Rose, sults. accurate study, which the human and women’s then work their eight hour voices; Indian is capable of doing under shift at American Unquestionably one of the most mind regular KKapsody, pay at the Boeing pi ano solo; Dreamtides, lucrative occupations which has pre- pressure without any abnormal pi ant Thus these ambitious students Pelice Waltz Song, song; Con- sented itself in recent years to mu- strain. For instance, in the marvel- ( W /i 0 ey are not in line for early Trail, piano ous Rocky Mountains, at Boulder, draft) have solo; Valse Brillante, sicians is what is known as the “name Piano solo. band;” that is, such organizations as Colorado, where I have frequently those of Paul Whiteman, Guy Lom- spent my summers, is the State Uni- bardo, Andre Kostelanetz, Fred War- versity of Colorado. There is a won- study. ing, Glenn Miller, and others. derful example of intensified Twenty-five years ago such organ- Last year the United States Govern- for teaching izations were looked upon by many ment, realizing the need Japanese musicians as transient, even ephem- American Army Officers the a course which was eral. However, we all see now that language, started one year what these dozens of organizations still re- called upon to do in years. main in demand, and they must be had heretofore taken eight taken more seriously by musical edu- Only college graduates in the upper were cators as a practical means whereby two per cent of their classes some musicians who lean toward permitted to take this course, and such an occupation may earn an ex- for every hour in the classroom many ceedingly good income. The famous hours of home study were required. the best bands have made leader's of An Optimistic Outlook large fortunes. Some of the expert shall see great things after this players receive really astonishing We war and music will be hugely ben- salaries. Of course the life is a dis- of efitted, but our courses will be modi- tinct and different one from that fied and accelerated so as to elim- the ordinary player. When the band motion.” it con- inate “lost There will be is engaged in a hotel may hours plenty of time for dreaming, but tinue to play until the small shift time for “bumming” will be ciit out. of the morning. “It is a night me. I have a most optimistic outlook for job” said one such player to artists and musicians after the war. “People often think that because we dancing and It has been my experience with those play where there is dis- who have wanted to be teachers in drinking, the players become case. If the the past, that I have never yet been solute. This is rarely the to lose able to find enough graduates to fill player does drink, he is likely the good the demand; and Wichita graduates his job at once, because ‘boozing. are filling such top-positions as a will not permit bands Professorship at Columbia Univer- the good players never Therefore, Directorship offer oppor- sity, New York, and in touch it.” The bands "FORWARD MARCH W1JH MUSIC 64 ,
Dance Music
on India’s Largest Island
( Continued from Page 54)
KANDYAN DANCE!” say the big ankles, and hollow, rattling bangles black headlines. are worn on the wrists and above the There are frequent festivals of elbow to mark the rhythm of the native song and dance. The children dance. Men and boys do this dance, are being educated in the arts of to their own singing of the Vannama, their own land. From time to time, or to the accompaniment of a chorus. students of various schools are pre- The Vannama might be dirge-like or sented in displays of folk dancing triumphant for the Udekki Dance, and singing. A typical program may since it is one of Ceylon’s ceremonial offer many songs in addition to Whip dances. (Incidentally, the religious Cracking, Stick Dances, a Parish dances of Hindu origin in Ceylon, Dance, Chembu Dance, Sword Dance though quite common, are not termed and several varieties of devil dancing. folk dances.) To-day the Sinhalese people have The Wes Natuma, or Mask Dance, their devil-dancers as of yore. These is a descendant of the Devil Dance. are attired in sumptuous costumes, The masks are strange, the music curious masks and jewelry and, to the weird. No words are sung, but shrieks accompaniment of drums and weird and howls and high-pitched incan- incantations, are said to be powerful tations accompany the crude oboe the large drum (Berey) enough to drive away illnesses by (Horanewa) , their dancing. small kettle drums and the Udekki. The masks themselves are made of Ceylon Folk Dances wood and colored fearfully and won- Most Ceylonese folk dances are derfully. - done to the tune of the Vannama, or The Lee-Keli Dance derives its UNIVERSITY descriptive song, consisting of several name from colored sticks of hard separate movements. The dance to wood about a foot in length, carried THE SCHOOL OF of the dancers. Bells and the tune of a Vannama is named ac- in the hands worn to accent the cording to ‘the dress of the dancers, bangles are Htusic Udekki, the purpose of the dance (whether it rhythm of the Vannama. The offers accredited courses in Piano, Voice, describes or an occu- cymbals and triangle are also used. birds or animals Violin, Organ, Public School Music, in- This is a ceremonial dance. pation) , and the implements or Harmony, and Orchestral Instruments. is after struments used by the dancers while The Pantheru Dance named Confers Degrees of B. M., A. B., and M. M. dancing. Some of the common folk a sort of tambourine made of brass drum head. This instru- Distinguished faculty including dances are the Udekki, the Wes and minus a enwooJ Natuma or Mask Dance, the Lee-Keli ment is to be played by striking it on ARTHUR C. BECKER parts of the body during the SERGEI or Stick Dance, the Pantheru Dance, various CONSERVATORY OF MUSIC TARNOWSKY the accompaniment of a MME. the Chembu Dance, the Rabban and dance to Dirisionof IjindenwoodColleoo MARIA KURENKO graceful, melodious Vannama. Only for Women. Thorough prepara- RICHARD CZERWONKY the Burr-Lee Dance. tion for careers in music under The Dance men dance this, for it is also a cere- a distinguished faculty. B.M. WALTER KNUPFER name of the Udekki degree, certiflcate and diploma comes from thp Udekki, or small monial dance. in piano, voice, violin, organ, SAMUEL A. LIEBERSON harp, other instruments, pub- is one of the most drum used by everyone who dances. The Chembu lic school music, theory, har- The Dept, of Drama offers a 3-year Course mony, history and appreciation This, has artistic of folk dances, and is always shaped like an hour-glass, of music. Well-equipped stu- Address Registrar for Bulletin performed by women. The name is dios, beautiful buildings on the form of two cups joined together 138 acres near St. Louis with brass vessel used for its frequent concerts, operas, DePAUL UNIVERSITY at their bases, and is played with the derived from a other musical attractions. For Room 401, 64 E. Lake Street, Chicago, water, of catalog and view book, write 111. thumb and fingers of the right hand. storing or carrying though Harry Morehouse Gage, Pres. ' ' It course the Chembus used at dances requires a special technic in play- Box 1242. St. Charles, Mo. the ordinary ing (as do other types of drum in are more elegant than are Make THE ETUDE Your Marketing Place Ceylon) to produce variety and dif- household variety. The Chembus ferent carried in different positions Etude Advertisers Open the Doors to Real Complete musical education. Preparatory qualities of tone as well as the merely department for children, icachers' training actual dancers. The costume is the Opportunities courses leading to diplomas and decrees notes, for it allows a compass by the 1925 Chestnut St.. Philadelphia. Pa. of a dress, or Sari. The move- full octave though it is not more Kandyan are modest and than eight inches long. One might ments of this dance call dancers pantomime drawing CONSERVATORY it a sort of miniature tympanum, the AMERICAN for from the well; pouring it; the fact that it can actually pro- water OF MUSIC-CHICAGO it in the hands, on the duce musical tones makes it not as carrying Offers courses in all branches of music and dramatic art unvariable shoulders, or on the head; drinking, Faculty of 136 artist teachers as the tones of the ordi- Member of National Association of Schools of Music is used nary tom-tom. The movements for or spraying water. The Udekki Send for a free catalog—Address: John R. Hattstaedt, President. 570 Kimball Building, Chicago this dance are gymnastic. The cos- with this dance, as well as a triangle is sung. tume is a long white cloth reaching and tiny bells. A Vannama years, the ancient from the waist down to the ankles. Despite the lost ffjlip Qlrfapliinbj nsfituti? of (Duair Over it is a short fan-like white skirt, arts still persevere in Ceylon. Every- is being done to make embroidered in color. The rest of the thing possible Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma their heritage in body is largely bare. A plain turban is the people aware of Faculty of Nationally Known Musicians dance, and create in worn on the head. Little sledge bells music and to BERYL RUBINSTEIN, Director, 3411 Euclid Avenue, Cleveland, Ohio called “Gejji” are worn around the them an eagerness to preserve it.
JANUARY, 194. 'FORWARD MARCH WITH MUSIC" 65 — ,
problem of the difficulty in playing- of figure. Mozart is, in fact, famous the lower bass section. We hope that for his excellent use of the bassoon, Mandolin Music other accordionists may also be and it is well-known that he had a helped by detecting faults which they strong fondness for the instrument.. (Continued from Page 63) have unconsciously acquired. Did he not snatch, time out of a busy, short and hurried life, to compose the teachers for a number of years. S. Leonard!—Souvenir de Naples, immortal “Bassoon Concerto” (K. Variata, Angeli et Demoni, To list here all the compositions by Mazurka 191) , an act which has endeared him the leading Italian mandolinists Fantasia. The Woodwind to the soul of every bassoon player, would be beyond the scope of this E. Marucelli—La Giostra Mazurka, young or old, good, bad, or indiffer- article, so we shall confine ourselves Moto Perpetuo, Capriccio Zingaresco, Ensemble ent, ever since! to the works of those who have Polonese di Concerto, Valzer fantas- The bassoon, like the Scherzo Militare. oboe, requires gained international reputations. tico. an occasional Aubade, Mignardis- (Continued from Page 59) rest, here or there, for Carlo Munier has to his credit a E. Mezzacapo relaxing the lungs and lips and also “Method in Two Volumes,” five books es, Polca de Concert, Napoli, Taran- splendid, completely chromatic valve for possible replacing of a soaked volumes tella, Andante and Polonese. of “Mandolin Studies,” four — or French horn. reed. of beautiful duets for two mandolins S. Ranieri “Concerto in Re Ma- (it must The use be judicious and The solemn low —Maestoso, Romance— notes of the bas- and a “Book of Trios” for three man- jeur,” Allegro sparing) of muted notes on the soon possess an unconscious, gro- dolins. His concert solos with piano Allegro Giocoso, and a “Method in horn adds a sixth French tone-color tesque humor. Employ accompaniment include First Mazur- Two Volumes.” this humor to the quintet. Here one must be sure consciously and of material your audience will ka de Concerto , Bizzaria capriccio di This select list study indicate whether these to muted not fail to respond, Concerto, Capriccio Espagnola, First and concert numbers for mandolin but beware of un- notes are to be played loud or soft. intended humor Aria Variata, “Concerto in G major,” has stood the test of time and is well from the instru- ment, for Second Mazurka attention of serious-mind- humor is a double-edged Fantasia, Valzer worth the The Bassoon weapon. Concerto and Love Song, a duo for ed mandolinists. Aside from the mu- The clumsy looking bassoon is an Although there are numerous it often happens, in a unaccompanied mandolin. There are sic mentioned astonishingly agile instrument, espe- high school quintet, also three quartettes in the classic other compositions by various writ- that the bas- cially in its middle and upper reg- soon player is the style for two mandolins, mandola ers in this and other countries and least advanced isters. It is for this reason that one Player of the and mando cello and numerous other most of these may be found in the group, nevertheless, should assign it lyric passages occa- even Music Publish- reasonably well played, the bas- compositions for mandolin orchestra. catalogs of American sionally, while the horn or possibly S 1S a very Rafaele Callace has written two ers. As stated before we believe it satisfactory member (less often) the clarinet holds down off°+T,the mandolinists to concentrate quintet. mandolin concerti with piano accom- best for the bass. Too frequently the bassoon we conchide paniment, on original music written . our of three preludios in duo mostly does nothing more than hold down discussion style and a great number of shorter especially for the mandolin. How- members of the woodwind the bass line throughout an entire quintet;? t each concert pieces, also a “Mandolin ever, there are some violin solos This is as important as the number. is very unimaginative er nd Method in Four Volumes.” among the lighter classics that can lf pr°Perly tutored, re- writing. It is true that in its lower h^ se^ effectively on the man- and conducted, The following list contains further be played register it is the can bring to best bass for the S fUdent material for concert purposes. dolin. The selection of these should complete musical satis- quintet, but the notes from say faction V. Arienzo—“First and Second Ca- be made judiciously, and their suc- Ex. 13 (T7ie priccio di Concerto.” cessful performance depends mainly extracts from arrangements 6 - upwards are of very y — proficiency and P pleas- accom G. B. La Scala “First and Second upon the technical IZu Vanying this ar- performer. He the Tarantella,” “First Concerto in A musicianship of the exceVtion of the two ing, singing quality, blend naten th always exercise good taste. well with 6 - minor” and Fantasia Mazurka. should ’ are printed per almost any other of the mhLn TZ™ instruments ° Mllls Music, ot tin, Inc., owners and are very attractive in runs ar- oi the copyright.) peggios and other rapid passages. Here in this passage from his “Wood- wind Sextette, Op. 71” the upper reg- ister of the bassoon is beautifully em- What the Church The Accordion in Dance Orchestras ployed in a solo capacity, by none Music other than Beethoven himself. The Page other (Continued from 61) instruments have a light, un- Committee Thinks obtrusive accompaniment meanwhile. provide enough sup- ways be from the top while the bot- too loose will not Ex. U (Continued from practically closed. Is It Page 21) port for the wrist to manipulate the tom remains Adagio imoderato) 4 in bellows bellows. We are inclined to think that not obvious that when the Minor should be lady is are opened from the bottom for one saved for sDecial or- the wrist strap of this young gan P ’ opened from the recitals. '"hen(When „ 1 too loose. While examining this strap reversal and then and wm you are reads well to observe whether it is in top for the next reversal there is a WB wU1 welcome ar it is organ recital at constant changing of hand position The bassoon is any the correct place at the back of the capable oi a de May we T h* sPecified time.) that it becomes impossible to lightfully saucy box for it should not be in the exact so and spiteful “dry church y°U t0° that thf finger position is not a°Dla center. It should be about three maintain a correct staccato; it is also effective on place Iorf transcriber mel- songs of a trivf , of the distance toward the over the bass buttons? odies of a broad, sustained a atUre; fourths nature If secular ‘T Songs whoS( box so that the strap There is a possibility that the it does not go too wordr far back of the low, it has a verv than any more familial the left wrist on top young lady may be holding the ac- effective legato. The sacred will pass over very low foot have rcis that mighl not over the cordion incorrectly, and thus placing beek used , -T° wrist knuckle and their ' of the Ex. 15 eratic tunes ’ °P it would hin- the entire bass section in an awk- numbers^? back of the hand where nscnbed shoulc joint notes i not ' ward playing position. The proper are be used Ani the circulation. better please usi der any classieai do not of the left hand should position for a lady to hold an accor- The palm hat has bee ‘ but dion seated is with the piano in staccato use (that Popularized grip the back of the box when is, tongueds not intoT^° a sentll« never ’ not mush. hental bit o: slurred) . merely rest easily against it keyboard resting against the right should The action of the hand up thigh. The left knee should be lower register of the ° to permit free bassoon find Ur organ y°u wil keyboard for various slightly lowered to permit the accor- is effective in bassi o many hW and down the stinati of the™e combinatlons dion to easily upon it. This posi- following kind: many „ positions. rest ew stops^w®PS chord our ‘ are Pl’OUd 0 who have not learned tion allows a very easy manipulation Vox Hnrv, Accordionists na and our Chimes, bu manipulation al- of the bellows so that both the out- we ask that f the correct bellows “ ward and inward action are without The n0‘ lide ” their have difficulty in playing the 7C-cU°V° ways diapasons l0Und in th on the lower end of the key- effort. Use th basses of sfcnngs for accom We believe that one or more the Mozart and Panimenf . They forget the rule that the Beethoven both tuo * board. will solve the the used be y lnteresting solos cai action should al- above suggestions bassoon very skillfully Played bv . opening and closing in this 81" ' sort an octave 6 a four Ioot sto: l0Werlower or "FORWARD MARCH WITH MVSIC" a sixteen foot stoj 66 -
an octave higher. We would caution here one feels the singer has calcu- you too not to ride the tremolo or the lated her effects rather than felt swell pedal. them. 75th ANNIVERSARY You are our leader—our minister of Wagner: Lohengrin— Elsa’s Dream, and music! We know that you will live Tannhauser—Elizabeth’s Prayer; sung by up to the demands of this position; Astrid Varnay (soprano) with or- nd TERM BEGINS Leins- that you will always conduct yourself chestra conducted by Erich in every manner with this in mind. dorf. Columbia disc 71399-D. fric- This young dramatic soprano, who FEB. 1 Sto We hope that you will have no tion in our choir and that you will is in her early twenties, made a fa- 2 take care of the usually present dif- vorable impression in her debut at ficult situations with ease. You have the Metropolitan Opera last season. CONSERVATORY naturally fine voice, been appointed to this position, the Blessed with a Reginald Stewart of a fine future. Music Committee takes pleasure in hers is a promise PEABODY DIRECTOR hardly saying that we will stand behind your Here she sings with fervor, but arias de- BALTIMORE, MD. every decision. At the same time, we the conviction which these She sacrifices legato, which Musical Education Tuition according want you to be friendly with every mand. from beginning to Grade and diction, Study member and visitor to our church. both selections demand, to to completion frequently in all branches Mingle with them, talk to them, and with the results she is smooth- Arrangements for when possible play their requests. But choppy where she should be PREPARATORY DEPARTMENT that the admission now —do not lower our standards! Should est. One can readily believe both 21 E. Mt. Vernon Place being made. New a member of our church pass away, singer will do greater justice to on. Virginia Blackhead, Supt. pupils received. we expect you to do all in your power selections as time goes to make the funeral music as comfort- Trembley: Prelude and Dance; played
(piano) . Co-Art ing as possible. Unless you are spe- by John Crown cifically requested to do so, please do disc 5014. " played by -— -JUILLIARD SCHOOL OF MUSIC not use doleful funeral marches and Achron: Statuettes, Op. 66; 5032/33. sentimental funeral hymns. If a Lillian Steuber. Co-Art discs ERNEST HUTCHESON, President Seven Traceries for Piano; member of our church wishes to have Still: Four of Co-Art disc a church wedding you are at liberty played by Verna Arvey. INSTITUTE OF MUSICAL ART to this 5037. charge for it. However, if GEORGE A. WEDGE, Dean the Mardi- member does not have any money Cadman: Dark Dancers of pianos) played by and feels that she cannot pay for it, Gras (trans. for two ; Individual vocal and instrumental instruction. Classes in Theory, Com- and Charles Wake- we request you now to do this without Marguerite Bitter position, and all branches of music education. Co-Art disc 5023. any unpleasant experiences. field Cadman. Courses leading to diploma and B. S. and M. S. degrees in instru- California recording You see, the music committee can Co-Art is a mental, singing, and public school music departments. to make it pos- ask you to do these things because, concern which aims composers and ar- Catalog on request. first, we will stand behind you; sec- sible for American an outlet for their Room 122, 120 Claremont Avenue, New York ond, we will pay you for these serv- tists to have Lange, founder and ices as rendered, and third, because talent. Arthur responsible for we realize that you understand that recording director, is quality of its recordings. our music is devoted to the worship, the fine aspect, these discs are BOSTON UNIVERSITY glorification, and honor of Almighty From the tonal DETROITINSTITUTE God! extraordinary reproductions of the OF MUSICAL ART COLLEGE OF MUSK Canadian- George Trembley, a Since 1914 has prepared ambitious young • Thorough preparation for careers In Yours very truly, piano. dancing, dra- people for careers in music, music. B.Mus. or Diploma In Voice, composer identifies All instruments, voice, theory, Plano, THE COMMITTEE, born American matic art. Violin, Cello. MUSIC composition, sacred music, conducting, cam- Organ, Brass, Wood-wind the group of so-called Percussion Instruments. YOUR CHURCH. himself with panology, radio technique. Accredited. Di- and B.Mus. In composers. His Prelude plomas and degrees. Faculty of 70. Catalog. Composition, Church Music, Musicology. ultra-modern H. B. Manville, Bus. Mgr.. 52 Putnam Ave., Detroit. Mich. B.Mus. and M.Mus.Ed. in Public fchooi and Dance are deftly contrasted Music. A.M. through Graduate School. contemplative in Chorus, Glee Club, Orchestra, Band. Fac- pieces; the former, ulty of distinguished musicians Includ- tonal pat- ing many Boston Symphony character, is a study in MILLIKIN CONSERVATORY OF MUSIC Orchestra members and the Stradivarius String is a percussive terns, and the latter DECATUR, ILLINOIS Quartet. Cultural opportunities of Bos- ton. Attractive dormitories. Catalog. Fascinating Novelties composition intended to convey Offers thoro training in music. Courses leading to Music Degree. Diploma and Certifi- let loose. Bachelor of Alfred H. Meyer, Dean man’s emotions piano, Voice, Violin, Organ, Public School primitive cate in 53 Blagden Street Boston, Mass. ’ Methods and Music Kindergarten in New Records Achron’s “Statuettes are highly ef- Music Methods which might well have Bulletin sent free upon request fective pieces, W. ST. CLARE, M INTURN, Dire ( Continued from Page 13) been called seven etudes on a leit- wSMOPOLITAN since all are based on the first the so-called Dew-Drop one which motif SCHOOL OF notes of the first piece. This is MUSIC is rendered rather perfunctorily. The four BALDW1N-WALLACE effective and technicaly dif- richer and more resonant sound of highly OF MUSIC vibrant and dra- CONSERVATORY Certificates, the ficult music, full of piano here, and the fact that the BEREA. OHIO (suburb of Clovcland) rnblc board intensity, which the young id In down- artist plays is not matic Alllllnted with a first class Liberal Arts College, with a style that four and live year courses leading to degrees. Faculty the recording does notable . Wabash Aye. Chlcapo. individualized his per- pianist in of Artist Teachers. Send for catalogue or informa- recommends Still’s “Tra- justice to. William Grant A Revealing New Book “ formances to ALBERT RIEMENSCHNE1DER, Dean, Berea, Ohio in I wo Parts students. poetic composi- ceries” are delicately PARAGON OF RHYTHMIC Gounod: Romeo and Juliet Stephano’s COUNTING — sentimental genre. The FOR ALL RHYTHMS ar "FORWARD MARCH WITH MUSIC" JANUARY, 1943 T WAS MID-MORNING in the sea- The Old Master answered softly, son of Acacia blossoms and in the „ I But as another proverb ‘Your beautiful Chinese garden says, the wil- teacher can lead you low branches were dancing to the door; the with the acquiring of learning breeze. Little rests with the wind-bells hanging pupil.’ Even if we study to ripe old under the eaves of the tea-pavilion age we shall not finish tinkled in the learning. To- soft draft and the air day you have very learned to play our was fragrant. scale perfectly. It was one of the wise On a rustic bench beside the gold- men of the spiritual dynasty who fish pool sat the old Music Master. gave our scale to His face was very wrinkled China.” and of Will you not the color of putty, and tell me about him?” his em- asked Ah-Sing. broidered gown was the color of his With pleasure,” face. His eyes were very answered the Old A GEST kind and ster yaking they sparkled r?, ’. himself comfortable with pleasure as he and + twisting his jade ring slim smiled fondly at the little boy seated on his nnger, as he continued: at his feet. In China it is a great hon- “His name or to be old and the The Important Trifle older one is, the more respect is shown to him; there- fore much respect was always shown hj. Cjertrude Cjt'c Waller nUA toward the old Music Master. Little Evelyn entered Miss Brown’s studio close my lips to sound the final con- Ah-Sing was a handsome boy. He Ancient Chinese Tune exactly on time. Getting her music sonant.” “Oh yes, Miss Brown, I get had creamy yellow skin and slanting ready at once and seating herself at the idea. Will you please sing it a black eyes. He wore his black B~ Lun ‘ and ho was very oi l;air in and i,, , the piano, she said, “Miss Brown, I few times to make sure?” Of course it a neat braid down his 16 back. ?' He traveled wic (The time of this in Senf u far and have been asked to play the accom- came out exactly right with no story was long years c of more ago.) wp knowledge, and w£ paniment for the soprano soloist at anticipation on the accompanist’s 4 footsore In Ah-Sing’s hands the when he came t the glee club musicale and I have part, and Evelyn was so happy. "I was an ancient hmtlkS ° f instrument the Sacred River. Thei it never realized important con- called the CHE, he wo brought with me. I am sure I will how which is ar 68 'T TTT} rTTfnP : ! : Junior Elude Red Cross Blanket Junior Club Outline The following knitters sent in four-and- a-half inch squares for the Junior Etude No. 17. Romantic Music Red Cross Blankets, some sending several squares each: Marianne Vogel; Joyce Harris; Dick Win- History ters; Jeanne Grobengieser; Ellen M. Mac- The nineteenth century saw the Pherson; Nonette Close; Arleen Thomp- son; Myra Cruthers; Margaret Sheely; rise of Romanticism in music, in Dwight Reneker; Carolyn Smith; Dorothy which formal design, perfection of Oldham; Phyllis Frederick; Grayce Simp- style and rules were considered of son; Paula Show; Jean Millspaugh; Susanne Palmer. less importance than personal feel- Many thanks, knitters. If you do not find ing, poetic idea and emotional re- your names in the above list they will appear action. next time. The Junior Etude is making up niore blankets as squares are received, so a. What is classical music? look up some wool, any left’ over bits of b. Wherein does it chiefly differ from color, and mail in your four-and-a-half inch square. The Red Cross needs these blankets romantic music? and this is one way to do our bit. c. Mention three composers of the romantic style. The following letter was received from the Rr-d Cross after the first blanket was Terms sent to them: d. What is meant by ad libitum? Oakland, California Dear Miss Gest: The WELDONIAN BAND, e. Give the term meaning with ex- We wish to thank you for the donation pression. of a knitted afghan which was received in - Keyboard Harmony this department several days ago from the Music Why We Need Music Junior Etude. These afghans are sent to (Prise winner in Clnss B) f. Play the pattern given in this out- hospitals for service men where we are told by Jean Clay Bloom (Age 11) Generally speaking, no one can say in so they bring much comfort and pleasure to many words, just why we need music. We makes me feel quite the patients. Please extend to all who had Some music accept the fact that "without a song the a feel though we seldom stop share in this gift our appreciation of their GLAD, some music makes me day would never end” interest. to think about it. But who could go through quite SAD; some music makes me Yours sincerely, a day without singing, or thinking a song, as if no Instead of knowing why Ballock It. Fox very SCARED, and sounds or whistling a tunc? Chairman Production Committee. CARED. But waltzes seem we need music, we merely know that we one had whistle vague notes in the darkness to make where I the best to ME; no matter the shadows seem less formidable. We think time of melodies when circumstances prevent us Dear Junior chance to BE, I’m happy any Etude : from bursting into song; and when we are 1 have been reading lonj! fall upon line in three major and three The Etude for a I HEAR some waltz tunes time and enjoy it very much, and we all lik< it then minor keys. It is merely the tonic in my musical family. My mother has a very my EAR. I close my eyes and beautiful voice; my sister Iioslvn plays tlir lovely ladies, one, two, and subdominant triads in arpeg- viola; I mu a member of the high schoo I SEE the orchestra. THREE; their waltzes tripping, oh, gio form instead of in triad form. From your friend. starry Play with good rhythm. Harriet Ruby Gross (Age 13), so LIGHT, while music fills the New Jersey NIGHT. Some music’s made by angels Progi’am BRIGHT, like music heard on Christ- Your musical program can easily be mas NIGHT. This music little angels arranged from the compositions of Add-A-Lelter Puzzle makes the whole Schumann, Mendelssohn, Chopin, SING; this music PLAYING DUETS Each word requires one more letter Grieg, MacDowell and other com- world RING. Janet Moley (Age 5) Hermit Moley (Age 4) to combine in the with the letters Blencoe, Iowa posers. Some of the larger composi- word above it. No letter once used tions of these composers should be especially happy we hum snatches of gay may be discarded but the order may listened to recordings little tunes as an outlet for our feelings. on when pos- r be 1 >E sitting for my lesson changed. wlHM 1 "l' whs Music Is a part of us. It is culture and sible. OnV dav° just listening to a little girl who was civiliza- r m beauty and air emblem of modern tion. We must have it, for from it we derive courage and comfort and inspiration. It is \\ hy \\ e A cod A lusic is people; play it fast beenuse .hat how the spirit and backbone of a free •But I have to (Prize winner in Class f symbol of true Americanism. A) the Marines ™ 0J it is a Why do we need music? The answer ^r y(f“r fHend, Billie Jean Fate (Age 14), is ob- Joyce Walter (Age 11), vious, especially in these troubled times Mini- V, ,rk Oregon when the world is in one bloody turmoil. The rising, falling swells and tender strains of all music act as food does for the human Class A, fifteen to eight- 'he Junior Etude will body, keeping it going. So does music act years of Class een age ; for soul. It is the food ward three worth while Junior Etude the of loving ten- B, twelve to fifteen Class derness, which keeps the soul aglow; for the ; and rizes each month of the C, under twelve years. when the hunger soul has been lost interesting and satisfied by music, the human body mat- Names of all of the prize riginal stories or essays Contest ters but little. and their con- subject, and winners God bl~ss music and never let it leave 1, n a given Letter of the nega- tributions will appear on this world, for music is man's weapon alphabet; 2, answers to against tive; 3 r correct the forces of evil which our world 3, measure mu- this page future issue of The has never of weight; 4, a is open to all boys and uzzles. Contest seen plainer than to-day. Guard it! Treasure sical best contributors sound; 5, of musical of age, whether Etude. The thirty next is symbols iris under eighteen years it! Love it! For music one of the few sounds; will be given a rating of honorable men- treasures 6, a form of poetry. Club member or not. Contestants truly great the world has left. Junior Art Napoi.et.vxo (Age according to age as follows tion. 16), re grouped California SUBJECT FOR THIS MONTH honorable Mention for October Why We Need Music r Essay, Why \\ e Need JJ,oaAe (Prise winner in Class C) “Wu,ic in m, I have watched many people and most of Music" Chestnut Street, Philadelphia, Pa., not them serm a great deal happier after hearing f Etude Office, 1712 C!row ther; Martha Guildford; Mar- in April. pleasant music, a familiar tune. Even though ina iury 22nd. Winners wilt appear W. Duval; Elinor Goertz; Billie Kirby; I have never been out of the United States poster Mahood; Muriel Finley; Dorothy -CONTEST RULES I feel sometimes as if I know and have seen Johnston hundred and fifty words. ; Nancy Eleanor ini other after hearing Scala; Anna Cook: 1. Contributions your address in some country a pic- Wilson; (A. or C) mu* it corner and Dalice Groves; Dorothy Merriam; 2. Name, age and » s B ~* turesque composition about it. Music has . more than one sheet of paper, bo ^auline L r jf you need Belch; Doris Miller; Phyllis Pro- the power to make a person feel happy or oitsky; to do this on each »h. RV,th Marilyn sure Mary Blanchette; of paper on and do u*writer. sad. The world would bo a very dull place wackett; Mickie 3. Write on one side y Calandra; Carol Moran: not have anyone copy your work tor you. without music, and in these troubled times nouis 4. Do contest and to subm BonelU; David Nelson: Helen requested._J to hold1 a prelit. y M. 5. Clubs or schools are music is needed as never before. toward ; Margaretta Holmes; Nancy Dolittle: ii class Carol Golpbeui: (Age 11). na equir tot he eligible for pri* Wills; Howard Archer: Mary Belle I the New York oyer; Arthur Wellman; George Benners. 69 JANUARY, 1943 £° ^ —i COVER FOR THIS are THE MONTH-We IIIL CHILD’S CZERNY Selected Studies for indebted to the photographic studios of the Piano Beginner— Compiled by Hugh Armstrong Roberts of Philadelphia H. Arnold—The name of Carl Czerny, one of for the charming baby picture on this the most important in the field of piano month’s issue of The Etude, although, in technic, is well known to all advanced picture signify using this to the new pianists and teachers. Now the oppor- year that is upon us we took the liberty tunity to develop good basic technic is of having an artist supply the bugle. The offered to young students through this Reveille is to remind all active in mu- new collection of forty studies in easy sic endeavors that we should awaken keys suitable for the beginning pianist. to the opportunities of the new year, Originally written by Czerny in the particularly since music in many ways treble clef, these exercises have been during the stress of war can be put to arranged and transcribed so that they good uses in strengthening the morale lie easily between the hands in the treble and providing the helpful diversion that and bass clefs, conforming to the more should be enjoyed from time to time in modern method of simultaneously pre- order to keep nerves from finding it diffi- senting both clefs to the beginning stu- cult to hold up under war-time de- dent. mands. Hugh Arnold, the compiler of this In these war days thousands and thou- forthcoming book, well knows that sub- sands of fine young men who have left stance, musicianly editing, their homes in the United States of and fingering alone offer little appeal America to serve in the armed forces of to the child and accordingly has our country are being awakened each made this volume at- tractive by clever day to the call of the Reveille. As we illustrations and im- aginative tities. check the correctness of placed Young beginners, through the notes b k ?° ' n0t only wm by the artist on this New Year’s cover, vs L derive much Ule exercises, we refer to a little 50tf booklet of 68 InS but also will the ' m '- TeaChei S are pages entitled “Bugle Signals, Calls & - — jj'-'ov.ij- ucca racpo Abil- here offered W an nnn » opportumty to obtain Marches” by Captain Daniel J. Canty, in the scope of the average volunteer a single copy 1943 th SPlendl<1 choir will technic book at the spe- and it is amazing to note the many dif- and present no knotty prob- cfsl fu Vance of ferent calls used for the activities of lems in execution. The time of Publication cash price per- of 25vs cents, the Army, formance is about forty-five postpaid. Navy, Marine Corps, Revenue PUBLICATION minutes. Cutter Service, and National Guard. All ADVANCE OF Take advantage of our special advance p“”GS “F IY of these calls represent duties which of publication offer and order a COUNTRY-zIrrsegcJ for OFFERS single b™ 6 /dl the men in our armed forces must know copy at the moderate price of Richter—The ma^y ad- 30 cents, „ t to It in postpaid. The work will P aC and hoiv perform. behooves everyone on All of the books in this list arc be off the press cessful hiEMy S boo^ b; thlst the musical home front to make the re- preparation for publication. The in plenty of time for early rehearsals. and ,“fProgressiveD writerT Cash Prices ap- WU1 be solve with the New Year to perform low Advance Offer O she Slad ‘o learn that placed NOW. has every possible duty in the local com- ply only to orders completed a timely collec- 1913 CALENDAR FOR tion , y Delivery (postpaid will be made Of munity to give American homes and ) MUSIC LOVERS-The 0 S °ngS ”ade easy to books are published. gatherings beneficent things when the Xfoi-Sr the which pub- calendar produced Paragraphs describing each h lS music can provide. for this year divideci “to four sections lication appear on these pages. is A and contnbi e ' • than f01 9 BIG TEN CENTS all The ty S °ngS ta , Ct of Duets—For Organ an ° T '‘ LENTEN AND EASTER MUSIC-More than Album WORTH, and all COmprises Earliest {j0j^| |)n Patriotic Song?° ? through S theh sec°nd, by any one thing we are carried through Album of Favorite First Position Pieces— December War qrmcrd. f J “Famous Viola and Piano •••••• rly these times by a constancy of faith and For the orders came in follows .5* Years ”' Then Cathedral Echoes— For Organ Felton a lection“ of an inner knowing that, once again, Peace Czerny Arnold so heavy that it may S°ngs °” Kgbting Child’s Men Like to °f Days of Famous Composers— Bi h will mantle the earth. In the same way Childhood be possible that some tion TheT concluding sec- Bach Coit-Bampton comprisesP our unified will to sacrifice and serve is from the Great who have waited un- P US War Favorite Movements # Patriotlc Songs and Symphonies Levine til after Tunes of ? t sustained through unfailing belief in the the holidays latter Later Years”. This First Ensemble Album Monger section . supremacy will be disappointed. ta ‘nS of Right. Parts, Each With the limited and some sur rises Conductor holds mueh°h, P Piano stock on hand for t ' Considering the various seasons of the January orders ' for the ° Portraits of the World's Best-Known it will ment not eni y be "first come, first S year, we know of none more symbolic Musicians served.” but for Child per£ormer Christ Easter Cantata Stairs the home of war and ultimate triumph than that Risen — For every month of the . . Lieurance year ,X Singing Children of the Sun. . there is of Easter, sadness gives Short Etudes a new sheet to expose Published Lent and when Sixteen with a mastei long siz 1" in the ob- Songs of My Country— For Piano. . Richter ™so e to ever stronger faith in composer's portrait on it. .*?ient for way joy and Skeleton Scores— Katzner The full name and will little players Symphonic be attmC 3 in F Major of the composer is tlVely the future light. No. 8, Symphony No. given Piano illustrated. Every Brahms immediateh teacher wil , beneath the portrait, Want Through the days of Lent and Easter Richter followed by of t0 Secure a c Three Little Pigs—ror Piano severe this up. t0 -thi °Py music will, as always, play a highly im- lines of biographical information low lnute book the Ther advance nf u at over immediately beneath °f P llca portant part in church services all this is the calendai 40 cente Won cash price of of the current p0stDa the country. The sorrowful songs of the A second reason lies in the fact that month, flanked on limited ^ he Sale be the lefi to wiethe wiU former will be lost in celebrations of the rehearsals should be started earlier this by the calendar of the previous UnitedUnit H month _ states and its exultation and ecstatic various reasons, they are and on the right laAter, when year since, for side by the calendai will rise from the hearts of men. to be shorter and less frequent. So of the next month. hymns apt The calendar block, director in need of such again we say, “Let us know your Lenten are in two colors, all CHILDHOOD To the choir holidays and Sun' DAYS OFr»n Order requirements as soon as pos- days showing I’OSERS— .r? FAMO seasonal music, the famous Mail and Easter in red. The T7le ri, , phases of tin by Department of the Theodore Presser Co. sible so that you can profit by the ad- moon each month also are cm, and 1 indicated Bun, direct assistance. In the matter vantage of time.” The calendar is second In i"on- offers a neat, a new sc i convenient sizt 5 °£ selecting the right material, our ex- ® for wall hanging or tion books music of for desk Use, th for cSdren ' gly stands always ready to help THE RISEN CHRIST—/In Easier Cantata for over-all showing hood story es 1 pert staff size being 4%» x 8» of ?l Choir—Text Compiled and T Mong Sebast suggestions regarding Cantatas, the Volunteer addition to the key color in with with which 'ths some I?", Duets, Organ Composed by Louise E. Stairs—The portraits are Added to hlS ear Anthems, Vocal Solos and Music well reproduced the delio-ht/ in the fin st0ry other classifications. This commemoration of the resurrection of lithographic process, Bach, there ^ Music, and there is an add wm ?Q fit- of lnterestin you as your Post Christ can be observed in no more tional tint warming his l service is as near to the portrait boyhood* Here b aidd ' to make use of ting fashion than through the perform- a calendar that of four 6aSy an a Office, and we urge you includes the solos portraits andnc* one Simply state your needs on a post ance of this beautiful cantata. Engen- 12 master composers, each simplified duet, it portraL * it is atmosphere of bem mpositi or in a letter, and we shall be hap- dered in the true 3 fla in size. The following essential °hs cc card composer- qualiti^ o£ an assortment of mate- Eastertide, one of peace, joy, and divine are represented: enable Bach's n py to send you Mozart, Handel b“,' the chi' all music re- promise, and the innate beauty of the Schubert, young ’..wbPe he for examination. For Wagner, and is rial Schumann Wavdn form 1Ve full credit. At the music and text makes it particularly Chopin, Verdi, ftienSs age t0 turned you will receive Liszt, Mendelssohn ^,4 S ' be quantities suitable for an Easter sunrise service. Beethoven. aM great time, should you need An individual envelimT. music he mast same elope comes can'llp ay chosen, your definite or- This cantata contains eleven numbers. with each calendar. Program ' Educati of any music posslh.,. ! prompt at- Included in it are eight choruses and The ten are for them will receive cent price is for cm Q n book throng offe« ders , \ our Postal System solos for soprano, contralto, tenor, bari- purchases, but those Ta ^tmg ot tention. The fact that wanting mgs especially t ? Bae tone, and bass, as well as duets for copies y auitable its utmost is good reason mom may enjoy gestions for chil< is taxed to a rate of «£,“ for d your needs in ample time. soprano and alto, and soprano and tenor. smen, atlzing the for telling us and dir.cf Advertisement ture 1DnS fo1' stagege and making and settings-all 70 ; appeal to the imagination of youngsters they indicate the melodic line of a work copies are ready. The sale is limited, Schumann, and The Swan by Saint- and give them’ a better understanding as it weaves itself through the maze of however, to the United States and its Saens. Several original Fantasies by Mr. of the composer. During the period of orchestral colors, lights, and shades. No possessions, Kohlmann on Christmas and Easter publication, a single copy The Child matter the section or instrument to which x a themes are also included. Since the work Bach may be ordered at the nominal the theme is assigned, it is indicated in SINGING CHILDREN OF THE SUN-/I Book is printed in score form, two copies will cash price of 20 cents, postpaid. sequence so that, from beginning to end, of Indian Songs for Unison Singing, by be required for performance. © it can be followed with ease through an Thurlow Licurance—For the spontaneous Two copies, needed for performance, favorite movements from the entire performance. The instruments joy of singing together in school, at may be ordered now at the special ad- GREAT SYMPHONIES—CoirepzZed by Henry which carry the melody are identified home, or in community gatherings, this vance of publication cash price of 40 cents, postpaid. Levine-From the loveliest and most in- throughout, and there are copious ana- collection of Indian songs, as set down Copyright restrictions spired music of such .master composers lytical notes on the form of the work as and arranged by Thurlow Lieurance, limit the sale of this book to the United as Beethoven, Brahms, Dvorak, Franck, it proceeds. The preliminary pages carry will be published inexpensively in the States and its possessions. Haydn, Mozart,. Schubert and Tschai- a discussion of the symphonic form in small “community song book” size. Com- © kowsky, Mr. general and a portrait of the composer. plete with piano accompaniment, the Levine has compiled this FIRST ENSEMBLE ALBUM, For All Band collection An order for a single copy of the Sym- book will include such favorite Indian of symphonic movements. The and Orchestra Instruments, Arranged by arrangements, phonic Skeleton Score, No. 8 may be songs and chants as By the Waters of made by William M. Fel- Howard S. Monger—'The sweeping success ton, Rob placed now at the low advance of pub- Minnetonka, Wi-um, Ski-bi-bi-la, Love Roy Peery, Henry Levine, and of instrumental music in our public others, lication cash price of 25 cents, postpaid. Song, Chant of the Corn Grinders, are musicianly yet not difficult. schools is one of the thrilling achieve- All Delivery will be made immediately upon the Reeds, and Where the Blue pedalling, fingering, and phrasing Among ments of recent years. The eagerness will be publication. Heron Nests, along with Leaf Bird, It is clearly marked. For the average with which the youth of our country has pianist, © the Spring, Indian Love Song and Spring this soon-to-be-published col- grasped its wonderful musical oppor- lection LITTLE PIGS, A Story icith Music Along the Yellowstone songs which will make possible the fulfillment THREE — tunities indicates, more than any one of a long Ada Richter-In this new have never previously been published. cherished desire to enjoy at the for Piano, by thing, the high cultural and musical keyboard for young beginning pianists, Mrs. These especially will be of interest to “themes” from the great sym- book standards we are to enjoy in the future. phonies continues her most successful those searching for new program music, heard so often over the air and Richter Too, it augurs hopefully for the high in concert, with music” series using the as well as for those who are lovers of and which are available in “stories planes our maturing citizens will seek in of the “Three Little Indian folk lore and music. While the many fine recordings. While this fine familiar tale life. for her delight- engraving, editorial, and printing details volume is in preparation, a single copy Pigs” as the inspiration For these enthusiastic young musicians music. Such titles as are being cared for, a single copy of this may be ordered at our special low ad- fully descriptive there are published a number of orches- vance Build Our Houses, Invita- book of 16 songs may be ordered at the of publication cash price of 35 We’re Off to tral and band collections, the contents cents, Fair, The Wolf’s Song, Little special advance cash price of 20 cents, postpaid. Copyright restrictions tion to the of which they can “Toss Off” with eclat. limit Rolling Home in the postpaid. Delivery will be made as soon the sale of this book to the United Pig Sleeps, and However, there has been noted a crying indicative of the tune- as copies came from the press. States and its possessions. Butter Churn are need for simple ensemble music which, grade pieces interwoven with © O ful, easy among other projects, can be used as the story. As a complete unit Three PORTRAITS OF THE WORLD’S BEST- pre-orchestral and SIXTEEN SHORT ETUDES for Technic and pre-band material; excellent recital pos- With Thumb-Nail Bio- firming, by Little Pigs has KNOWN MUSICIANS, music in which groups of almost any Cedric W. Lemont—A worthy the sibilities. The story can be read by graphical Sketches—Few musical reference size, beginning with addition to the well known “Music Mas- a solo instrument, ery teacher or an older pupil while the works seem to include essential informa- can participate. Series”, famous as a studies Not only does this ap- series of or sing the descrip- musicians and musical by contemporary younger pupils play tion regarding ply to schools and other institutions, but educators and teachers, can tive little pieces. The presentation personalities in all fields, of all time. also to the home. this new book of piano studies by Cedric So, for this reason, we or elaborate as de- published is comprehen- W. Lemont be made as simple None as yet as are preparing for publication this useful embraces the development illustrations, of sired. Numerous full-page sive as this forthcoming book will be compilation by a distinguished Chicago the technic of later third and early useful for “busy-work” color- with its 4500 portraits and brief biog- ourth grade which are educator. level. This includes rapidly serve as a guide for world’s outstanding com- repeated ing projects, will raphies of the Dr. Monger’s book has been designed notes, legato thirds and sixths, staging as a playlet. Suggestions for use posers, artists, teachers, and musical along original lines and with left and right hand arpeggios a clear octaves, and recital programs will be personalities, past and present. The book or left on concert view to adaptability. The majority of and right hand (and divided be- book. In included in the back of the will be cloth bound, 7 inches by 9 inches the parts have been prepared tween the two hands) pas- in score , rapid scale of advance of publication a single copy in size, with 20 individual pictures and with three others, making sages for left in all four and right hands, chord be ordered at the biographies to a page. The presentation studies, this new book may harmony parts, designated as A, B, C, embellishments, and phrasing, postpaid. special cash price of 25 cents, will be alphabetical and will give, if an and D. These are in ah presented in agreement through- easy keys. American, the state of which the in- Mr. Lemont out the series so that any two, three or has received considerable native or adopted son or recognition POSITION dividual is a more instruments can play together. as a composer of piano music ALBUM OF FAVORITE FIRST and The daughter. This information will be of Duets should be played from parts already has several published books PIECES FOR VIOLA AND PIANO— A and oi groups real value not only for general reference B; trios from A, B, and C; and technical exercises which have met formation of countless orchestral quartets purposes, but for program notes, for use from A, B, C, and D. 1 h great our country, and the resultant The piano, in all success. This volume of short throughout musical history and appreciation etudes in- in cases, will enrich and fill out the will again for players, have naturally in- prove his ability as a demand classes, and in many other musical un- musician young people in strumentation. In the event of more and his understanding of the terested hundreds of dertakings. players than four, the fact that needs of young of the various instruments. "dou- piano beginners. the study While the material for this unique the bling” in certain parts should have A single copy of turn, has focused a light on ad- this valuable book This in book is being assembled, arranged, edited, ay available for certain vantages for, beyond that of amplifica- orderec* at the special advance scarcity of material . and brought up-to-date under the direc- tion, there is always that Price of 25 instruments. Especially is this true wonderful cents, postpaid. Delivery of the tion of Mr. Guy McCoy, a single copy will Hbe despite its warmth assurance young people find in knowing made as soon as the book comes of the viola which, on may be ordered at the special bargain they are not carrying on alone. press. of quality, has not hereto- and richness cash price of $1.00 postpaid. Delivery of attention. The contents of this useful new col- fore received its full share will be made as soon as published. lection will include nineteen such SYMPHONIC Scanning the horizon for suitable viola favor- SKELETON SCORE, ites as: Dark Eyes; Aloha Symphony once again realized the Oe; the lovely No. 3 by Brahms— material, we of our popu- ALBUM OF DUETS FOR ORGAN AND Theme from “Finlandia”, by Sibelius; 'teller's Guide suitability and adaptability fo, and Concert, PIANO, Arranged by Clarence Kohlmann— Liszt’s Dream of Love; the popular by Vi, of Favorite First Position Largo " jLiie success lar Album of *r- grauiymg Consequent- The introduction of the small pipe or- by Dvorak; Country Gardens; The Skat- SS atzner ’ Pieces for Violin and Piano. s Symphonic Skeleton gans or Hammond organs into churches ers’ Waltz, by Waldteufel; and ScorpC ? of transposition, editing, Home on W1 be further established with ly the matters i - , . homes has markedly increased the the Range. the turned over to Mi’. August and Usion °f Brahm’s inspired Third etc were Svmn’f Denver musician. Mr. demand for suitable duet material. for Instrumentation for the First En- in the Molzer, well known series. An outstanding a organ and piano. To meet this ever- semble Alum, published with four har- favo?^be as by magic, made of it everywhere, this monumental Molzer has, work pieces for the growing demand, we have augmented our mony parts in score, will be provided for: Wl11 k0 in superior collection of easy ’ i fcs newly analyzed form, Flutes, B-flat Clarinets a wni well as teachers catalog of arrangements for this effec- (Bass Clarinet C °me Edition viola and students as to these informative tive combination by adding this splendid ad lib), B-fiat Trumpets (Cornets), E- anri i its educational and 101 6 co will quickly recognize Thf^Q ^^ ncert guides, pieces collection. flat Alto Saxophones (E-flat Baritone Sym recreational values. Twenty-two Ph°nic Skeleton Scores pub- offers Saxophone lib.) lishpri compos- This moderately priced book ad , Trombones, or Bari- date make up the album, and the delude : Beethoven’s Fifth Kern, Haesche, many fine selections in smooth, artistic tones, F Horns (English Horn), E-fiat ny: ’ represented include Pranck s D Minor Symphony: ers arrangements, well suited to the tech- Horns (Alto or Melophones) Violins, Moza r-t° Greenwald, Quiros, Papim, , G Minor Symphony: Schubert’s Franklin, Hu n f Zimmerman. nique of the average player. Included Violas and Cellos. With two harmony Shed Symphony First Tourneur, and Brahms’ in the volume are many excellent adapta- parts there will be books for D-flat Pic- ZZ]V ny; the mechanical details are be- *? and Tschaikowsky's Fourth While of the classic masters, colos, Oboes, Bassoons, and copy of this book tions of works B-flat Saxo- Xth Svw-Phonies. in- ing cared for, a single \ Since their the Andante from the 1st Sym- phones, and E-flat Clarinets. String Bass, trnri,, with piano part) may be or- such as, ***?’ ey have roven of inesti- (complete the mabie ^ P of publica- phony by Brahms, the Andante from Tuba, and Bass parts will be supplied in &1Ue in music dered now at the advance ects appreciation proj- Symphony by Tschaikowsky, The one book, and, in a percussion book, ai rt cents postpaid. De- 5th StUdy tion cash price of 50 groups the country over, Violet by Mozart, The Almond Tree by there will be parts for Timpani, Drums, Prespm i as soon as the ed on a single, staff, livery will be made continuous Advertisement 71 Mnuary, 1943 ” and Bell Lyra. The Conductor's Score championing of the American composer,- (Piano) will give helpful suggestions as A New Season in Radio his radio programs have been featured by to the formation of interesting ensemble works which he has commissioned various from the smallest to the Full ( Continued from Page 14) groups American composers to write especially Orchestra or Band. for him. To acquaint the listeners with A single copy each of the parts you ru Accuracy of pitch is assured in spite the more serious type of symphonic wish may be reserved now on advance of all weather conditions, says the works, he instituted broadcasts known as order at the cash price of 15 cents each sponsors of these programs. “Understanding Music,” “Understanding for any of the seventeen instrument New priority rulings are Opera,” “Everybody's Music,” “Symphonic ; affecting parts and 35 cents for the Conductor’s Opera,” and Wonti our symphony orchestras. The spe- others of like nature. Dur- Score (Piano) . Copyright restrictions ing the month of cial brand of difficulties wkich or- November Mr. Barlow will confine the sale of this book to the was guest conductor chestras face is rationing of the New York United States and its possessions. of gut, from Philharmonic-Symphony Orchestra in which violin and violoncello strings • a series of eight concerts. are made, and which is now being- CATHEDRAL ECHOES, An Organ Collection ” for _J “Sia, used surgical purposes; and alu- icith Hammond Registration , Compiled and X minum wire, traditionally wound Arranged by William M. Felton With the — around certain strings. The iatter has final work on this book rapidly nearing gone the way of all supplies. And completion, we are pleased to be able to cane used for the reeds on wood- The Etude give a more detailed account of the un- when it Compare the February issue, winds, which were formerly imported usual and highly interesting contents, reaches you, with your favorite Etudes Musi: from the south of France, has, Lover’s which reflect the wide musical experi- in the past and you will find that it of course — according ences and scope of the late Mr. Felton’s shines with interest on every page. to the broad- Bookshelf acquaintance with the literature of casters of the Philadelphia Orches- music. tra, been “Vichyiated.” These and i Continued from Page 15) The book contains forty-two composi- other difficulties led Eugene Ormandy which has less tions, all newly arranged and edited to remark recently: to do with incompre- “When music hensible especially for this book. Many appear for screws and gadgets, but far moved out of its ivory tower, it went Bee- more with the the first time as organ offerings. into one made of ersatz if objectives of acoustics you in thoven is represented with the Adagio relation to per- haven’t heard one of the Friday after- musical art. It is from the “Moonlight Sonata” and a haps the noon broadcasts of the Philadelphia best work upon acoustics Romanze; Bach with a Badinerie and a aVG Orchestra, you have missed some seen> written by a musician, Sarabande; Chopin with his Nocturne, of rather the best orchestral than a sterile Op. 32, No. 1; and Grieg, The Last Spring concerts to be mathematician jnoie interested and Morning Mood; Handel, Hornpipe heard over the radio. in intricate formulae U from “Water Music”; Mendelssohn, an A Happy New Year to all the loveliest of arts. fine American hnnv c A radio enthusiasts. for Aria and Duetto; Mozart, Alleluia; Si- They have much HK the average musician’s thankful library. belius, Romance and Song of Sadness; to be for, and during the “Acoustics Tschaikowsky, Andante from the Sixth coming year we believe their radios of Music” and Triumphal March; Wag- will be one of By Wilmer Symphony the main sources of T. Bartholomew ner, Menuetto and Prelude from “Tristan entertainment Pages: for which they will be 242 and Isolde”. These are but a few of the eternally gratified. Price: We can all doff $3.00 best known works. Favorite hymn-tunes, our hats to the radio networks Publisher: a Spiritual, and several original com- for Prentice-Hall, Inc. their enterprising efforts to keep positions complete the generous contents. NELSON EDDY the nation informed as well A single copy of this attractive book as enter- NELSON EDDY SOLVES tained. may yet be ordered at the special ad- A PROBLEM vance of publication cash price bf 60 "Should I Become a Singer?" is the prob- most successful vocalist 01 cents, postpaid. The sale is limited to lem that the the past decade helps you to solve, in a Mexican the United States and its possessions. leading article in the February Etude Musical Don't miss his practical opinions next month on "Who Should Have a Singing Folklore YOUR INDULCENCE-An acute WE ASK ELEPHANTS DON'T LIKE |AZZ World ( Continued non-essential of Music from Page 58 ) shortage of labor in most Alan Brown has collected fresh and amus- subject, industries, plus delays in transportation ing material upon this interesting recording experiments in zoological gar- *t Were quite uncoi: prob- questions. ( Continued from cerneriT have combined to create a serious dens which will settle many Page 1) tlle the elephant in the Philadelphia Zoo Rythmic contours i lem for magazine publishers. We are When the m el heard a well-known name band, she ab0Ve delays in appreciation by squirting took part, assisted by a number ' And to complied! trying desperately to overcome showed her of leal hinefh f, water on the players. You'll have a num- ing artists ‘ furth from this situation and especially familiar “- bass har delivery resulting ber of good laughs from this article. to aud adds he ences of the National es nant we appeal to our readers to be patient Gallery. The oth, ? notes o( its accoir FOUNDATION EXERCISES event Panimpnt are not received in the was the celebration of the if their copies IN SCALE PLAYING sevei n ent 5yr tieth birthday of Ralph eopa tion ! mails as promptly as heretofore. The Etude endeavors to present as many Vaughan Wi The16 fourf « om instruments coir subscribers changing their ad- opinions upon a given subject as possible. hams, the principal item of cide rhvtv, Those teachers take pride in dis- which w Open-minded a concert of this 0 inpassinS ' dresses should allow us at least four covering "their own best way." Alfred distinguished comnosei' Fonu^’dT'k ^ Calzin has prepared a very interesting works by the dlsPlacement tf longer if possible—in order to BBC Symphony rhythm of weeks— digest of the way in which many teach- Orchestr in ValUeS get the correct addx-ess in the routine of ers prefer to administer the scales and results- CALEB SIMPER, The^h Kindly give the old address as organist and by ‘ mailing. compos, a Particularly “° mea one, thus enabling us “OUR CRACIE” SPEAKS of many widely used y ln well as the new hymns and a, tiicate case of mar Gracie Fields, the Lancashire lass who thems, achi rhvfv. accurately and avoid further died recently in England ytb to check raised herself from a mill worker to an at t nthe ^me piece, tt known singer of popular age of eighty-five. His melody With the co-operation of our read- internationally works have be h delay. songs, has been known for years in Britain ^ lts original un favorites with choirs for lormity maintain service with- "Our Gracie." America is now giving many for ers, we can then ns years mnrT“ C 1 ° ' her the same title, possibly to make way the mplex fl 8 ures interruption. close the out for a British "Dame Fields.” The story of A NEW RUSSIAN 6 milsic acquires a coir WORK, Pellinp- i her climb is an inspiring romance. the “Secor g eep Symphony," by 1° Triplets tl MEXICAN MUSICAL FOLK SONGS Dmitri Kabalevsky vlo“n invade STILL OFFER PREMIUMS FOR its American pa7t , kES, WE Otto Mayer-Serra. Mexican musicologist premise when played 1 ™ the climaX spite of the reached it SUBSCRIPTIONS—In of note, writes of the folk songs of his coun- November 8, by the ^ls a' ETUDE NBC reduced si? try in truly fascinating style. The desire to Symphony o teenth to mere reduction in consumer goods chestra directed by irastic know more about the music and folk lore Arturo Toscani, Few 11 a breathless scurr limiting the number of premiums of our fine neighbor to the south was never Kabalevsky is a contemporary peonleV) hus greater than at this moment. of Wbo still able to Short, bave not familial we are kovitell and ized , hat are available, to Quote from a thpn review ' liberal “DO YOU TO CONDUCT?” ™' ' our premium workers a WANT the concert, “the score involved ^ e y SOTt iffer Alfred Wallenstein, when he turned his seems tn I ThvWnr attractive and useful mer- been turned out h WU1 be to plf selection of attention from his successful career as a by a gifted andm these examm able new premium catalogue is violoncello virtuoso to conducting, sur- trained composer.” ZW£ •handise. A prised many of his friends. His brilliant press and to any Etude success in this field in which he has now lust off the subscriptions been prominent for several years makes to take HOWARD BARLOW, ~ ’ subscribers wishing his article, giving advice to ambitious con- well knrnxm and er Serra s interest* Etude and secure premiums ductors and orchestra players, a very ductor celebrated on authortfnt o The helpful one. Septem^ V? 66 C°’ pleased to mail a fifteenth anniversary tinned in WtU •hereby we will be with thp n ^ theae Februarypeh catalogue upon request. Broadcasting System. issue. . this * opy of Famo^t^ Soil refers * 1 and Ce ’ accomiianfhi J'*°. that is suns, danced • py instruments. 72 i ) . ENTERTAINMENT MATERIAL Aido (Reading) Edited E. E. Hipaher .10 First §@B@ Album (Music from Verdi’s Opera can be Inter- For Woodwind or Brass Instruments polated) Arranged by Carl Webber Carmen (Reading) ... .Edited .10 E. E. Hipaher Published for: (Music from Uizet's Opera can be Inter- C Instruments polated) (Melody) Saxo- Cinderella Flute, Oboe, C Tenor (A Story with Music) . . . . Richtdr .60 phone (To be read aloud and played by Children) Instruments The B-flat Child Mozart Coit-Bampton .35 Cornet or Trumpet, Clarinet. Soprano (To be read or dramatized with easy Mozart or Tenor Saxophone, B-flat Trombone or Baritone (Treble), Bass Clarinet Favorite Musical Readings of Coyla May Spring E-flat Instruments Clay Smith 1.00 Saxo- , Clarinet, Alto or Baritone , E-flat In the Candy Shop Adair .50 phone, E-flat Horn (Alto), Alto Clari- - (Musical Sketch for Children) net Jack mmi and the Beanstalk (A Story with Music) Bass Clef Instruments Richter .60 Trombone or Baritone (Euphonium), (To be read aloud and played by Children) Bassoon, B-flat Bass Lohengrin ( Reading) .. Edit cd E. E. Hipaher .10 Piano Accompaniment (Music from Wagner's Opera can be Inter- Instrument Books. 50 cents each polated) Piano Accompaniment, 75 cents Milkmaids and Farmers Spaulding .60 Musical Playlets for Young Folks Cooke .60 (Scenes from the Lives of Great Com- posers. Music can be Interpolated) INSTRUMENTAL ENSEMBLE Nutcracker Suite (A Story with Music) YOUR PLACE IN THE Tschailcowsky-Richtcr .75 Brass ( lo be read aloud and played by Children) The Brass Choir s “"' Ortn .75 1st B-flat Trumpet, 2nd B-flat Trumpet, NATION-WIDE WAR-TIME MORALE (With a Dramatic Reading the from Play) 1st Trombone IBassI, 2nd Trombone and Tuba Pageant of Flowers Kountz .60 (Easy Operetta for Children) d . E-flat Horn, Baritone or Trombone ITreblel Popular Planologues from the Repertoire of Coyla Piano May Spring Clay Smith 1.00 Instrument Parts, 35 cents each Twelve Tuneful Talking Songs. . . .Clay Smith 1.25 Piano Accompaniment. 60 cents Larghetto (26649) Francis H. McKay RECREATIONAL Four Horns In F material Complete with Score, 75 cents Children’s Songs and Games (With Direc- String tions) Af. Greenwald .75 Easy Quartets for Young Violinists Games and Puzzles Violins for the Musical . Bloomfield .60 Four cents each Musical Dominoes 1.00 Violin Parts, 40 Part. 75 cents Piano Fun with Family and Friends (With Piano of Love (26085) Engelmann-Kun Erections) Hughes 1.26 Melody Thirty Rhythmic String Quartet Pantomimes (With Direc- Complete, 50 cents Lions and Drawings) ’ Parts .Gaynor-BIalec 1.25 Quartet No. 41) (26083) Ttwelve Well-known Menuetto (From Nursery Rhymes and Ac- Quartet Haydn-Pecry tion Songs String (With Directions and Draw- Score. 75 cents lng8 Complete with l M. Greemvald .75 Menuetto (From Quartet No. 52) (26084) String Quartet Haydn-Pecry instrumental music Complete with Score, 75 cents Presser’s First String Quartet Book Accordion Solo Complete, $2.25 Scherzino (27038) Strange-Freedman By the Waters of Minnetonka (26766) Violin Quartet Dancen_., ... _ Eieurance-Dciro .50 Complete with Score, $1.00 of the Rosebuds (26677) Three Folksongs (26664) _ ,, „ .35 George . McKay r- . Keat8-Deiro Transcribed by F •" (Londonderry Air; Sona of the Volga Boat- JZSlZlVlSi men; Arkansas Traveler) Melody. ^edndaoa.GaUa-mni .40 String Orchestra of Lav. Complete with Score, $1.50 x .. Enoelmann-Galla-Rin .40 Club SaluteSalnto _ . The Trio to the Colors (26696) Plano Violin, 'Cello, and In millions of America’s precious homes the hearlhside is Anthony-Pcterson .40 String Parts. 50 cents each Clarinet Solo Piano Part, $1.25 now one of the main bulwarks against the bestial reign of terror Th Complete, $2.00 , V ncible Folio "x °f Clarinet and Piano which Hitler, Mussolini, and Hirohito seek to bring upon the n„ueTSj Trio Repertoire world. 1.00 Violin, 'Cello, and Plano Cornet $2.00 Solo Complete, This calls for regular weekly or bi-weekly hearthside gatherings, Th inCible Fo,io of Cornet and Piano DuM«eTs intimate home-cemehting groups, presenting programs 1.00 WOODWIND ENSEMBLE of in- Flute Solo spiring, fear-dispelling materials given informally right in the The Invincible Folio for Complete with Score. <5 home by the best talent of the neighborhood from Flute and Piano. . . 1.00 the perform- Piano Choru, of Villagers (Pr.nce tor) Solo ance of little pieces by the tiniest tots to Dad’s story of how they Ev Bassoon ®ryone Loves 1.00 Flute, Oboe, Clarinet, Horn. Score. 75 cents met the situation in 1918. Piano Pieces 75 Complete with Girl'ss Own n°°L Keate-Gorion Book for the Piano 75 Dance of fh. Rosebuds (26082) .... Piano Duet Four B-flat Clarinets The music teacher, instead of focusing upon the recitals in the C P te C ° re ’. Bornachein-Cellara studio, should now go out to the homes of the feed's', Book ,5 The French °cTock ( 271 96 pupil and organize (Flrsl r°Ur P —d Second"" Score, 65 cents . ‘ Complete with ' Beginners" 1.00 feieoHS”*"’’ Horn. Bassoon "HiARTHSIDI NIGHTS” * b ™ <°V^"<™* »nd Fourth Flute.Oboe\ Clarinet. Cr.delT with Score, $1.25 -. 1.00 Complete Piano Trio just as our ancestors came together night after night at the fouir- The MUSIC Three Plovers ORCHESTRA - y s Surtorio 1.00 Orchestra Oallactta.^ dation of our country to strengthen their spirit, stem anxiety, trombone Easiest ^ ^ ^ Solo with additional and fortify their faith. n VinCible (Complete Instrumentation Fo,io Trombone Pia'n o and Band Parts I , 1-00 Parts, 35 cents each The programs must be devised by the teacher to suit the needs V, an Piano-Conductor, 65 cents d P ' an Alb" ° Hands. Acc., $1-00 of each home, and may be of anything that will * a Piano. Four made hold the VO t F! St Folio A Collectfo PosHion Pieces... 1.00 LLittle Classics Orchestra n off FirstFi t and Instrumentation Published) interest intensely. Fine music (solo and ensemble) played by . Pieces Third Position ’ f Complete . cents each unday Music Parts, 35 of the neighborhood group, well selected parts for .' members of radio Violin .' 65 cents and Piano.' . 1.00 . Piano-Conductor, and record programs, patriotic and optimistic readings, good MUSIC (Solo or Unison) ,00 VOCAL ^ stories, playlets, debates, discussions, anything that will keep the SiU&'of to People'::::::::::::" minds and the hands of the home group happily and profitably otMany Nation^ Folk Songs engaged. Ten ^ ^ J.60 Famous Girls • Solos Songs for [50 School Choruses Arranged Unison This opportunity for the progressive teacher is so great and so for Clarinet, Cornet or iFombone, Alto VOCAL DUET seriously needed at this time that we feel that the future of many Saxophone, * “ for all Voices rom Secular Duels teachers will depend upon how enthusiastically they can promote ' bone or Baritone u I arta published CARD GAMES and organize these delightful home for each of the MUSICAL m above Instruments Allegrando .60 Elemenfaire 59 Solo Parts. 60 cents each Great Composers fi0 uct Authors "HIARTHSiDi NIGHTS” Parts, 60 cents each Musical 60 ,Hn o Musical Casino .35 Accompaniment. 60 cents Chords Triads or .60 Herewith we present a partial list of practical time-tested sug- Scherzando gestions for home group entertainment music which may easily be supplemented by the teacher. If you desire further informa- MUSIC PUBLISHERS THEODORE PHILADELPHIA, PA. tion do not hesitate lo write us. PRESSER CO. 1712 CHESTNUT StT AFTERWARD By Olive F. Conway 50 Low AT DAWNING By Charles Wakefield Cadman 50 High Medium Medium Low Low BLUE ARE HER EYES By Wintter Watts 50 High Medium A DREAM By J. C. Barflett 50 High Medium Medium Low Low FORGOTTEN By Eugene Cowles 50 High Medium Low GOIN' HOME By Dvorak—Arr. Fisher 50 High Medium Low HOLD THOU MY HANDS By Graham Godfrey 50 Low THE KING OF LOVE MY SHEPHERD IS By William R. Spence 50 High Low PACK CLOUDS AWAY By Frances McCollin 65 Low STRESA By Wintter Watts 50 High THE SWEETEST STORY EVER TOLD By R. M. Sfults 50 High Medium Low TAKE, O TAKE THOSE LIPS AWAY By Garth Edmundson 35 Medium THE TIME FOR MAKING SONGS HAS COME By James H. Rogers 50 High Medium TO SOMEONE By Geoffrey O'Hara 50 Medium WHITE NOCTURNE By Paul Nordoff 50 Medium Oliver Ditson Co. Theodore Presser Co., Distributors 1712 Chestnut Street, Philadelphia, Pa.