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

8-1-1921 Volume 39, Number 08 (August 1921) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 39, Number 08 (August 1921)." , (1921). https://digitalcommons.gardner-webb.edu/etude/682

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Songs Without Word. (Com- GLEE S'NGERS’ COLLECTION. Mixed voicea. TWO PART songs! Women s voices " 25 Melodies for Eye, Ear and Hand Trainir “ STANDARD GRADED COURSE OF STUD -EE, L A. Merry Rhym. ’ Childhood JUVENILE SONG BOOK.. WOMEN’S CLUB COLLECTION. EVANS, M. G. Primer^of Facts About — IES. 10 rolumes, 10 grades, each. I BLOSE.JOH. M. Pedal Book CELEBRATED COMPOSITIONS" BY FAMOUS all the essential fundamental facts necessary BUGBEE, L. A. First Grade Studies. Eas of "^imitators’ sbllThe “one'universally “red* COMPOSERS ... 1 CELEBRATED PIECES IN EASIER ARRANGE- FOUR-OCTAVE KEYBOARD CHART (Cloth) TAPPER, THOS. Children’s Biographies of “ Second Grade of Melodk Studta MENTS.. 1 “ (Boards). Bach, Mozart, Schubert, Schumann, Han¬ r'Studies CHAMINADE, C. Album of Favorite Compos thons ORGAN WORKS JOUSSE’S MUSICAL CATECHISM (PAPER) del, Chopin, Liszt, Beethoven, Mendels¬ “ Album ot Favorite compositions.. . i by the same author. CHOPIN, F. 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Left Hand Facility COMPOSITIONS FOR THE PIANOFORTE BY POPULAR PARLOR ALBUM. An instructor especially for pianists. 1 2! WOMAN COMPOSERS. 1 POPULAR RECITAL REPERTOIRE. 31 Pieces STAINER, Dr. J. The Organ (New Editon). 1 2! PIANO INSTRUCTORS Easy study pieces. ROGERS, J. H. Toy Shop Sketches. PARLOW, E. First and Second Grade Study Pieces CRAMM, H. M. New Tunes and Rhymes lor STANDARD ORGANIST. Pipe Organ Pieces.... 7! Little Pianist. . with words ROWE. DANIEL. Tone Stories for Boys and Girls d Organ Metl WHITING, GEO. E. 24 Progressive Studies for the KOHLER, LOUIS. Practical Piano Method, Op. PERRY, E.B. Lyric Studies “ Pleasant Pastimes wi h woria. To play or sing. Large notes. sol of Reed Or PipeOrgan. To follow the elementary stage. I 2! ABBOTT, Mr.. A. T. A Method lor Gaining a_ “ Wrist Studies " Sunny Da, Songs twish words,. . SCHOOL AND HOME MARCHES Perfect Knowledge of the Note.. 50 25 249. Vols. I. II and III, each. $0 75 SCHUBERT. F Imoromptus, Moments Musicals " The Beginner’s Pipe Organ Book. A standard BATCHELLOR-LANDON. Mu.ie.l Kindergarten LANDON, C. W. Foundation Materials for Piano. 1 25 students^'f’racGcc^mi^erlaHulTy writte PHILIPP. 1. Exercises in Extension. Unique DEl.EONE. F. Little Tunes for Little People Method. 2 00 Leads to solid musicianship through an Many original features found in no other studies Strengthen and at'etch ihe hand . DUTTON. THEODORA. The First Progress .... SCHUMANN, R. Selected Work. “ New Organist. Pipe Organ Collection 2 Of easily graded,. pleasant and interesting “ Op. 60. Finger Gymnastics EASY DANCE ALBUM. For the nursery and clasaroom. This work CRAMER, J. B. Fifty Selected Studies ” Preparatory School of Technic. Daily practice ENGELMANN. H. 24 Piece, for Small Hand. NORCROSS,C.PLaCAdult Beginner’« Book. 1 75 CZERNY, C. One Hundred Studies, Op. 13! “ Album of Easy Pieces. 26 most popular teach¬ BEGINNER’S METHOD. Theo. Presser.~ 100 Suggestive studies for music lovers. “ 100 Easy and Progressiye Lessons. “ School of Technic. An exhaustire eompen. ing pieces. Intended for the youngest beginners and SCHMOLL, A. New Piano Method. In Two .Short Exercises in Passage Playing “ Pictures from Storyland ... 1 MUSICAL THEORY, REFERENCE Books. Each. 1 25 261. Second grade teaching pieces of merit. P'f only pleas'anttbut''rapid'pTOgreasin'Uphe- “ Sche r. Op. 299 “• The New Gradus ad Parna.sum, in eight One of the most popular Piano methods of ” ochoo; ot velocity, Op. 299. 4 books, each books: SMITH, HANNAH. Rhyming Tune, lor Little BOOKS, GENERAL MUSICAL STUDEOT’lf BOOK. Theo. Presser. School of the “ 6 Octare Studies, Op. 553 Book I, Left Hand Book II. Right BEYEr! F. ^Elementary School of Piano Playing 7S “ First Pianoforte Instructor, Op. 599 I Technic; Book III, Hand. Together; FIRST RECITAL PIECES. SONATA* ALBUM. Two Vol... each . j LITERATURE Pianoforte. 1 00 “ Preliminary School of Dexterity, Op. 636. IV. Arpeggios; Book V, Double Notes; FIRST SONATINAS . SONATINA ALBUM (Loui. Kohler) I FIRST STEPS IN PIANO STUDY _ .. ... 1 25 Intended to follow Mr. Presser’s enormously FIRST PIECES IN THE CLASSICS SPAULDING, GEO. L. Souvenir, of the popular Beginner’s Book, but adapted to “ Art of Finger Derelopment, Op. 740 VI, Octares and Chords: Book VII, GODARD FAVORITE COMPOSITIONS duction to pianoforte study. CarefuUy graded. •• Op. 740, 6 books, each Trill; Book VIII, Various Difficulties; ^ Masters. Introducing famous melodies. succeed any elementary instructor. The ma¬ '* Practical Finger Exercises. Op. 802 CREENWALD. M. Clnldi ’ “ -and Gam “ Album for Ihe Pianoforte 1 BALTZELL, W. J. History of Music 51 HUDSON, MRS. H. B. A B C of Piano Music 50 teria! is all. bright and sparkling, melodious •• Bir hday Jewels • Adopted by leading schools, colleges and CZERNY-LIEBLING. Selected Studies. Thi contributions of Isidor Philipp, of le Play Songs '• Tunes and Rhyme, (with words) “ MelodiMnWithouyt0Nofo. 60 WAGNER,First Instruction Book for the books, each. • ^Children’s Czrrn'-’s most necessary studies select '• Youthful Diversion, (with word.).. ■••••••••; To follow A B C of Piano Muaic. Piano. Part 1. 125 •• Well-known Fable. Set to Music (with word.) BENDER G.C. Business Manual for MusicTeaehers STANDARD ADVANCED ALBUM. 28 Pieces.... CLARKE, H. A. Harmony, A Text-Book MUSICAL BOOKLET LIBRARY. 9 GR|aEG,8ED.anFirdst' prer (fyn/suite, Op. 46 STANDARD AMERICAN ALBUM. 42 Pieces... Intended to enable the pupil to grasp easily OREM, P. W. Harmony Book for B DORING C. H. School of Octare Playing. Op. “ Album of Miscellaneous Pieces STANDARD BRILLIANT ALBUM 27 Pieces. . and comprehensively the facts and rules of the | PIANO COLLECTIONS -FOUR HANDS [ DUVERNOY. J. B. Ecole du Mecanisme, Op. 1 PISCHNA. Sixty Progress GURLITT. Album Leaves for th STANDARD ELEMENTARY ALBUM. 82 Pieces “ Frole Primaire, Op. 176 . Composil PLA1DY, L. Technical Ex rmes Wi1 STANDARD FIRST PIECES. 72 Pieces. to Harmony, A Text-Book, BASCHINSKY* P. One Year in the Life of a Child 50 75 SARTORIO, A. Instructive Four Hand Album. 50 75 GREENw/slD.M. 20 Progreasire Studies. Grad STANDARD OPERA ALBUM.tv iterpoint, Strict and Free PRESSER, THEO. First Studies il _ Dictionary. 12 little pieces, with ttxt ad-lib. A charac- “ Pleasant Hours, Eight Instructive Four Hand " Selected Octari E,..,( d >e Old Hungari Piece., Op. 1042 1 00 the^best^rna^nne^b^^merrnedUtc’difficulty Student’s Pocket Dictionary “ Recollections of Youth Op. 1064 1 25 “ 35 Etudes Faeiles, 0| ment of both hands, flexibility an COOKE, i. F. Standard History CHILDHOOD DAYS (Harthan). Instructire Duets “ School of Velocity. lor Teacher and Pupil. 75 SPAULDING, G. L. You and 1 90 RANSOM, E. Through the Major Keys 7c HAYDN, J. Sonatas, Vol. I STANDARd"pARLOR ALBUM. 41 Pieces.. dents, teachers and c CONCERT DUETS. 1 25 “ Nursery Tale. Retold. 75 HABERBIER, E. Etudes i. Op. 53, 59 ROGERS, J.H. Octare Velocity. She*, Interest¬ STANDARD STUDENT’S CLASSIC ALBUM acquainted with thest HANON, C L. Virtuoso I “ Sonatas. Vol. II SUNDAY PIANO MUSIC. .. 24 pieces, 150 pages, classical and popular, “ ^ Just We Two.„.. 75 ing, musical studies of great techj>ital ralue 1 Ot HEINS. CARL. Album o’ Pianoforte Piec, Great Pianists on Pianc REDMAN, H. N. Pr« : Dictionai medium difficulty. HEINZE, L. G. The Piar “ Double Note Velocity.1 « HUDSON. O. Musical Poems for Childret Dignified piano music, especially usel t Musical Terms. DUET HOUR. 31 Duets in Easy Grades. 75 The Progressing Pis 11 Musical Picture Book the church pianist. Personal conferences on tec SKINNER, O. R. First Year in Theory. DUTTON, THEODORA. Mother Goose Duets. . . 75 STANDARD DUEt" PLAYERS’ ALBUM. 75 HELLER, STEPHEN. Thirty SARTORIO, A. 12 Instructire Pieces in Melody KERN, C. W. Mississippi River Sketche SWIFT, N. Storytime and Playtime xpression and style with om SCHMITT, H. Pedals of the Piano. ENGELMANN FOUR HAND ALBUM 100 STANDARD OVERTURE ALBUM.. 1 00 Playmg and Expression, Op. 368 1 Of Attractive characteristic pieces, base TERRY, F. Little Artist, The STREATFIELD. Life Stories of Great Compose FOUR-HAND EXHIBITION PIECES. 1 25 160 pages. 10 famous overtures, including “ 10 Melodious Studies in Velocity, Op. 380. 1 Of American river scenes. Grade 4. CLEF ALBUM ...... ■ • ■ • • ■ _ " Music Mast TAPPER. First Studies in Music Biography FOUR HAND MISCELLANY. 1 25 Poet and Peasanti Martha, Carmen, Tann- 25 Melodious Studies, Op. 4! Melody and Velocity, Op. 872 .... ■ 1 0( KROGMANN.C.W. Ten Fire-NoteRecr TSCHAIKOWSKY, P. Affium for the Young 3n of biographies including man; A History of Music for Children. Direc FOUR HAND PARLOR PIECES. 75 20TH CENTURY DANCE ALBUM GAENSCHALS, C. Home Pleasures. 60 30 Progressire Studies, Op. 4 Ten M »for Adrat ICUHLAI I Sonatina. . readable and never heavy. Full sketch i TWO PIANISTS. 1 25 Op. 876.. LEFT HAND RECREATION ALBUM VERYWACHS, FIRST PAUL. PIECES, Album ™ of EFavoriteC l CompositionsCnmnositions each composer's life with portraits and othi JUVENILE DUEt'pLAYERS0'5.'. 75 VERY FIRST DUET BOOK. 75 Twelre Moll LICHNER. H. Sonatinas. Ops. 4. 49, 66. . MARCH ALBUM. 90 Op. 902. LISZT. F. Album of Celebrated Works YOWJG PLAYER S ALBUM. 70 Pieces GROVE’S DICTIONARY OF MUSIC MOSZKOWSKI, M. Se.nish Dances 100 students of nearly' equal "tuinmentV ° Ten Brillian ' Conct CIANS. 6 rols including N MUSIC LOVERS’ DUET BOOK 75 WOOD, D. D. Musical Zoo. 75 Finger Freer __ Supplement. OPERATIC FOUR HAND ALBUM. 22 Duets. 75 YOUNG DUET PLAYERS (Harthan) 75 and records can be kept by the stude Studies in Syncopation, Op. 1079 * JJ HEACOX, ARTHUR E. Ear Tr.inin WODELL, F. W. Choir and Cborui KLEINE PISCHNA. Studies for Left Hand Alone, Op. 1103 1 « KOELLING, CARL. Major and Minor... SCALES AND CADENCES (Pressed. 35 VOCAL METHODS AND STUDIES This work takes the pupil in the s VIOLIN MATERIAL third grade through all the major ar SCHMITT, A. Preparatory Exercises, Op. 16a ... 30 keys with suitable studies and study SCHMOLL, A. ^Studies and Study Pieces, 3 rola. ROOT, F. W. Methodical Sight Singing, Through ^ TEACHERS’ SPECIALTIES AIQOUNI, K. H. Practical Method for the Young LEVENSON, C. Selected Studies in Second and KOHLER, L. First Studies. Op. 50 ABT, F. Singing Tutor, complete Violinist .51 25 Third Positions .51 00 “ 12 Little Studies, Op. 157. ARTHUR. A. Lessons in Voice Training. 1 “ Methodical Sight Singing, Progressive Musi- BENJAMIN, FRANK T. Comprehensive V;oin LIEURANCE. THURLOW. Indian Melodies.. . 1 00 " 12 Preparatory Lessons, Op. 151 beauSmEach“ °' 100 CONCONE, J. Fifty Lessons. Op. 9. PLEYEL, 1 J. Petit Duos lor Two Violins, Op. 8 75 BILLS OR RECEIPTS. Package of 100. . Method. 1 25 “ Very Easiest Exercises, Op. 190 SCHNECKER, P. A. Melodious Studies in Stylo GREENE, H. W. Standard Graded ( BLANK BILLS. Large size (50). BLUMENSTENGEL, A. Scale and A-peggio SCHRAD1ECK, H. Scale Studies . 50 “ Small School of Velocity, Op. 242. and Mechanism. To derelop especially Singing. 4 books, each •• gSS’^m*v£i.“ V’K 1 STANDARD PRACTICE SLI PS. Pad of 100... Studies, Vol. 1 50 " T.chnical Studies. Vol. 1 60 KROEGER, E R. IS Etudes for the cult fluency, continuity and good style 1 25 MARCHESI, M. Elementary Progre SIEBER. F. Elementary Exercises. 36 8-Meaaure BLANK MUSIC BOOKS. 6 staves, 32 pag STANDARD LESSON RECORD DANCLA, CH. Six Petits Airs Varies, Op. 89 75 SEVCIK, O. School of Bowing, Op. 2, Vol. 1 75 cises. Op. 1. Studies. Op. 92. Soprano DEBERIOT.C. Method for Violin, Vol. I ... . 100 STANDARD VIOLINIST, 32 piece. . 75 SCHULZ, F. A. Scale, and Chord.. 50 STUDENT’S HARMONY TABLET. KUNZ, 1. .... Hundred Short Two-Part SCHWALM, R. Daily Exercise.. 100 MARCHESI, S. 20 Elementary and P TIME CARDS. Lesson and Practice Recorc FAVORITE OLD TIME TUNES. Violin and Piano 1 00 STUDENT’S POPULAR ALBUM. 22 Faroe ite Canons, Op. 14.. Vocalises for Medium Voice, Op. Package of 25. FRANKLIN, F. A. Operatic Selection.. 90 Compositiona. 90 SMITH, WILSON G. Etudes Arabesques. Op. 75 1 00 MYER, EDMUND J. Vocal Instructor. " Selected Claeaic.. 90 LACK, THEO. Op. 289. TOURS, B. Complete Instructor lor Violin 1 00 SPAULDING, G. L. Etudes Melodiques. 1 #« guide to artistic methods PAPEROID WALLETS HOFMANN, R. First Studies in First Position, VIOLINIST’S POPULAR REPERTOIRE.29 pieces . 75 ^For students just beginning third grade. “ A Revelation to the Vocal World Op. 25, Book 1. 60 WATSON, MABEL M. Bel Canto Method for Violin 1 25 LANDON, C. W. Playing Two Notes Against Three REDDALE, F. The School Singer. F, HOHMANN, C. H. Practical Violin School, Ger- Positively ^the^most ^ elementary method “ Wrist Studies classes; includes a large collectio “ Vocal Studies for Medium 6 lines, widespacing, 7 x 8H, 100 sheets. man and English Test, complete 1 00 LESCHETIZKY METHOD. The Modern Pianist. STANDARD CONCERT ETUDES 1 50 The needed CLARKE, H. A. Harmony Tablet.. ' Same in 5 Books, each . 50 A help for the ' ■ WICHTL, G. Op. 10, The Young Violioi.t 100 (Prentner) . 1 Difficult. To follow Standard Graded Course. ROOT, F. W. Methodical Sight Sing GUARD, F. F. Music Pupil’s Lesson Book and KAYSER, H. E. Elementary and Progrea.ive LOESCHHORN, A. Selected Studies, two rola. I, S. Tim. “^Student’s Ms of Sight Singing. Practice Record. Studies, Op. 20. 3 Books, each 50 WOHLFAHRT, F. Elementary Violin Method (or The best selection of short, specific, techni* LEVENSON, C. 50 Seleettd Studies in the First Beginners. Op. 38. 1 00 studies MUSIC TEACHER’S DESK TABLET. Pad of 100 “ Op. 45, 2 Books; Op. 74, 2 Books, each book 50 d third gr Position. 1 03 " Op. 65, Studies for the Derelopment of Technic intended to exemplify and work o and Expression, three books, each special rhythmical device. The Theodore Presser Company cheerfully opens accounts with responsi¬ IGflULJLJUUUL-JLJUl—It-U—tLJLJl—ILJLJLJl—.UJl—Jl—IUJLJLJL-J1—il—JLJUJLJLJUUJ CJl-IUUt-.UJIJCJU “ Op. 65, complete 1 ble individuals, grants liberal discounts to the profession and offers many “ Op. 66, Etudes Progressires, three books, each STREABBOG, L. Twelre Melodic Studies, Op. 63 “ Etudes Progressires, Op. 66, complete 1 “ Twelre Easy and Melodious Studies, Op. 64 other advantages, such as the “On Sale” Plan, to the Mail-Order music buyer. Helpful Catalogs Cheerfully Furnished Theodore Presser Co. “On Sale'’ Plan MacFARREN, WALTER. Comprehenaire Scale VOGT, J. 24 Octare Studies, Op. 14S. A postal request is all that is necessary to obtain any of our carefully prepared, and Arpeggio Manual. 1 WIECK.F. Pian. Studies. graded and classified catalogs, suggesting numbers for teaching, concert or guarantees satisfaction. Any Presser publication will be sent for examination form will be sent gratis upon request church purposes. Descriptive catalogs of piano collections or theoretical works upon request. You may specify special items that you would care to examine or tell us your needs and let us send you a package of material to select from. You A selected graded list of pieces in sheet and musical literature may also be obtained. Tell us the branches in which you pay only for what you use and return the remainder. The same large dis¬ •e interested and state whether teacher, performer or music lover. count allowed as though the music was purchased outright. 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9f Xach mi OtttstamlinJ THE ETUDE VOL. XXXIX, No. 8 AUGUST, 1921 Single Copies 25 Cents THE GREAT “GROVE'S DICTIONARY”' YOU CAN HAVE THIS GROVE'S DICTIONARY BEST OF MUSICAL WORKS —OF— With the AMERICAN SUPPLEMENT Wealth In Music euphonious, as was probably the case with Robert Franz—who IN YOUR OWN HOME did not like the name of Knauth and had it changed by law, MUSIC AND MUSICIANS SIX VOLUMES, COMPLETE, $20 SEPARATE COPIES OF SUPPLEMENT, $3.50 One of the shrewdest of the British economists, in a recent LIBRARY! adopting the first name of Schubert and Schumann. Here are Iff — WITH- work, indicates the source of wealth. He discovers that in the Bay a Set on Easy Terms some popular noms de plume with which the public may be New American Supplement make-up of the world’s great fortunes the following trinity A FEW DOLLARS WILL BRING unfamiliar: Meyerbeer, real name Jacob Beer, changed for plays the all-important part: THE SET TO YOU. BALANCE IN family reasons; Palestrina, real name Giovanni Pierluigi, Pales¬ SHALL MONTHLY INSTALLMENTS. Capital A Musical Encyclopedia trina was the name of his birthplace; Max Meyer-Oibersleben, Industry Abundantly Supplies All Musi¬ real name Max Meyer, here the composer adopted the name The Theodore Presser Co. Ideas cal Reference Needs secured publishing rights on of his birthplace because the name Max Meyer in certain partg Of these he places ideas first; for one may have abundant What the “Encyclooedia Britan- “Grove’s Dictionary” in order of Saxony and Bavaria is commoner than John Smith; H. that Music Lovers might pur¬ capital and abundant energy but without the yeast of ideas "Grovev'° iTto'IvliSc.0 'over ’ 184 ICaroly, real name Carl Heins; Dame Melba, real name Nellie renowned specialists in music worked chase it at the lowest possible price the mass will rarely expand. Every great work, every great and under the most liberal pur¬ Mitchell (later Mrs. Armstrong), named from Melbourne, business, every great organization has grown from these three chase terms. Australia; F. d’Orso, real name F. Behr; Marcella Sembrich, economic virtues—Capital, Industry and Ideas—but the great¬ rd of American Musical I nsti tutio —PRICE $20.00— real name Marcelline Koshanska; Georges Bell, real name F. est of these is IDEAS. If this were not so, the myriads of Behr; Pierre Latour, real name E. Mack; Madame Nordica, people with small capital from $1000.00 to $100,000.00 would m An Incomparable Musical Reference Library—Six Large Volumes-Bound in Cloth—Stamped in Gold-Illustrated real name Lillian Norton; Anton Strelezki, real name Arthur soon becomes millionaires as would the millions of splendid iilen B. Burnand; Mme. Nevada, real name Emma Wixon; Mme. and women who toil from morning to night from their youth Albani, real name Marie Louise La Jeunesse (debut in Albany, until the grave—but “never get anywhere.” On the other hand, Standard History of Music Harmony Book for Beginners N. Y.); Stephen Essipoff, real name Arthur B. Burnand; E. one must have the energy and a little capital, or ideas are BY JAMES FRANCIS COOKE PRICE $1.50 BY PRESTON WARE OREM PRICE $1.25 Dorn, real name J. L. Roeckel; Paul Beaumont, real name worthless. Teachers Achieve Speedy Results With This Harmony Sidney Smith; Edgar Thorn, real name Edward Macdowell; A History that Has Pleased Thousands Perhaps your work in music teaching has been at a stand¬ So Clear that a Child Can Understand Every Word Book. Also the Best and Most Practical Work Edward German, real name for Edward German Jones; Ivan f,! still for years and you are beginning to wrinkle your brow So Absorbing that Adults are Charmed With It for Self-Study in Harmony Caryll, real name Felix Tilkin. about it. You are not content to see the same income on your Music lovers are here supplied with interesting ^reading^nd^the music ^An unequaled "success". The main The rumor that the name John Philip Sousa is a pen name books year after year. You want to go ahead—you feel that a'one”reSofUa'most Interesting Character and number over 150. All difficult derived from John Philipso, U. S. A., is an absurd fiction which 1 *’ "ound in cloth, stamped in gold. fayTa sti°ng f°Pundation you are entitled to go ahead. You say, “I work harder than Lt. Sousa has been trying to live down for years. Sousa is a any musician I know, and I work conscientiously, but I don’t well-known Portugese name; and Lt. Sousa’s father was seem to get on.” EASY fortunate enough to bring that name with him from . Of course, so long as you are entirely dependent upon New Rhymes and Tunes for Little Pianists BEGINNER'S BOOK By H. L CRAM DU Price 75 cents your own professional services, your only road to progress is A most popular book of tuneful pieces SCHOOL OF THE PIANOFORTE—Vol. One 44 songs that should be in the library of “Nine months’ hard labor in the Church Choir,” this was the for young beginners learning staff notation. by increasing your fees. But if you have IDEAS you can sentence imposed by a Pennsylvania Judge upon the ‘‘Willie Boy” Standard First Pieces By Theodore Presser Price, $1.00 Artistic Vocal Album get others to lend their services to their development. While ft 72 Easy Pieces Price 75 cents For High Voice Price $1.25 quartet which persisted in disturbing the peace on the street cor¬ One of the beat compilations of easy you are helping others you can be getting ahead yourself. Hun¬ teaching pieces. A wealth of melodious I Used Man ExtcnsUxly Than Any Other Elementary Instruction Book ] A splendid collection of songs for recital ners. In some choirs we have known, such a sentence would numbers. or diversion. Good songs by recognized dreds of enterprising men and women have done this for their have been a real disaster. The simplicity of this work has MEDIUM Artistic Vocal Album own good, the good of their associates and the good of the Piano Players’ Repertoire For Low Voice Price $1.25 id! ■ally a "First Reader” community. Ideas in Books; Ideas in Teaching Methods; Ideas Organization and Recognition adapted for.low voice. in Conservatories; Ideas Everywhere. God bless the men and That organization compels recognition is an axiom as old fc: Popular Parlor Album Standard Song Treasury the women with ideas and the practical ability to carry them 23 Piane Pieces Price 75 cents 48 Medium Voice Songs Price 75 cents as the world. In music it has worked wonders. We refer, here, iff A volume that sells on merit. The out. He is the “meal-ticket” (what an indispensable colloquial¬ Church and Home Collection of Sacred Songs almost entirely to the organizations established primarily for High Voice, Price $1.00. Low Voice. 5/00 ism, “Meal-ticket”!) for many, many others. The ideas of DIFFICULT the good of the art and not for mercenary aims. As a matter Seven Songs from Way Down South Edison, Dickens, Chopin, Carnegie, Franklin, have been the Standard Advanced Album By ULY STRICKLAND Price $1.25 of fact the practical results of such organizations are so much 23 Piano Pieces Price 75 cents STANDARD GRADED basis for the fortunes of literally millions of people. Very satisfying to accomplished pianists. Artisti sou then more certain t

An Optimistic Outlook Laughing at Disappointments Wk have just made a little survey of musma ’Jiis If you, as a music student or as a music teacher, expect to they are likely to be, during the com » . , jion that has to win success without trouble, disappointment, discourage¬ editorial i, written in ltr0B(t ments, set-backs and “hard luck” (so-called) you arc picturing come to us indicates that next y ^his j been a kind of phenomenon of Providence which rarely appears m year for music. One of the over the real life. the extraordinary number of booking prinle(l with The trick is to learn to laugh at disappointments. * country. Evidently the local manager . P nee(] for There are heart-breaking moments in the careers of almost splendid optimism and confidence in w-S P enonnous every musician who lias ever climbed to Elysian heights. These music. Another strong force has been the realJ The crises are easily explained. The average person does so little publicity for music brought forth during he last spnpg■ of any moment in life that comparatively few things happen public now might be called “music-mmued. 1^ccepfc to him. The worker who is pushing onward and upward every as one of the real needs, feeding the mind and the soul as day at ten times the tempo of the ordinary man naturally bread and meat feed the body. , nrnfes- encounters adventures which continually bring him into tight, With this in view, those of our readers who are profes positions. sionals may make plans with the greatest possible ^dJce; The singer who has never aspired to be a prima donna Moreover, those who plan in such a manner need kave htt e feai is not going to be chagrined if she does not become one. It of anything but success. The negative workers, he people who is the doer who encounters the little accidents of destiny which are deliberate millstones around the necks of the enthusia , bring the thing which some people call “trouble.” must expect to step down—alas, they only too o ei 0 Fortune Gallo, the director of the highly successful San others with them. Carlo Opera Company, which he created out of original re¬ sources which would have baffled any ordinary man, says that GREAT. GATHERING THIRTIETH ANNIVERSARY BANQUET OF the secret of his triumph is that he never has any “trouble,” Musical sarcasm did not die with Rossim. A young com¬ GROUP PHOTOGRAPH SHOWING ABOUT TWO-THIRDS OF that is, he refuses to regard ordinary disasters as trouble, but poser recently approached a European master with the request The President then in¬ as interesting life problems to solve, the very puzzling out of for a criticism upon his manuscripts. “My dear young man MUSIC and the pro¬ troduced to the audience fession of music the thing being a most absorbing and entertaining work. said the master, “your zvorks will be known all over the zvot la, A Momentous Musical Anniversary several distinguished vis- teaching in Amer¬ Not until you have learned how to discount your disap¬ when the works of Beethoven, Chapin and Brahms are for¬ P. M. T. A. Celebrates Thirtieth Anniversary of the Inauguration of a Movement who had come from ica have received distant cities. These in¬ pointments and discouragements in music can you possibly hope gotten.” Which Has Become Country Wide mense impulse through the cluded Miss E. P. Van to soar to success. organization of associations EMINENT MEN AND WOMEN PARTICIPATE IN NOTABLE GATHERING Voorhis, former Vice- Music, of all the arts, seems to be crowded with the most of music teachers in various President of the New Cultivating Your Ideas cities of the country. Those Solicitor General James M. Beck, Hon. Henry Van Dyke, Lt. Com. John Philip Sousa, Mayor disheartening, dispiriting, dejecting and depressing “accidents,” J. Hampton Moore, Mrs. Florence Earle Coates, and Dr. Eugene Noble York State Music Teach¬ Musicians, amateur as well as professional, often retard pioneers, who inaugurated IF you insist upon looking upon them as such, instead of deals Jose! Lhevinne Receives Ovation ers’ Association; Mr. Was- their own progress by trying to do too much. Have your ever such associations in former sili Leps, Miss Kate Chit¬ in the most fascinating of games. years, had the vision to see seen a man working a garden just a little bit bigger than a one- the Hugh A. Clarke Scholarship Fund, describing the tenden, Mr. N. De Vore, and many others. If you are down in the dumps and everything is going to that, if the art of music was to be identified as a profes¬ Scholarship raised through the Philadelphia Music man garden ought to be? He fights the weeds valiantly, sion, teacher organizations would unquestionably com¬ An Address by the Mayor the “eternal demnition bow-wows” read the following para¬ Teachers’ Association, to be '. nown as the Hugh A. struggles with the cultivator and battles with the insect enemies, mand respect and admiration of the public. Some have This was followed by an address by the Mayor of graphs which appeared recently in the American Legion Clarke Scholarship at the University of Pennsylvania. In the end he has not quite so much to show for all his fortunately lived to witness, at this time, results from Philadelphia, Hon. J. Hampton Moore, which was in Weekly: their initial struggles which are far beyond their most Dr. Warren P. Laird, Dean of the new School of Fine work as if he had taken just a little less ground and done it all Arts at the University, received the Scholarship with a part: When Abraham Lincoln was a young man he ran for the extravagant dreams. “I am honored, as the Mayor of Philadelphia, to be just a trifle better. gracious speech. At the conclusion the President noted Legislature of , and was defeated. Only a comparatively few years ago the music teacher seated an the same board with men and women of the Ibanez, the most discussed writing man in the world had very slight professional standing in the community. that the generosity of the donors had been such that the He next entered^ business, failed, and was seventeen years Scholarship Fund was over-subscribed and it thereby type of these. They have made much for good citizen¬ today, is proving a master of contemporary humanistic phil¬ With the exception of a few better known teachers in ship in the land. If the Mayor were not so intensely paying his debts. became possible to present Dr. Clarke in person with osophy as well as being a fine creator of fiction. Some time colleges and a few who were fortunate enough to boast practical in these days, compelled to meet adversaries He was engaged to a beautiful young woman—she died. studios in the great cities, music teachers were looked a sizeable “love tribute.” Dr. Clarke, who is just com¬ ago in the New York Times he endeavored to point out why pleting his forty-sixth year with the University, was upon every turn of the tide, wondering sometimes Entering politics again, he ran for Congress, and was upon with very little more regard than house to house whether in his efforts to keep his pledges to the people, many authors with a wealth of ideas failed in material success present and responded with a few heartfelt remarks. again defeated. canvassers. Now gatherings of teachers compel as much he still has the support of those who urged him on— while business men with a paucity of ideas succeeded. The fol¬ consideration as those of lawyers, doctors, bankers and he would like to discuss music. But there is still round He then tried to get an appointment in the United States A Poetic Overture lowing may help many professional musicians to find some of the merchants. about in a great city like this so much that tends to Land Office, but failed. The first address of the evening was made by the reasons why they are not more successful. Through such organizations, through recognition com¬ distract, so much that tends to disrupt, that one may He became a candidate for the United States Senate, and ing through colleges and Universities, through innumer¬ well-known poet, Mrs. Florence Earle Coates, con¬ wish to be musical and in harmony, and in step, without “The imagination of the business man is of limited scope cluding with an original poem, written for the occasion: was badly beaten. able clubs and through the ever-expanding daily press always realizing the wish. and its distinctive trait is persistence. It reminds one of the He ran for vice-president and was once more defeated. and musical periodicals, music is now identified as a “Mr. Chairman, Ladies and Gentlemen: I can but feel heavy artillery pieces which fire a few shots only, but good calling of high importance. it an especial privilege to be here this evening with all A lover of music, one who appreciates its value and sig¬ When you think of your hard luck„thlnk of Lincoln. nificance, he sometimes feels as a public administrator when ones; or of the ancient battering ram, which beat and beat upon The Philadelphia Music Teachers’ Association is the these many honored representatives of the universal oldest and the largest of such organizations in America art, the art which requires no translator—best beloved by others may be discouraged, that there is music in the fury the stone in front of it till it knocked a hole through the wall. of the gale; and so on, in the course of a busy life, when The Running Start and possibly in the world; although the national and men—the art which most closely unites men of alien the opportunity comes, he sometimes wishes for the op¬ In writers the imagination works more like a rapid fire gun state organizations are still older. At the recent banquet lands and interests. In thinking of this art to which all portunity to mingle with those who love music, who orig¬ The average student wastes days, often weeks, in getting which covers a lot of ground but with little damage to the land¬ given in Philadelphia, to celebrate the Thirtieth • Anni¬ the early years of my life were devoted, an art which inate music, who love harmony, and who live and preach started in the Fall work. He complains that he has the vacation harmony. What a text it would be for a Beck or a Sousa, scape. The literary man is always and easily passing from versary of the formation of the P. M. T. A., over five I have always greatly loved, many thoughts crowd upon or for any one of these distinguished creators at this table, spirit and that it is a little too hot for music lessons. His ideal plan to plan, hardly finding one good idea before he leaves it hundred were seated at the tables in the large and beauti¬ the mind. But with so many distinguished speakers pres¬ to leave all else beside and discuss the effect of harmony fully decorated ballroom of the Bellevue-Stratford Hotel ent, I feel that I can say nothing so eloquent as the upon our civic life. In the home-life, we know what it of good weather for music is evidently a blizzard. for another that he thinks better. The writer gets his ideas means—the daughter, the son, musically inclined, the resort Have you ever seen runners at an exciting race with every (May 24th, 1921). silence which will give us an opportunity to listen to to the musical instrument, to song, the enlivening influence much more rapidly than the man of affairs; but he never realizes The evening opened with the reading of a letter from them; so with this word and one more, I shall take my of it all, the beneficent influence of it all, we understand in muscle of the body ready to make the start over the line ? Every any of them. The captain of finance or industry may not have 'President Warren G. Harding, by Mayor Moore. The place again. the home. But if we could teach it a little more in the nerve, 'every drop of blood is filled with eagerness. This is public life and have a little more of the spirit of the had more than one or two great inspirations his whole life long letter is presented herewith. musician and of a music teacher injected into our public properly the attitude for every worth-while student at the DREAM THE GREAT DREAM but one of them at least he has made to square with reality.” Then the chairman requested Dr. Eugene Noble, Secre¬ affairs, how different it would be in the economical and in beginning of the Fall season. The best work is always done tary of the Juilliard Foundation, to read the following Dream the Great Dream, though you should dream— the political sense.” If Ibanez had written this exclusively for many musicians after a rest. Don’t wait to “warm up;” get a running start in telegram from Mr. and Mrs. Thomas A. Edison, who you, only, we know it could not have been written better. Most musicians had accepted an invitation to attend the dinner: And friendless follow in the lofty quest. Mrs. Virginia Peck Fahnestock, a former President the first days of the season. of the P. M. T. A., then gave a brief account of the lack persistence. It takes an enormous amount of tagging James Francis Cooke, Though the dream lead you to a desert lonely. Let us suppose that the teacher has suggested that you early struggles of the organization to gain recognition after things to accomplish very much in these days. Some o^ Will you kindly express to our friends tonight the Or drive you, like the tempest, without rest, practice so much time, on scales, so much time on Czerny, so sincere regret I feel in being prevented from partici¬ and sustain its ideals. the special features in The Etude have been, for instance, the Yet, toiling upward to the highest altar. much time on your graded course and your pieces. If it is pating in the enjoyment of the evening with lovers of There lay before the gods your gift supreme,— The President then introduced to the audience several result of years of unremitting effort. One article in particular of the distinguished Philadelphians present, including in possible double that amount of time during early September and music? It is a great disappointment to me. May your A human heart whose courage did not falter took four years of correspondence before it could be procured. evening be a happy one. It ought to be when a lot of Though distant as Arcturus shone the Gleam. the number Dr. Hollis Dann, newly appointed Director October and we can promise you that your whole year will be of Music for the State of Pennsylvania; Mrs. Frances First, know that your idea is a good one, whether it be the music lovers are together. Thomas A. Edison. at least twenty-five per cent better. E. Clarke, Director of the Educational Department of theme for a new musical composition or an idea for expanding The Gleam?—Ah, question not if others see it, The Hugh A. Clarke Testimonial Scholarship Who nor the yearning nor the passion share; the Victor Talking Machine Company and former Presi¬ your teaching business. Then know that the time, the soil £ To those of our readers whose issues have been delayed by These communications were received with enthusiasm. Grieve not if children of the earth decree it— dent of the P. M. T. A.; Mr. John Luther Long, author right—then stick to that idea until you have harvested all the wide-spread strike of the printing industry we offer our* Mr. James Francis Cooke, Editor of The Etude, the The earth, itself,—their goddess, only fair! of Mme. Butterfly; Mr. Edward Albion, of the Wash¬ the fruit that it will bear. ington Opera Association; Miss Elizabeth Hood Latta, ' sincere thanks for their patience and indulgence. President of the P. M. T. A. for nine years, then called The soul has need of prophet and redeemer: upon Mr. Charlton L. Murphy, President of the Musical Her outstretched wings against her prisoning bars, President of the State Federation of Musical Clubs, com¬ Alumni of the University of Pennsylvania, to read a She waits for truth: and truth is ztrith the dreamer,— menting at the same time upon the fact that the audi¬ letter from Miss Anna Colesbury Barrow, Chairman of Persistent as the myriad light of stars! ence looked like a Who’s Who in many respects. - ^ THE ETUDE AUGUST 1921 Page 497 THE ETUDE , arnresses the noblest aspirations of the Pagef» 496 AUGUST 1921 , t j “It Is music that expre the finai content of the spirit We hear until those notes that gladdened mortal days, n ul and represent ^ splrit is capable. I can em- Dr. Van Dyke’s Notable Address Breakeart on methe coasicoast ojof nylight™ in ■endless>»»»- -v--hymn o^nuse.f.* , otman Analogy when I remmdjou that Madame Curias Following this, the Hon. Henry Van Dyke, best known —(From the “Ode to Music,” by H. Van Dyke.) an honored guest or mis j finds & reBldunj 0f a very of present day essayists and former Minister to Holland, Dave she ell. rad, addressed the audience and was received with cheers, An Oration by the Hon. James M. Beck laughter and applause. His inspiring remarks follow: 2S -SesfheM : Following this, the Hon. James M. Beck, Solicitor , sends8 theout spirit®®^?tln world,^frld“ UallalTthe“flnest th“ «"«<>* "thoughtsthouch and as! The Greatest Thing in Technic “There are three points of view from which music may analogy in the epuit or u ^ thelr final anaiysis to General of the United States, whose father was tor be regardedFirst, from the point of view of the com¬ find‘the^ltlmate^content^ln the music which expresses, by a many years a leading music teacher of Philadelphia, of the human soul. poser. There it is, I suppose, more or less of a science— fifth sense, the very deepest aspirations delivered the following memorable address, a singular y Dr. William Mason’s Vast Technical Vision not altogether, but still it is so. Then, from the point beautiful oration on music, which many Etude readers “Certainly music outlives in its emotional impressions of view of the performer. There it is not exclusively, may use in part for recitation at club meetings or any other form of art. It outlives the spoken word; ’ His Famous Two-Finger Exercises in Their Relation to the So-called “Modern” with you, predominately an art. Then, from the point of >t only the view of the listener. Then if it be good music, it is a recitals: expresses as the spoken word cannot express, r Relaxation and Weight Playing pure joy and a joy forever. Now, I come to the last “The pleasure of participating in on| of these ^Aspirations and the deepest emotions of an indi¬ class—the class of those who can listen to music with occasions has been a long deferred one. For the vidual but even the deepest emotions and aspirations of four or five years, you have been gracious enough to ask ,e Think for 0ne moment of any great By PERLEE V. JERVIS the most keen and enduring delight. Perhaps, I should me to be one of your guests, and on each occasion 1 was , , m0(jern history, and you will find that the get something more out of it if I understood the technic prevented from doing so. As the Chairman suggested, ep ^ ^ r£membered of that chapter of history of it; and yet, perhaps, on the other hand, the appeal to emotion may be less direct, less simple, in a way, less it is in a sense a filial sentiment that bade me come here « represent some great elemental upheaval of A LETTER FROM AN ETUDE READER tonight for, as he said, my father was for thirty-five represented by one song that is remem- moving than it is—I do not know. I only know that I “Dear Mr. Jervis: feel the difference between music and that form of years a music teach* in this city. He durmgtot j“ else" is forgotten. “I have been using the Mason Two-finger Exercises for a number of years, but hear so much pseudo-music which I may call “English sparrow” music, : word because it has no rhythm, nor melody, nor harmony, but the thirty-five years, if I may pause to say just o ' history __ the Reformation. I suppose that about Relaxation and Weight Playing that I wonder if the Mason principles are obsolete. Are just is an infernal noise. during'the Reformation there were thousands they in accord with the piano playing of to-day? I have learned the Mason exercises without the of speeches made, and yet of all the printed help of a teacher and should be very grateful if you could help me through the columns of The 1, the other day, to find a definition HITE HOUSE of ‘jazz/ which'hasv--ived received Borne opprobrium and matter and of all the speeches that wre made Etude. J. W. K.” events considerable publicity. by countless orators, both clergy and lay, all are I was misquotedm_ _ speaking of ‘Jazz’ music— mere is no such thing. There is music and there forgotten; and yet—“Ein Feste Berg 1st Unser is ‘Jazz.’ There is syncopated time in good music of course, but that is not ‘Jazz.’ I have said that Gott” remains as the spirit of a great portion of ‘Jazz’ was invented by demons for the torment or Christendom, in representing the spirit that lay The underlying principles of Dr. Mason’s Two-finger tributed a bit in the way of a technical system. Many ity and the production of a beautiful tone and subtlety imbeciles, but I did not mean that ‘Jazz’ was a modern invention. I refreshed my memory before behind that mighty movement that has so Exercises are as vital and up-to-date now as they were cf these methods disagree, nearly all of them neglect the of expression are rendered impossible. Relaxation means I left my home. I found it in Plutarch in a de¬ changed modern history. Or, take again, the study of the mechanism of the piano itself. that only the muscles necessary to produce the required scription of a banquet that was given in Athens by when he first formulated them. They will never become Calistratus, an Athenian gentleman of more wealth next great upheaval in human society—the obsolete because they are the foundation principles upon effect should contract, all others should be kept in re¬ than taste Plutarch says as much, and this Cal¬ pose. While this is simple in theory, it is not so easy istratus introduced a piper, name not given, who My dear Mr. Cooke: French Revolution. In that Revoluton there which all musical piano playing depends. Dr. Mason The Pianists’ Tools in practice. Hence the study of relaxation requires un¬ played effeminate and lascivious tunes, and the were counless speeches; orator after orator as¬ was fifty years or more ahead of his time, and, if any Let us look into this briefly. The pianist has some enests leaned from their seats and danced, showing To the notable gathering of musical remitting attention on the part of the player who would that music is more intoxicating than wine, to cended the Tribune and, whether it was Jacobifi really vital principles with which he was not familiar eighty or more keys which are his tools for setting the those who will only use it. Now if that was not or Girondist, or Royalist, his words faded away play easily and musically. The idea that there are “stiff” ‘Jazz,’ I do not know what ‘Jazz’ is. Plutarch people who will attend the banquet of the have been discovered since he taught, I have yet to strings into vibration and thus producing tone. As a goes on further to say, in an indisputable passage, irTthe human recollection even as the streaks of learn them. When I was studying with him, the tradi¬ good workman of any kind learns to use his tools, com¬ hands and fingers which have to be made supple by cease¬ which I commend to you to read generally because morning clouds fade into the intimate azure of less exercise practice is largely a fallacy. “Stiff wrists,” it is full of good stuff, he goes on to say that it Philadelphia Music Teachers' Association, I tional methods of that time were devoted entirely to mon sense would dictate that at the very first lesson the is worse than the intoxication of wine because it the night. Only a little fragment of one of Mira- finger training. The arm was allowed to take no part pupil should be made acquainted with his tools and “stiff fingers”—except in the case of incapacity from begins to effect the soul. would be glad to have rry greetings and beau’s orations, the greatest orator of that per in the playing and to ensure finger action from the shown how to use them. The piano key—by which is rheumatism or malformation—are the result of wrong “The wise Greeks made music a part of their felicitations extended. I feel that such riod, probably would linger in the memory of any knuckle joints, more thon one teacher obliged his pupils meant the whole mechanism from the ivory to the ham¬ or impeded muscular action; that is, action impeded by educational system. Their trivium consisted of one here present. I can remember a single sent¬ to practice with a penny, ruler, or even a wineglass mer end—is a compound lever of the first class, in which the unnecessary action of opposing muscles. grammar, logic and rhetoric; their quadrivium organizations are carrying on a work for

Page 500 AUGUST 1921 The Sustaining Pedal and What it Does to Piano Music How to Get an Engagement Williams Color Effects in Piano Playing “Singers have asked me time and again, how to get By T. D. By the Well-Known Piano Virtuoso and Teacher an engagement. The first thing is to be sure that you “ f cvressful contradiction) there is ten times as have something to sell that is really worth while. Think Numerous articles have appeared, from time to time, fear of s bad pedaling as that benefited of how many people are willing to pay to hear you sing. much mus P However, this is no argument against CECILE DE HORVATH The more that they are willing to pay, the more valuable concerning the sustaining pedal, and to add anything you are to the managers who buy your services. There¬ would be a difficult matter. In spite of this, the averag by g0°danv more than the fact that a child had smeared fore reputation, of course, is an important point to the pianist goes on as usual, spoiling his playing y ® . f bottle of ink over a parlor carpet would be against Practical Keyboard Hints for Students and Teachers proper use of one of the most important of mechanical, manager. An unknown singer can not hope to get the mine ink for writing purposes. H „ ,, , (The first section of this article appeared in THE ETUDE for July) same fee as the celebrated singer no matter how fine devices known to piano players-'Tfce Sustaining Pedal There are a thousand and one rules laid down for the voice or the art. Mr. E. Falber and Mr. Martin Beck, The best way to demonstrate a fact is by exPer™ ’ ,and to any one of them you can find nearly as who have been responsible for a great many of the en¬ so we shall adopt that method to impress upon the mm els pedali K- A wfcll-trained ear is the best guide. gagements of great artists in vaudeville and who are of the many who shall read this article what bad pedaling nTou have Hot a trained ear you had better set about finger tip, which is instantly removed with lightning you ever heard pianists who made an enormous racket great believers in fine music in vaudeville, have, through does to piano music. In practice a splendid way to develop quality in your in a small room, whose playing nearly deafened you If you will remove the upper front panel from your acquiring one, because that is the basis of all musicianship. rapidity. Thus the motion comes after instead of before. their high position in business, helped hundreds. But One thing is certain, however: the sympathetic vibra¬ running passage work is never to leave a note until you there, and have you noticed how far from big their they can not help anyone who has nothing to sell. upright piano you will be able to observe the top sec l have heard the full vibration. Listen intently to each As for the singing tone, of course, flat, straight fingers of the strings, together with the hammers, dampers an tions which accompany one tone will notsoundwel1 with are used, but there is never any feeling of flabbiness. playing sounded in a large concert hall? It may be “The home office of the big vaudeville exchange is at - hnth tones sound well together. For sound you make, no matter how well you know the noisy, but it is never big. Forty-seventh and Broadway; and it is one of the busiest many other parts of the action. After you have done passage. Practice the right hand and left hand sepa¬ Always weight and balance from the shoulders. Even example,' sing, with pedal down, C, E, F, G, A, in quick places in the great city. Even at that, it has always this seat yourself in front of the strings and sing, while rately, and very slowly. This separate practice allows in pianissimo singing tone, the arm hangs loosely from succession, stopping instantly to hear the reverberations Strength and Command been a mystery to me just how the thousands of numbers holding down the pedal, C, E, G and C in Qmck suc¬ you to give concentrated attention to the quality of each the' shoulder. Gabrilowitsch would say: from the piano strings. These are thetones which com¬ are arranged so that there will be as little loss as possible cession. stopping the voice instantly, jfou wi note, and also develops absolute independence of hands. “Play as you breathe.” “Phrase it as a singer would.” In order to produce a beautiful big sonorous tone, prise the Tonic and Sub-Dominant Chords and it will for the performers; for it must be remembered that the that all the tones you have made will be repeated on the It is also a splendid thing to memorize each hand sepa¬ “Do not play on the keys of the piano, play on the always luscious, fully and resonant, one must develop vaudeville artists buy their own stage clothes and scenery, piano, together with a hundred or more other ones, which give you a faint idea of how they will sound on the piano rately. It is almost impossible to forget pieces memor¬ strings of the piano.” strength and perfect command of the muscles of the attend to their transportation and pay all their own ex¬ we will not occupy space to explain. Were you o con- arms, hands, shoulders and fingers and absolute muscu¬ W By fhis toe you vvflf probably be convinced that scale ized in this way. penses ; unless they can afford the luxury of a personal tinue singing, the piano would reverberate every tone you The weight should flow freely from back of the lar independence also. A pianist cannot acquire any passages, as a rule, do not sound well with the pedal held t not play merely for the people in the parquet, manager who knows how to do these things just a little made, thereby adding resonance and beauty to your V°J' shoulders to the tips of the fingers. There should n the topmost gallery, who have payed 50 cents great variety of coloring without this complete muscular It is this quality in a violin which determines whether down! although in the preceding example you have been , are just as well entitled to the full benefit control. better. be no consciousness of wrist, forearm or joints. All lie ; and you mqet learn how to play for them “The singer looking for an engagement must m some it is worth five or five thousand dollars. Nearly every given only a portion of the scale. . playing should come from the shoulders, including ex¬ A splendid way to develop strength in the fingers is to way do something to gain some kind of recognition. instrument produces a certain amount of these vibrations ^Continue experimenting with the voice in tins manner, treme pianissimo effects, and the fingertips should be Sometimes he would say: “That wouldn’t carry beyond the first six rows!” practice on a seat so low that it brings the arm below the Perhaps it may come from the fact that the manager of but I believe the piano produces more of them on accoun and also play some of your “pet’ numbers, in winch you sensitized to an extraordinary degree. Each note of a level of the keyboard : the fingers very much curved and of its having so many free strings to vibrate, this is He always had the audience in mind, and he never allowed the local theater in her town has heard her sing, or some usually keep time with the right foot, which, unfortun¬ running oassage should sound like a clear cut diamond us to forget it. all the knuckles very high. The wrist is extremely low, in why the sustaining pedal on a piano is so important. order that the fingers may be without its extra aid and well-known singer is interested in her and is willing to ately, sometimes happens to be on the sustaining pedal. shines. The keys are never struck but pressed by the Of course there is no set way of playing the piano, just If we strike a certain key and hold it down several ns there is no set form of interpretation, the individuality reenforeement which would be the case were the wrist held write a letter of introduction to someone influential m The front of the piano being open, will give you some finger tips. Right here I wish to say that clarity in play¬ high. The finger tips are firmly balanced upon the keys, beats, we produce a long tone, but it has no extra vibra¬ of the pupil” hand Tis^a matterjof^prime importance. headquarters. With the enormous demands made upon of the "Grand Orchestral Effects" ( ?) .which usually ac¬ ing does not at all necessarily mean quality. Runs can perfectly safe the arm loose from the shoulders. The whole effect is that tions (outside of itself) to give it beauty and resonance the simple guides thnical details of a skirt hanging from a nail The weight of the shoulder the time of the ‘powers that be,’ it is hardly fair to company indiscriminate pedaling. sound like strings of sparkling jewels, and they can also for anyone to follow, u ... -■*<- — runs directly to the finger tips and in constantly support¬ But suppose immediately after we strike the key we press of piano playing that each pupil has t treated dilTer- expect them to hear anyone and everyone. With such The writer has no intention of underestimating, before sound like strings of hard pebbles. That is the difference. ing so much weight, the fingers become very strong. In down the pedal? The result will be that we have a ently, and according to the hand. A nuiau „u.,u “““ playing the hands should be either on a level or slightly a letter or such an introduction, arrange for an audition intelligent musicians, the value of the sustaining pedal. It is well in practicing runs to use a variety of color ef¬ stretch out the fingers in certain passages to a degree that multiplicity of “overtone vibrations sounding along with would shock a mere stickler for rules. But that is the only above the keyboard in order to give one a position of at the headquarters in New York. Remember all the It is indispensable to tone production; but while this is fects. Legato, staccato, diminuendo, crescendo, and all command, and consequently the seat must be correspondingly the tone we have made. This is what makes some pianos possible way for such a hand, and as long as the playing time that if you have anything really worth while to sell true we must remember it makes a piano smg, and also shades and gradations of tone between fortissimo and sounds as though the fingers were curved it doesn’t matter. higher. the managers are just as anxious to hear you as you are “sinq” and others “groan.” , , , that’it can make a piano sing several different tunes at On the contrary, the pianist with very long fingers When you have acquired requisite strength, never force pianissimo. : . _t of the time. Other it or abuse it. Do not give the impression that you are to be heard. There is no occasion for nervousness. So much for the pedal when properly managed, but the same time, which is anything but desirable. Use it keep them extremely eurved^ir ‘ using all the strength you have. There should be no ap- they would be^ir_ ..._ e way. Both large and small hands “Sometimes the managers are badly mistaken. It is there is another side to the pedal question which, on ac¬ freely, but be sure before doing so that your piano is not before, should play melodies —-*'perfectly arance of effort. There is something exhilerating in the common gossip that a very celebrated opera singer sought count of its disastrous results, is more important. More straight flaf fingers,' in“oHLer *to "produceA mellowr luciou's acquisition of unusual strength and a great temptation to singing one tune while you are trying to play another. or me enoumem. xuv .. hangs “absolutely relax show it off constantly. This, however, is in just as bad a vaudeville engagement and was turned down because important because (I believe I am safe in saying, without Thev never play merely with the forearm. Also the band taste as the constant desire of the newly rich to splurge. of the lack of the musical experience of the manager, is kept very quV ”.hands A too constant use of the fortissimo is ineffective and ex¬ and because she was unknown. If he wanted her to-day and fingers. Wh A very light, agile wrist will give great size to a tiny cessively monotonous, and of course it means insufficient The Pianist’s Vitality hand, by admitting stretches and jumps with the same variety of tone coloring. Have you ever witnessed a sham his figure would have to be several thousand dollars a . t0imhave spoken particularly of brilliant quality. It is battle at a military academy? The noise of the first gun week. eaually difficult to attain exquisite quality in the mfimtes- facility as that attained by the large hands. The only is very exciting. However your ears soon become deadened By George Henry Howard inial shadings between fortissimo and pianissimo. Grada¬ difference is a wee bit more motion of the wrist. The to the constant shooting, and after awhile you are simply Excellent Conditions tions of tone are produced by a greater or lesser expenai- wethy of the noise, There is no climax. Also remember ture of the shoulder weight which controls the finger tips, last movement of the Scriabine Sonata Phantasy would that your ability as an artist is gauged by your color effects the pure fruit juice—not alcohol. “The average vaudeville theater in America is far The late Charles Frohman when once asked what the and by raising and depressing the wrist. Probably the be unplayable for a small hand, on account of the im¬ and that it is ten times more difficult to drop from fortis¬ The pianist needs time to eat deliberately, for on this most difficult of all tonal effects is the pianissimo. simo to pianissimo in a very rapid passage than to play most necessary attribute of the actor should be, replied, mense intervals taken at lightning speed, unless the better for the singer, in many ways, than many of the depends good digestion. He needs sleep, regular and Have you ever heard Gabrilowitsch play a Mozar the whole passage fortissimo. Otherwise more pianists opera houses. In fact the vaudeville theaters are new; “Vitality; for without vitality everything else is nothing. in a large concert hall? Is it not the quietest wrist is extremely light and flexible, the acquisition of a would be able to do it. Refinement of style and taste is the plenty of it. Undisturbed sleep is the greatest of nerve d yet the quality of the play- while the opera houses are old, and often sadly run The pianist needs a large fund of vitality. And vitality playing you ever heard? light wrist, however, makes it perfectly easy even for the keynote of artistry and a veritable hobby of some of the tonics. He needs healthful recreation, at least one hour j fine that every note carries to the furthermost greatest critics in the world. Mr Henderson of New York, down and out of date. Possibly the finest vaudeville means brain power, nerve force, blood vigor. ing is s- j||j smallest hand. For skips and jumps, the wrist should of each day. It should be of a nature to take Ins mind : of the hall. People say in despair, “But only a for instance, considers it of the utmost importance. Mr. theater in America is in Providence, R. I., and was What are the sources of vitality? Whence shall we areat. great artist can do that !’* . . . be held high. Study your own hands and if you find Paul Ertel the famous critic, wrote desperately one absolutely away from his musical thoughts. 1 hrough 8 It is perfectly possible for any talented young pianist built by E. F. Albee. It is palatial in every aspect, built gain it? Through hygienic living. Regard for the latvs that it is easier for you to do something in an uncon¬ day in the Lokal Anzeiger: “I have had several weeks these he will sustain that abounding vitality which is so to cultivate the finest kind of quality. Of course what of solid fortissimos and am positively longing to hear just as strong and substantial as a fort, and yet as elegant as of health forms one source of capital for the pianist. cannot be learned or taught is the divine fire of the artist. ventional way, speak of it to' your teacher and ask his once a genuine pianissimo.” _ a mansion. It is much easier to sing in these modern He needs the best food, in moderate quantities. Also, he necessary to the pianist. That has to be inborn. A talented pupil, however, should or her advice about it. Gabrilowitsch was always de¬ Do you remember how effective Paderewski and bara oif fVua HrinWs—water and milk. be able to learn everything else connected with piano play¬ lighted if we could think up some individual way of Bernhardt make their climaxes? They both use the same theaters ma'de of stone and concrete than in many of ing The very fine pianissimo is produced by a minimum artistic methods. With real restraint and repose, they do the old-fashioned opera houses. Indeed some of the of arm weight: but the finger should always touch the our own of solving a technical problem. He would say: not excite you in the beginning. They hold themselves m vaudeville audiences often hear a singer at far better bottom of the key. This together with the arm weight “No teacher alone can really make any one play. He and very gradually and naturally work up to a thrilling makes the pianissimo float. climax, when they finally let themselves go with overpower¬ advantage than in the opera house. Keeping up Interest in Your Music Club can only indicate and the pupil has to collaborate in ing effect. How much more exciting that is than a constant “The singer who realizes the wonderful artistic op¬ Importance of the Thumb order to attain the best results.” use of fortissimo emotionalism which carries you nowhere and allows no climax. The fortissimo super-brilliant effects portunities provided in reaching such immense numbers By Mrs. Levi Clark No one can overestimate the importance of the thumb Some excellent pianists have runs of beautiful quality are wonderful, superb, dazzling, in their place, but should of people, who will understand that he must sing up to for producing special color effects Dazzling results and a good singing tone, but as soon as they strike a for¬ be treated cautiously. It is only the genuine climax which the larger humanity rather than thinking that he must tissimo chord you shiver! It4s like a painting where all truly astonishes and amazes and you cannot do better than While most teachers admit the value of music clubs 4. Have each member make a scrapbook and offer a can be produced by ending brilliant arpeggios, runs or follow the examples of such experienced artists and readers sing down to a mob, who will work to do better vocal the colors are beautifully harmonized with the exception to their pupils, many are inclined to shirk this part of prize for the most complete one at the end of the year. glissandos with the thumb. The thumb can be the great of human nature as Paderewski and Sara Bernhardt in • and interpretative thinking at every successive perform¬ of a great splash of crude color. The entire effect of this particular. the work on account of the necessary planning and trou¬ Attractive books can be made of heavy wrapping paper, violoncello of the hand, and, in deeply sonorous passages, ance, will lose nothing by singing in vaudeville and may beauty is spoiled of course. There may be one or two ble involved. This is really inexcusable laziness, and if laced with baby ribbon, and some musical subject pasted can produce great singing effects unequalled by that of gain an army of friends and admirers he could not pianists who have achieved greatness in spite of a hard The more we listen to our own playing the more crit¬ one will only make a beginning, he will be amply repaid on the cover. Etude covers are splendid for this, those any other finger. otherwise possibly acquire.” fortissimo, but they have become famous in spite of ical we become. We really should be more critical of both in the size of his class and in the quality of his with a round border looking best. The last part of the The little finger is also a brilliant color agent, and this fault, not because of it. It is also surprising to see our own playing than of anyone else’s. It is only then students’ work. Some of the following suggestions may evening is spent on these, cutting and pasting in pictures should be firm and strong. It should scarcely be that strides can be made. No improvement is possible if curved at all as we need all of it. In great skips across the number of pianists whose brilliant passage work A Musical Explorer prove helpful: and scraps of information about the composer for that lacks quality. With the majority, quality is entirely we arrive at a point which satisfies us. After every 1. By thoroughly organizing and by a rigid system of the keyboard, such as in the coda of the march from evening. Competition in this waxes quite exciting at confined to the softer shades. A fortissimo chord can concert appearance a young pianist should be chiefly fines, more interest is kept up, and the teacher is re¬ the Schumann Phantasy, the little finger should resound By Aldo Bellini times, and old Etudes are begged from everywhere to really be just as beautiful in sound as the most delicate concerned in improving his playing to such an extent that lieved of all the routine work. Fines for tardiness, furnish material. This is the logical moment to secure with great brilliancy and clarity. The little finger is his next concert appearance will be still better. A.bove also one of the loveliest soprano singers of the hand; singing tone. It may have limitless depth. Gabrilowitsch absence, disorderliness, and being behind it* work, can seventeen subscriptions to The Etude, and receive all don’t listen to your friends and personal admirers. When Sir Francis Drake fitted out his expedition and in cantalena passages played on its cushion should be says that “the piano will treat you just as you treat it, all be used to good advantage. The money can be saved Grove’s Dictionary as a premium. This can then lie Too much praise can be a deadly poison. Gabrilowitsch which was to encircle the globe, in 1577, among the soft and velvety. Every finger should be both hard if you strike or hit the piano it ..will hit you back.” to help take the club in a body to some fine concert, donated to the High School Library and be available to never ceased to warn us against our friends. We crew of his little ship, he made room for several mu¬ and soft—that is, the tips should be so firm that you Pounding, banging, striking, all this, produces bad colors, even if in a neighboring city. every one, incidentally promoting a good feeling between should all be our own most severe critics. But some sicians. In the style of the aristocracy of the time, the could not break the joints, and the cushions like velvet. bad quality. It not only gives a bad impression of effort, 2. Meet from house to house, alphabetically, thus get¬ the club and the school. At the close of the meeting, the good pianists are still unconscious of quality. One of doughty explorer always had music while at table. In A very beautiful color effect is produced by a perfect but also has the unfortunate effect of not carrying well ting better acquainted with pupils’ home conditions, and two with the lowest grades in their music during the the best known among the younger pianists was se¬ his diary, a Spanish officer, a prisoner on the vessel, staccato. An exquisitely clear pianissimo staccato can in a concert hall. When you strike a chord the vibration keeping up the children’s interest. With refreshments week, are the victims delegated to clean up the litter, verely criticizing a great artist’s performance of a tells how “The Dragon” (as Drake was known in that create more enthusiasm than the most brilliant exhibi¬ stops instantly; and whatever sound does reach the country) “always dined and supped to the music of viols.’ limited to candy, pop-corn, or apples, parents are always and sometimes even capture the vacuum cleaner in their Brahm’s Rhapsody because he had struck some wrong tion of fireworks; inasmuch as it is much more rarely audience is unpleasantly noisy. The hand should be on Wherever they landed, the music of Drake and his glad to take their turn. efforts to leave everything spotless. notes in. his temperamental ardor. “Why, I can play it a heard, and possesses a unique charm. There is nothing or near the chord and the arm should be perfectly loose men was always a source of great wonder and amuse¬ 3. The first part of, the evening should consist of a 5. One nice party at the close of the year can be great deal better!” he said, and sat down to show me. so ravishing as a staccato possessing quality. On the at the time. The weight should come from the muscles ment to the native savages. In his story of the voyage, short, well-prepared musical program, and provides a enjoyed, but the regular meetings should never become He never really listened to his own playing and there other hands there is nothing so sharp and rasping as a back of the shoulders. After the chord is played the the chaplain of the crew tells how a king with his coun¬ stimulus for thorough preparation of solos. This is social events, or the teacher will have more grief than was no real quality in his performance, although it was staccato produced by striking the keys. If you never hand is instantly removed so that the vibration can cil came out in a canoe to meet them. He was so splendid training for future public appearances, as the profit therefrom. Young people enjoy getting together a perfection of technical accuracy. To him technical strike the keys or throw your fingers, your tone will cary that kind of chord playing produces twice as charmed with the music that he asked that the mu¬ worst cases of nervousness usually improve after a few about as much for work as for plav. and there is no accuracy constituted the principal virtu© in piano play- never be disagreeable. The key is simply pressed by the much volume, and the sound is always beautiful. Have sicians might ride in his canoe and, while it was towed times. This means much of the student’s later enjoy¬ reason why a music club cannot be pleasant and profit¬ along, he was “in a musical paradise.” ment in his work. able for all. Try it! THE ETUDE AUGUST 1921■ Page 50S THE ETUDE Page 502 AUGUST 1921 Bad Manners at Concerts ing. Of course, it could not be compared with the Don’ts for Scale Playing great artist’s vibrant performance. Since this young By H. Shilffarth Straub pianist has not even trained his ears to detect superior By Maude H. Wimpenny quality in a great artist’s playing, he has consequently A southern journal, discussing remarks of Dr. Muck, Don’t slight the Scale of C. It sums up most of the stopped that far short of being an artist himself. You shout our American audiences, said in conclusion, “Those difficulties of scale playing. Keep it' as your guide, an will note, by way of parenthesis, that I am using the foreigners'should simply get used to American audi¬ master it thoroughly. The first essential of sea ences” Well, might we not also expect teachers to get word artists in its highest sense. mastery is that the ears be trained to recognize the in¬ accustomed to the pranks of boys, rather than that the tervals so that, they will: detect any false notes. W1U1 Something New in Music Temperament Unprecedented Competition this done, the meaning and theory of the Major Sea e boys should learn decent manners? What a rude shock it must be to the sensitive nerves In these days of unprecedented competition in the pian- are easily taught. A quick way to teach the Major of interpreting artists, when suddenly the performance istic world, it is absolutely necessary for a pianist to ex¬ Scales is to train the pupil, when ascending, to use two and Musical Understanding is disturbed by slaming of doors, loud talking, laughing cel in the art of tone coloring and to discover as many whole-steps then a half-step; then use three whole steps new sounds as he possibly can, that field is open to every¬ followed by a half-step. In descending, have the pupil or clattering of seats 1 To be sure, some people may be unavoidably late; but they should proceed to their seats one. I read a very remarkable article in the Boston use a half-step, then three whole-steps in succession; very quietly. Observation tells us, however, that late By CYRIL SCOTT transcript not long ago which dealt with this very sub¬ then another half-step followed by two whole-steps. Beginners are often inclined to place the thumb of thp comers frequently are those who have plenty of time at ject. It was called “The New Sounds,” and spoke of their command and whose tardy arrival is calculated the necessity of both pianists and singers cultivating a left hand on F at the same time that the right hand can accept without “intellectual inconvenience”; he is a mostly to attract attention. I have pointed out in a book entitled The Philosophy it, for he wants to have his cake right enough, but does greater variety of tonal effects. Nothing less than a su¬ does so. Concentration on the left hand fingering, al¬ lover of musical ease, of musical comfort; of being lowing the right hand to care for itself, usually will The writer recalls a concert at which Paderewski was of Modernism that the pre-requisite to permanence, not want the trouble of eating it. perhuman technic can astonish nowadays, when “even the Now although certain people scipff at the attitude of the pleasantly entertained, amused, but not excited, not correct this fault. The right hand through its more interrupted by a sudden commotion. A party of ladies whether in music, poetry, or painting, is the capacity to younger pianists,” according to Philip Hale, “have virtu¬ “old fogey” in music, be he professional critic or layman, thrilled, not vibrated down his spinal nerves. If he had frequent use in daily doings, acts subconsciously more in gorgeous gowns filed up to the front with all possible invent something new. And I made that statement not lived long ago he would have liked Mozart, but con¬ osity which alone would have brought them fame and who either expresses himself verbally to his friends or readily then the left one. ostenation. The ushers noisily performed their duties; as a dogmatic assertion but merely because history has demned Beethoven; if he had lived a half a century fortune thirty years ago,” and even in the case of a journalistically to his readers; yet these people forget Don’t be discouraged if the left hand lags. Over¬ while the late comers talked, scrutinized the audience proven it to be a fact. However obvious a classical later he would have liked Beethoven, but condemned superhuman technic, that alone would not carry a pian¬ that most criticisms and most understanding of an art¬ coming this is but another trophy at your belt. When and took much time in reaching their seats. Meanwhile, master, be he Mozart or Beethoven, or any other great Wagner, and so on and so forth. ist far. Every good pianist has technic nowadays; and it work is entirely based on tradition. Thus, the listener tempted to be impatient, consider that all well-directed Paderewski had left the instrument, and a painful expres¬ artist we may mention who has lived across the years, Thus we may safely say the reason why the worthy is simply taken for granted. Mechanical dexterity is the first asks himself on hearing a work, “How does this effort brings its own reward. No finger ever is skip¬ sion on his delicate features, he had stepped to the front of when we come to compare him with his predecessors musical burgher fails to understand the new is simply most common possession of a pianist. The piano play¬ ped in a scale. Always they are used in regular order. the stage. There he stood with folded arms, watching we find he must have in his own time sounded new, even tally with what I have heard before? How does this resemble the classics?” or, if he be a progressive gentle¬ because of his temperament—and nothing more and ing machines can surpass any human being in mere me¬ The thumb must pass over or under others, but this is the episode in the audience. Of course, the party could to a perplexingly marked degree. Nor can we fail to nothing less than this. And if he be of a critical turn chanical dexterity. Concert audiences want to hear some¬ not skipping as going from 2 to 4 would be. not but notice the amused looks of most of the people obtain proof of this if we read contemporary criticisms man, “the comparatively modern?” But as almost goes without saying (and unfortunately for the critical lis¬ of mind, he justifies (or attempts to do so) his tem¬ thing that they cannot buy in the form of piano-player Don’t fail to master the scale of B-flat. No other and that they had made themselves. ridiculously con¬ on his works. perament by comparison—and failing to find any records. The only possible chance for a pianist to win major scale seems so liable to “trick” the fingers into a spicuous. A few extracts from the biographies of musical com¬ tener) the business of the true genius is to make com¬ parison with previous artists well nigh impossible, and reasonable comparison, condemns, and in so doing is recognition in these days is for him to delve into the wrong position. Notice how the third and fourth fing¬ It would be unjust to suppose that those who come posers will in fact serve to strengthen my point. And merely following the very common procedure which at best, most certainly odious. ' less developed regions and acquire a distinctive individu¬ ers of the two hands alternate on the B-flat and E-flat, late or leave early comprise the larger pari of musical we may begin with J. S. Bach and exhume an opinion every psycho-analyst is familiar with—known, unless The true musical genius does not compose—he invents; ality of coloring and mood. You must stand out in some and the fingering soon will be sure. audiences. No; decidedly, no 1 It is just a bold minority. expressed at the very highest period of his creative ac¬ he has nothing to do with tradition except to get rid of my memory fails me, as rationalsation. respects. To one hundred pianists who can play the Liszt Don’t fall into “Hit-or-Miss” practice, if you wish They trample on the rights of the majority, many of tivity. I allude to the year he was engaged in writing But now to scrutinize that temperament which is to¬ to become certain of your scales. Not playing, but it. For traditions are not only the enemies of progress, E Flat major concerto stunningly, how many can make whom have managed to purchase tickets m a sacrifice, his immortal work The St. Matthew Passion. It was tally the opposite of the foregones, and without which studying, brings about finished work. Heed Pader¬ but of all variety, and without variety both art and life anything artistically beautiful out of the Chopin Preludes, who are genuine lovers of music, and wh . resent the to the effect that Bach was wasting his time on one of all new of genius and original talent would find them¬ ewski’s “Scales, and scales in all varieties and in differ¬ would be boredom personified. But the shallow thinker for instance, or Schumann’s Kinder Scenen? The ideal intrusion on their legitimate enjoyment by those not those big incomprehensible works, instead, presumably, selves vetoed to the extent of never being permitted a ent rhythms are the .chief assets toward acquiring a of penning those more immediately appealing smaller is apt to associate traditions with rules, and so imagine artist should excel in both styles. It is necessary to cul¬ sensitive enough to comprehend the boorishn of their hearing at all. There does exist, in fact, a temperament good technic.” clavichord pieces which he turned out with such evident that when the composer-inventor oversteps traditions he tivate one’s imagination, one’s poetic senitiveness. The own behavior. which is bored by the obvious, the familiar and the At a Patti concert the seats in the Parterre were from ease for his pupils. I need not comment on the signifi¬ is breaking rules. If the truth be known, however, programs of most piano recitals admit of a wide variety reiterated, and which is on the search for new musical four dollars up. Would anyone suppose there exist cance of this amazing pronouncement, but will pass on there are no rules unless we adopt Bernard Shaw’s of styles, and one must be able to make each groun sensations, pursuing that search as keenly as, I might The Bug-Bear of Dotted Notes fools to pay such a price just for the privilege of to the second great composer who embroidered the his¬ phrase and say, “The golden rule is that there is no interesting. The Beethoven, Bach, and Mozart should almost say, a dog pursues rabbits. Some extremists “spooning” in the presence of a big audience? Yet tory of musical literature. This was none other than golden rule.” In music we can merely say there are be widely different from the Schumann and Chopin, and By S. M .A. conventions, but those conventions, after many years, along this particular temperamental line go so far as there was a young couple directly behind us who kept graceful, tuneful, lively, obvious Mozart. Of him we to care only for the new and modern, and are frankly the moderns should have a yet different flavor. learn that his publishers returned his manuscripts with die as natural a death as did the convention of wearing The advent of the dotted note into the life of the little on loudly chatting and laughing as if they were at home, bored by the classics. This temperament objects to regardless of disturbing everybody in their vicinity, till the query, in effect, “Can this possibly be correct? it a crinoline or elastic-side boots, or, if you will, a bustle beginner, was a bug-bear to me, until I tried the follow¬ or what not antiquated appendage. Thus, in a word, music it can assimilate too easily, or as I have said a lady turned round abruptly, giving them a lc >< k which ’ sounds so very strange”—though the exact vernacular ing plan. the man or woman who listens to new music through elsewhere, understands too well. It is a temperament they had the good sense to understand. of the day escapes my memory at the moment. On a sheet of white cardboard,. I placed two vertical the ears of either rule, convention or tradition, is left which likes to be confronted with new forms of actual As for the exodus before the last number, it is a The third master, L. van Beethoven, came in for even are not so interested in how effects are obtained as in how rows of colored notes, hopelessly at sea as the phrase goes, and if he attempts sound-coloring; it likes to be thrilled, excited, mystified the music effects them. So in your student zeal, all you habit quite insulting and disheartening to pi rforming more forcefully unflattering aspersions. His symphonies readers who aspire to a public career, do not lose sight a (red) with such ears to criticise, may the gods help him! and even dumfounded, to use our old English verb. It artists. It seems to come from a desire to avoid were described as long-winded, dull, and incompre¬ of the point of view of the public. If you cannot charm Nevertheless, what other ears has he? And so for the is in fine, this type of temperament which dislikes musi¬ and interest with your playing, all your study and acquire¬ the jam at the general exit and to reach the lirst street hensible works and extremely unfavorably compared J (blue> J • “enlightened” to scoff at him is to fail to understand cal conventions and traditions, and so welcomes all those ments will go for nought. cars. Can not such a jam be avoided by the manage¬ with the compositions of a man named Eberl, who has In regard to playing in public, one must not only enter (yellow) his difficult position. He is a lover of the familiar and innovations which the modern have brought about. It J J . ment? The mad rush generally results in over crowded long since been consigned to the waste paper basket of into the music with wrapt absorption but one must have the reiterated; and the latter appeals to him because recognizes with, I believe, rectitude that the old diatonic the ability to project one’s moods across the stage to the J' (orange) j'. cars. The last ones are always more comfortable. oblivion, so that alone the musical historian is conver¬ scale has had its day and has reached its limits ; that audience. “Putting it over,” the managers call it. Play of his temperament, and often because he is elderly. Those of an audience who truly feel the uplifting sant with his name and the public totally ignorant that should consequently...._ be.. ’__.h subjective’ ' " and' objective.' ' ‘ The J* (green) J*. He objects to taking on new musical habits; he is the key and key-signature is a limitation; that rhythmic of quality and perfect repose makes it possible power of the works presented, will gladly devote half an he was ever born. But this is not all regarding Bee¬ regularity is apt to engender tedium, and so on. Thus Colored dots in congruence were placed after the notes victim of circumstances, of pleasant bygone memories ror one to do this. After all music must primarily give hour more to another number, which may happen to be thoven; for when he completed his eighth symphony, it welcomes what Mr. Eugene Heffley, of New York, pleasure and one must play always with that object in in the second row. For example: blue half note fol¬ and perhaps sentimental associations. He likes what he the best, rather than spoil the impressions of a whole Carl Maria von Weber, on hearing the work, expressed very aptly christened the multi-rhythmic style; which lowed by yellow dot, etc. evening by rushing for doors and cars in mob-fashion. himself to the uncharitable effect that its composer was means that instead of measures being of equal time- The simple rule that the dot is of exactly the same It is a far greater achievement to play a small thing Most people, to be sure, do not wish to ap; ar rude; now fit for the lunatic asylum. As to length, they vary, and so get rid of that uniformity to value as the note of the next lower value, is then easily with truly artistic quality than to play something big in but they are often thoughtless. and the critical screams he evoked by his seemingly be found in the older masters. perceived and understood. The laborious explanation of an amateurish fashion. Your ideals cannot possibly be We must not forget that unbridled individual indepen¬ hair-raising discords—this is a matter too recent to be Of course, this type of temperament has an entirely fractional values, so difficult for the little one, is elim¬ too high. If you have once perfectly mastered every dence becomes license and often apn-oache- anarchy, a forgotten and so I need not give examples. I may, different basis for criticism from the type previously inated, and there is the advantage of constant review measure and phrase of a little thing the big things will state where everybody disregards the rights and com¬ however, call to mind that the poet Keats, (for as I described. This latter type does not ask how far its by keeping the card in sight. succumb to you in time. For you will have made yourself forts of others. Our greatest patriots, the foremost inferred the same holds good with poetry) practically admired composers subscribe to tradition, but how far died of sorrow because he was totally unappreciated master of the fine art of the piano-quality! champions of American liberty, as well as the truly great they break away from it. So soon as men of this type men of all nations, have been distinguished as gentlemen, and was deeply censored for swerving from the poetical find a composer adhering to pre-existent “rules” and Variety in Scale Practice regarding always the rights even of the poor and weak. traditions of his day. We have again in quite modern conventions they pronounce him (and again I believe time the works of Richard Strauss, Claude Debussy, rightly so) to be mediocre. Thus, in other words,'they Look Up! By Josephine A. Vellanti and others, all of which were thoroughly well “slated” are ever on the alert for the creative in contradistinction when they appeared and torn to shreds by the mangling Variety at Lessens to the imitative. Moreover they realize (if they listen By George Henry Howard After the scales are learned in their usual order, prac¬ tooth of professional criticism; thus being subjected to analytically and not purely intuitively) that to imitate ticing them thus continually is a general fault. Thus they exactly the same treatment as their illustrious prede¬ By Louise Martin a good thing is in the world of art but little better than grow to be performed thoughtlessly, thereby losing their cessors. Indeed, it has become a household word among Out of the worst slime or the most evil-smelling lo¬ to imitate a bad or indifferent thing. Hence they are finger-study value and the pleasure of scale playing. composers that to be immediately understood and im¬ not glamored as are the tradition-loving temperaments cality may grow the most beautiful bloom. Out of the Do you ever think how monotonous it must be to vour The following variations have been found invaluable mediately praised, is in reality to be dammed; for those into believing that if a composition sounds classical most discouraging, even heart-breaking, conditions in pupils to follow exactly the same routine at every les-on? to maintain interest and undivided attention: . in the past who received such immediate praise have and profound, it must be good; for the chances are it musical life may grow many noble experiences and Week after week they begin with scales or arjv-ggios, During the first’half of the week play all the scales gone the way of all flesh and been to+ally forgotten; must be mediocre. Indeed, no great composer was ever splendid achievements. Then let us realize that the hour proceed to exercises and close with pieces. Since the while those who were mercilessly condemned, live (in having an odd number of sharps or flats in the signature classical in his day—classical being merely a word which of discouraged feeling is an hour for careful, purpose¬ pieces played by beginners and intermediates do not For the second half of the week practice those having their works) to tell the tale. In fact the old Biblical becomes attached to musical compositions when the dust ful thought, planning and action. require that the fingers be warmed up by the preliminary words come back to mind in which one is told to rejoice an even number of sharps or. flats. of time has settled upon them. Classical means simply In a recently published poem John Lane Sinclair has Playing of technical exercises, why not occasionally allow when reviled for so were the old prophets before. For the first half of the second week use the scales the antithesis of novel, if we scrutinize the epithet with finely said, these pupils to begin instead of close their lessons with We are, however, not here concerned in sprinkling in regular order—one sharp, one flat, two sharps, two intellectual honesty. "Too soon it is to know the loss, or gain, tnese more melodious numbers? “moralic acid” and asking the question, “Will mankind ever flats, etc. We have penned all the foregoing in order to try and Or if thy talent has been ivisely spent; learn that when it is’ bored by a thing or fails to under¬ As a final variety, alternate even numbers of the sharps show that musical comprehension and musical criticism Though here thou seem to fail, the z>ast extent the*varvffilr Jt?* chi,dren- 50 s,i«ht a thing 35 stand it, the chances are that very thing is good ?” Rather with the odd numbers of flats, and vice versa. is not a question of brains, but of -temperament. There¬ Of long eternity may scarce contain will oCboften be of7 materiale leS.SOn help PTOgram in holding {rom interest.‘i™ t0 time we are concerned with the reason why the “worthy By following these suggestions in a short time you will fore such people as lament over the supposed stupidity The recompense of all thine earthly pain, burgher is dumfounded” and why, although he cries be surprised to find how versatile you have become in Cyril Scott of the public or the critics, might as well save their The great result of thine accomplishment.” out for originality, he groans and frets when confronted naming the keys. In addition, you will have advanced lamentations for other causes. Furthermore, those who "Music is therewith. Nay, he even resembles the antithesis to Composer, Thinker. Pianist, Philosopher, Mystic—most Then wait, earnest teacher. Plan, work and adapt in concentration, because your mental and intellectual original of nil Present Day English Musicians, sometimes desire to educate the public as a whole to receive and yourself to your surroundings with never-failing hope. interest has been aroused. the proverbial child who wants to have its cake and eat called “the English Chopin.” THE ETUDE AUGUST 1921 Page 505 THE ETUDE Page 504 AUGUST 1921 Music Teaching comprehend the immediately new, will desire in vain. Efficiencies which Attract Success in You never can educate the entire public in that sense. Mae-Aileen Erb You can only familiarize it with new things; and, as soon as it becomes familiarized, then those things, can, " to advantage on something far more important. This can strictly speaking, no longer be termed new. Of course, When a teacher accepts a pupil a great responsibility he done in countless ways; for example, eliminate count¬ would-be reformers may wish to alter people’s tempera¬ is assumed. In many cases a pupil’s musical opportuni¬ ing aloud with the pupil, nodding your head or tapping ments; but these again will wish in vain, for persons ties are limited by moderate means or force of circum¬ your foot in time to the music, etc. do not want to have their temperaments, musical or stances. It is certainly due them that the value of every It is well to remember that you can save yourself otherwise, altered. They say, “I have my Bach and dollar paid out should be returned in efficient instruction. much energy and trouble by being thorough with y0Ur my Beethoven and these suffice me—I want nothing Then, too, the pupil placed under a teacher’s care may beginners. Do not allow them to form careless habits better.” Quite so—and at that we must leave it; and the prove to be one of extraordinary talent. To be entrusted and there will be no ghosts to stalk about and disturb would-be reformer would do well also if he left it at with a talent to cultivate and develop is a serious matter. your peace two or three years later. that. The time will come when your pupils one by one will leave you. While under your influence you have made How Much Shall we Do for Our Pupils? upon the musical part of their lives an indelible im¬ If you go to the pupil’s homes for lessons, allow pression ; is it one to your credit or discredit ? In after yourself plenty of time so that you need not hurry. To By Lorene Martin years will someone say about YOU—“I studied piano feel constantly hurried is a strain and it is impossible for five years, but did not seem to arrive anywhere— With all due regard for those holding differing opin¬ to do justice to a lesson when in that condition. Should guess my teacher was a poor one!” When you shake With wonderful deathless ditties }JVe, in the ages lying ions, most of us would be wise in doing more rather than you receive your pupils at a studio, take advantage of We are the music-makers, hands with a pupil for the last time, you should feel We build up the world’s great cities, In the buried past of the earth. vacant periods for rest or a leisurely stroll in the fresh And we are the dreamers of dreams, less for our pupils. able to look that pupil frankly in the eyes with knowl¬ And out of a fabulous story Built Nineveh with our sighing, In the matter of prolonging lessons beyond their regu¬ air You have sold your time and services to your Wandering by lone sea-breakers edge, that, whether he responded or not, you have given We fashion an empire’s glory; And Babel itself with our mirth; lar period, we may recall that Theodor Leschetizky has And sitting by desolate streams; patrons and it is your duty to them, as well as to your¬ One man with a dream, at pleasure, And o’erthrew them with prophesying said: “A successful teacher is not too watchful of the him of your very best. World-losers and world-forsakers, self, to keep in excellent teaching trim. Shall go forth and conquer a crown; To the old of the new world’s worth; clock—a lesson should he considered more as a lesson A teacher must be “fit” for the work, both mentally On whom the‘pale moon gleams; Some teachers are inclined to give overtime. To avoid And three with a new song’s measure For each age is a dream that is dying, than as a definite, paid-for period, and can seldom be and physically. The necessity for mental equipment and Yet we are the movers and shakers this is a way to gain added efficiency, for the extra time Can trample an empire down. Or one that is coming to birth. accomplished within a strict time limit.” After all, training is recognized; but the physical adaptability and Of the world forever, it seems. you may have could be better employed for your own —Arthur O’Shaugnessy. pupil is buying, not time, but instruction. This does requirements of a teacher are too often disregarded. A not mean that the teacher should discard his time-piece. teacher, no matter how well trained, simply cannot exert recreation, exercise or study; all of which would make But it is not only possible but profitable to have an the most beneficial influence over the pupil if she is not you a more valuable teacher. Moreovet interval of ten or fifteen minutes between lessons. Then physically suited to the work. rarely appreciated by the average pupil. Short, concise, is only a small part of the charm of the composition. a few extra minutes may be added to any lesson without helpful, enthusiastic lessons are as essential as are Gabrilowitsch recently became an American citizen; attentively and then asked to have it again, finally remark¬ It is the exquisite setting which Lieurance gave it which interfering with the work of the next pupil. Not every Cultivate Patience sermons which are wide-awake and to tin- point. Far Grainger became an American when we entered the ing that, while he could not quite comprehend it, there has been responsible for the success of the song. Inci¬ lesson will require this additional time, and the brief better to have a pupil exclaim at the end of the lesson, war; Galli-Curci took out her papers before she mar¬ was nevertheless a charm which made it very delightful No one should attempt to enter the teaching profession dentally, Lieurance has been obliged to find a larger periods thus left open will be beneficial as breathing- •“Oh, am I through already? I’ve been so interested ried Homer Samuels, her talented American composer music indeed. It worked so well that Grainger then unless he has a sincere love for the art of teaching and larger output for his talents and energies. This spaces for the teacher. that the time has passed quickly!” than to have him husband; Godowsky, who only a few years ago was tried it on Cyril Scott. Scott, however, was not so and an inexhaustible supply of patience. Artistic tem¬ has taken the form of training and managing a great The teacher of fewer pupils is able to devote more say, with a half suppressed sigh: "My lesson has been wearing the uniform of the Austrian court officer as readily fooled. He exclaimed, “Oh, I say, Percy—really perament is too often the excuse for ill-controlled temper. number of chautauqua and lyceum companies put out time to each one of them. No lesson, however, should longer than usual to-day, hasn’t it? ” director of the Meisterschule, is now an American, as .you can’t expect to conceal your ‘Molly on the Shore,’ by The effect of a nervous, irritable teacher is a veritable under the supervision of the University of Nebraska. be prolonged to the point of fatigue of either pupil or are Hofmann and many other musicians of the front playing it the wrong way.” teacher. In fact, when lessons require considerable con¬ poison gas, which can kill a child’s love for music in a Build up a Class of Earnest Students At this he is a real master. All of his musical com¬ very short time. rank born in other countries. panies have been pronounced successes from the start, centration of thought and effort, it is sometimes best to If you have triflers or laggards in your < 1 iss, get rid Moreover, the Recorder finds from many conversations One who would teach must school his esthetic ear to Einstein, the proponent of the theory, of relativity, and he has scores of people on the road for long tours. bring them to a close even before the time has expired. of them. They are only wasting their parents’ money with such artists that mere expediency plays a very small receive the discordant shocks without flinching. Do not which has all the transparence of a beautiful fog to He divines what the American public wants for its musi¬ To stop while the pupil is at the height of enthusiasm is and your time, and, what is worse, spoiling your disposi¬ part in their adoption of American citizenship. let every mistake you hear record a line of impatience on nine-tenths of mankind, including the Recorder, has cal diet and gives it to them in easily assimilated form the surest means of having an interested pupil return for tion. Such pupils are never advert Steamship tickets to other parts of the world are your face—for, never doubt it, it will stay there. In enjoyed the unique experience of visiting America, being and without waste. the next lesson. and their influence may prove harmful. Have an un¬ comparatively cheap. It is the spirit of Artistic Latitude It is undoubtedly true that human beings seldom ap¬ time your face will be marred by unbeautiful lines which dined (hardly wined) and feted on all hands as well as derstanding with pupils and parents at the outset, that which has made America the homeland of these men adequately degreed by Universities wherever he would preciate what they do not pay for. But when students repel instead of attract. So, instead of getting tense How things do change! Just look over the list of you will not continue to teach pupils whose work falls seeking the best opportunity for the development of their consent to light long enough. Meanwhile the papers learn to think of their lessons as lessons and not as and all “keyed up” in the course of a lesson, sit back in artists teaching in American Summer Schools of Music below the standard. By charging more for your artistic ideals. have all been frantically trying to tell the public why periods of time, they will not be likely to object even your chair and RELAX. Practice smiling within your¬ in all parts of the country. While we have had Summer lessons, you will attract only the more serious ones and there should be four dimensions and not forty. Mme. if, for good reasons, some lessons occupy slightly less self. Disciplinary measures may be necessary for the you will not have to overwork yourself with an overly Normals in all parts of the country for years, (Mr. than the allotted time. And when teachers learn to con¬ Curie’s Radium was a perfectly understandable, photo- good of the pupil, but never admonish just because you large number in order to earn a comfortable income. As The Recorder had the pleasure of meeting Dr. Eugene Presser had one at the University of Pennsylvania with sider lessons in the same light, they will give better graphable thing; but “Relativity!”—well?—It appears Mason, Mathews, Bowman, Elson, Root, Sherwood, as are angry and disgusted. Correct him firmly, but keep your reputation as a teacher grows, you can well afford Noble, Secretary of the New Juilliard Musical Founda¬ lessons. that Einstein is not only an amateur musician but an long ago as 1893) the modern movement is largely due “smiling within”; do not feel abused and down on the to retain only those pupils who arc a source d pleasure tion, at the great dinner of the P. M. T. A. in Philadel¬ Lessons should in no way be indefinite nor their extremely fine amateur. Harold Bauer told the to the study habits started at Chautauqua, N. Y., and other whole world on account of one pupil’s dullness or in- to you. Your art is a very beautiful one, so try not to phia in May. Dr. Noble was born in Brooklyn, fifty- length governed by the teacher’s impulse. Indeed, in Recorder a while ago that he was invited to spend the similar Summer Schools; There the late William Sher¬ altention. lose the poetry of it even in teaching. six years ago, and was educated for the ministry, being any work. which requires the expenditure of so much evening with Einstein. They did not talk music but wood started a memorable work, being carried on by A thousand and one trifling but annoying circum¬ Always greet a pupil with a sunny smile and a hearty Drdained as a Methodist clergyman in 1892. He shortly, nervous energy as music teaching, there is every, neces¬ they made music. They played together the B Flat Ernest Hutcheson. The hordes of American students, stances are bound to occur during the teaching season, handshake. Let him feel that his lesson has been however, entered the educational field and became the sity for the most business-like methods. Lessons should Sonata of Mozart. Mr. Bauer, while admitting that who only a few years ago flocked to Europe to eminent but form the habit of optimism. By the time another pleasantly anticipated throughout the week. A magnetic head of several institutions, among them Goucher Col¬ be carefully planned and instruction imparted in the Einstein was in no sense the virtuoso, that he has been teachers, may now find the same teachers in the neighbor¬ year has rolled by, you will • doubtless have forgotten personality is a wonderful asset to a teacher. Under lege, of Baltimore, and Dickinson College, of Carlisle. most concise and definite manner. To learn to give of represented as being, declares that he did play with ing metropolis. Most of the Summer Schools take a the incident, so why worry about it now? the tutelage of such a character, a student will respond At different times he has been the Superintendent of one’s self freely without draining one’s vitality—that is exquisite taste, sufficient technic, and acquitted himself pride in doing just so much and no more. This is for¬ in the most gratifying manner. By never failing to be the famous Seney Hospital in Brooklyn. With this the task of every teacher. Conserve Energy in a manner which delighted everyone. tunate, because if too much were crammed into the of help and inspiration to those with whom you come in varied experience and some acquaintance with music, To do the pupil’s thinking for him, to do unnecessary course the standards of American scholarship in music In addition to cultivating patience and optimism, learn contact, you will build a lasting monument to yourself he enters the work of the great philanthropy of the Ohio- talking, is sheer waste of vitality; while to establish By the way, Bauer, through a misunderstanding with would be reduced to a farcical level. social relations with uncongenial, or even congenial to conserve energy. Saved in one place, it may be used in each pupil’s heart. born cloth merchant and capitalist, who during his life his management, found himself confronted with a con¬ pupils, merely because they are pupils, is folly. There took such a keen interest in musical affairs in New York tract to play in a Pittsburgh department store. Finding are always undeserving and untalented pupils, on that he gave an immense fortune to musical education. no way td get out of it, he took a sportsman’s chance If “the pen is mightier than the sword,” the fiddle is whom almost all effort seems wasted. While the careful While the policies of the directors of the Founda¬ and went to the smoky city. His first number was the mightier than the fight. Fritz Kreisler, six years ago teacher will give these their full due, he may also direct From a Young Teacher’s Note Book tion have not, so far as we know, been definitely deter¬ Appasionata of Beethoven. Immediately a six months’ an Austrian officer, returned to America wounded and his efforts where they will be most effective. In no case mined, the introduction of a man of the type of Dr. By Maud M. Batten Noble in the musical life of America must be of very old auditor started in to improvise an obbligato of squalls. sick, with the very ^orst possible chance of regain¬ should he be dominated by a merely sentimental idea of ing his former popularity. The public was so prejudiced devotion to duty. great value. His fine bearing, his keen, interesting coun¬ As the strains of Beethoven went on the strains of the The names “Game” and “Puzzle” always appeal to that in some places riots were threatened if he appeared. On the whole, however, it is surely better to err on In this we make three gains, in spelling, pronunciation tenance and his vigorous physical condition indicate what infant increased. Mr. Bauer stuck it out to the end of the child mind; so we will call our first idea “Puzzle and definition. we may expect from this great Foundation under his the piece, then rushed out to the anteroom, threw his However, by dint of his great art, his charming and the side of doing too much than too little. Disappoint¬ patient personality, and the fact that most sensible Word Game.” Another “Game” is to ask the pupils to count while executive supervision. Incidentally, he was delighted, even check at the feet of the manager of the Store, exhausted ment over one unappreciative pupil will then be offset people realized that he was compelled by circumstances The first letters of words learned in the elementary the teacher plays something short. Thus the pupil learns surprised with the distinguished character of the Music his vocabulary of expletives and departed in a storm of by the knowledge of having done one’s best. All of us to play the role of patriot to his native land, he gradually are men,and women first, then musicians. In every pro¬ stage are written out and the children are asked to fill that notes should be fitted to the counts and m ,t the counts Teachers’ Dinner in Philadelphia, and, I understand, rage. The Recorder decides this contest in favor of Mr. has won back his former position. In London, where fession the best and most successful work is done by in the others. wrote one of the officers that he never before had had Bauer and fines the store for inflicting cruel doses of Thus, he has just appeared, he received the greatest artistic those who measure life in service. To teach the position of sharps and flats on the key¬ such a high respect for the profession of music teach¬ Beethoven upon an unsuspecting infant. ovation of any artist in years. The whole fact of T.(Treble) board, pieces of cardboard made to fit the kevlioard, with ing as he had at that moment. Really the occasion M-(Measure) the matter is that there is only one Kreisler and the music- the notes drawn on both Treble and Bass deffs. are used. was one of which any group of educators, statesmen, A musical inventory of the State of Maine during the Don’t Try to Fool the Pupil bankers, merchants, doctors or lawyers might have been loving world does not purpose to try to do without him— summer months would be interesting. Possibly more war or no war. By Ada Mae Hoffirek celebrated musicians spend their vacations there than in One Minute with Von Weber any other part of the world, unless we except that Music Week in Denver, like Music Week in New famous European spot, BerchteSgaden, or Riviera. The teacher who, in her effort to make.Scales and exer¬ Music is love itself. Percy Grainger, who, by the way, has just bought a York, was a great success. Blanche Dingley Mathews, cises interesting, tries to fool the pupil by saying that they Art has no fatherland. the gifted widow of the late W. S. B. Mathews, had, and propelling the mechanism at pleasure, but rat! beautiful home at White Plains, New York, tells a highly are interesting makes a very silly mistake, indeed. Don’t To be a true artist you must be a true man. Lieurance, whose charming Indian music is now we understand, “a big hand in it.” The Rocky Mountain hke the pulse of the human body. There is no “SI amusing story about a London Composer whom we shall tell the pupil that they are interesting but make it a point It is our feelings above all that are affected by music. not name. Grainger, of the golden curls and golden known around the world, really writes very little. He News and the Denver Times issued musical supplements to play the scales in such a fascinating way that the Whenever music attempts to be more than the lan¬ lniw.hich certa>n passages do not require intellect, had just been furnished with a player-piano says, “Why should I write unless I have an idea worth of eight pages which were really masterpieces of news¬ pupil will want to learn how you do it. By raising his guage of passion, it goes out of its depth, and of neces¬ thereT Presto’’lniK-Sn ^ ,0 prew"‘ lagging. No. roll which a London company had made of one of his perpetuating? There are almost endless Indian tunes paper literature. These papers also mailed five thousand curiosity you can show how valuable all scale study is sity fails. in na* CStu° Whlch does not require a slower ten compositions. A celebrated British composer was sched¬ that may be adapted. The manner in which they are circulars to all parts of the United States, telling all in helping the student to progress rapidly. Tell him What love is to man, music is to the arts and to man¬ hurP*isa®es whose effect would be marred by too m uled for tea. Grainger with his natural exhuberance adapted is everything.” When he first played his famous sorts of folks about the musical doings of Denver. The that scales are like going down in the subway in a big kind. Music is love itself,—it is the purest, most ethereal ind,/■ le‘ no one imagine that he is justified decided to play a trick upon him. He therefore played “By the Waters of Minnetonka” for the Recorder, he Recorder has been amazed at the musical activity of news¬ city in order to get to the beautiful park more rapidly. language of passion. distorts -that foc,lsl1 mannerism which arbitral expatiated long upon the beautiful Indian theme. Yet papers in all parts of the United States. One of the Qistorts certain measures. the roll backwards upon the player-piano, intimating that it was the latest of Schoenberg. The composer listened everyone knows that the theme, beautiful as it is, foremost factors in the spread of the idea of making THE ETUDE AUGUST 1921 Page 50" THE ETUDE Page 506 AUGUST 1921 A Momentous Musical Anniversary V- , ■■■■" ■ ■ the music section of the daily press meet the fast growing needs of the American musical home is the ever active (Continued from page 49°) „. . Charles D. Isaacson, of the New York Globe. Under his f„l music teachers in America. His plan of action Putting Expression in Your Piano Playing supervision thousands of muscal articles have been spread many thousands of young men left this country many cessM ^ a pupil; 0n one occasion a young woman and hundreds of concerts have been given in all parts of of whom died upon foreign fields, I am afraid’ cailed on him and said. By OSCAR BERINGER , in such a manner that even the humblest the ‘backwash’ all that I could say, or a take le8B0ns on the p!ano f Professor of Pianoforte at the Royal Academy of Music, London, England have had opportunity to hear great artists and great speaker could say would, nevertheless, fail to stir the .-Professor, I would musical organizations free. Mr. Isaacson is still a heart of any of you in this period of ^ctmn^ An^yet you ^“^^“coul,lPKlve m.r Read How Katherine Goodson’s Famous Teacher Coaches his Pupils in this young man, blond, energetic, full of good ideas and the if an orchestra were here and were t° comlp „ "Well, have you t y ^ “yes, I cun give you a half Important Phase of Musical Art willingness to sacrifice his energies in very generous a Long, Long Way to Tipperary,’ or ‘Keep he Home t o'clock.” measure for the good of music. Notwithstanding the Fires'Burning,’ or ‘It’s a Long, Long Trail, there !^oW much do you charge? great musical opportunities of New York, it is a much would not be a heart that would not be immediate y .,8 0o a ' ' ' , ' * .. —' ^ yt ' * - more musical city now in a large way than it could have responsive to the great emotions of that struggle. „yea jg price.” . .. _ been had it not been for the initiative and untiring work again, if I were to hear ‘It’s a Long, Long Way to Professor, you know I cMinrt quite afford that give greater expression, the accompaniment in the left of this enthusiast. Of course it has been advantageous Tipperary,’ I would think of those early days in Augus amount^f money. ^ takg thjs Jesgo„.” 6 the first being the strongest, the second next, power, and for The Globe no doubt; but at the same time that paper when seated in a hotel in Winchester, England, I heard in worn mention the fact that you are a Expression implies artistic interpretation of a com¬ hand must always be kept in absolutely strict time. is to be complimented for the fine spirit it has shown the third the weakest. The members of the Expeditionary Force pass by n ght com^r? ! always, make a reduction for commuters. The position. This subject has often been touched on in Having previously called attention to the weakness of in lending itself to the work which Mr. Isaacson has through Winchester to Southampton, singing in un er les,!jntll^1nk you very much, Professor, hut my profession ig former articles yet more from the material than the tone quality of the pianoforte, it is only fair that we conducted. tones that pathetic song, (silly, the words may be; it is of a stenographer, and I only get *20.00 a week.” purely artistic point of view. Many works have been the music that gives it dignity), but singing that song “My Aear child why^Uyou not that. My price should emphasize one of its strong points. ???????? published of late on Interpretation, some of which are The pianoforte is the instrument most capable of pro¬ that was to have a terrific verification m the four most fo* yes, professor, 1 know; that I bought a piano on What shall we tell “The Recorder ?” written in most flowery language and get dreadfully ducing two or more notes simultaneously with different involved in their ' high-falutin verbiage. Much of gradations of tone. This quality makes it the best sub¬ We make THE ETUDE for YOU—you who are i grjsfsafsw&'wsvti* course will always depend on individual temperament, stitute for an orchestra, which is proved by nearly all holding this copy in your hand right now. Do you how many brave young boys fell by the way before the of^My' dedr child! Why didn’t you mention that in the but certain rules may be given which should be of as¬ like this department of up-to-date comments upon ultimate end had been reached. first place? . For anyone buying a piano on the installment sistance in helping young students to correct artistic important orchestral compositions having1 been tran¬ live musical happenings? Do you like these human “And so this music of which we speak does represen P'^^^^w’^hlfprofessor but father is not working interpretation, and also to curb over-exuberapee., - scribed for piano. It is possible to make one or more interest aspects? If so, please write the Editor—so the ultimate hopes and aspirations, and the finest spirit and j am supporting the family, and I do not think I can There is only a very small step between,,the,.sublime notes prominent, the rest being subdued. ..This •-variety that he may know.—The Editor. of either an individual or a nation. And it never was spend that amount of money.” and the ridiculous. Music being the most abstract and in quality and quantity of tone in different parts is called more valuable, and this L the point to which I am address- that your father was not working tin price would tolerant of all the arts, it is manifestly impossible to Balance of Tone. The simplest appearance-of' Balance ing myself in speaking to those whose profession it is have been $3.00 a lesson.” make hard and fast rules for expression. Much must of Tone happens when the right hand plays a melody, The Magic of Order to teach music-it never was more valuable than at this B7. TV.' always depend on the feeling, temperament and intellect and the left hand an accompaniment to it. The balance time, for the reason that mankind is now slowly awak- you not make the prico ft little bit less?” of each individual, but in this very fact lies one of the in this case is quite easy as the right hand has to be enino- tn the saddening reflection that a hundred years “My dear child, I would not allow you t<< through the T. L. Rickaby greatest charms of the art. made prominent, the left subdued. “the inmarked the domina- ... lh* *~>» How else could it possibly be of interest to hear the It obviously becomes much more difficult when three tion by machinery over man, the fact that man has ••That is all right, rrofessor, but 1 must ii.-iv,- some sort Have you ever noticed unsightly piles of bricks lying same piece played by different artists over and over parts occur; for instance, a melody having an,import¬ become so largely the slave of the machine, the enormous the nnd 1 »” «v,"k “P “> S« to by the side of a vacant lot ? Thrown down anywhere, again, if the expression were always the same, and fixed ant bass and an inner accompaniment. In this case the development of a m chine-existence through industrial “in that case the lesson is nothing.” by arbitrary rules? Although an artist may, try his in any position, and in various sized heaps, ugly in them¬ invention has so standardized man, has so deadened his “I will take one every day." (Laughter.) melody must be the most prominent, the bass comes next selves and spoiling the appearance of the whole neigh¬ utmost to pay every regard to the composer’s inten¬ in importance, the accompaniment being last and least. sensibilities as to deprive him of the lofty spirit; ulti- A Minature Recital by Lhevinne borhood. tion, yet, if he be a true artist, his own soul is bound When the melody lies at the top it is not necessary to mately that is more vital today than it ever was, that to color his interpretation. The artist, so to speak, re¬ Go past the same place a month or six weeks after¬ to a man who is thus in a sense brutalized by the fact of This very remarkable evening concluded with a minia- make it so prominent as when it lies in the middle, or wards, and as you look at the pretty bungalow that has creates every work he performs. a machine age, there shall be this lofty manifestation of ture recital by the great Russian pianist, Jow f Lhevinne, when the accompanying parts are both above and be¬ Beethoven requires more variations in time, especi¬ grown, as if by magic, it is hard to realize that you are It is essential in the first instance to consider the capa¬ the human spirit that we call music. who played: low, as the listener will always almost unconsci6usly ally so in regard to his second subjects. In the first looking at the same bricks. They have been taken one by bilities of the pianoforte regarding its tone quality. The “Who can hear the first movement of Beethoven’s Adagio .Beethoven look for the melody at the top. one and carefully placed in proper position and propor¬ chief point we must grasp is that it is not possible movements of his Sonatas the first subject is generally ‘Moonlight Sonata’ and not feel as if eternity was speak- Ecossaise .Beethov. n-Busoni The inner accompaniment is frequently divided be¬ tion, according to a definite plan, and the result is a either to increase the tone after production or to sus¬ of a dramatic character, while the second is more lyrical ing? He cannot express it in words. No words ever Ballade in F Minor.Chopin tween the two hands; so it is manifest that both hands building that is agreeable to look at, and an ornament to tain the full amount. This makes it immediately evident in tone and consequently requires slightly slower time. express the ‘Moonlight Sonata’ of Beethoven. Beethoven Soiree de Vienne.Schuhert-LisZt that it is not possible to give any expression on the must be trained to play two or more notes simultaneous¬ In playing his own compositions, Beethoven sometimes the neighborhood. never called it the ‘Moonlight Sonata’ at all. We know The Lark .Balakirew ly, with different gradations of tone. Technically The notes of a piece of music are like the heaps of pianoforte without a succession or group of notes. In lingered slightly on a note in order to emphasize it there is something there no words have ever been able to Mr. Lhevinne probably never received a more enthus- bricks. Play them carelessly, with no respect to position consequence of this diminishing quality of tone it be¬ this is one of the most difficult problems the hands have without making it louder. Schindler, in his “Life of measure. Thre is a mysterious voice sounding from the iastic ovation in his career, than he did from the large and proportion, and you have an unintelligible jumble, comes necessary, in passages containing long and short to solve; but, without this capability, a really artistic Beethoven,” gives the following example. very depths of the eternal. And that speaks to man, audience composed alm.ost entirely of protY wonal musi- disagreeable and useless. Play every note in its right notes, to emphasize the long notes so that the sound may performance becomes impossible. The following tech¬ gives to man a message so much higher and greater cians, including many concert pianists of rational fame, place, and in correct relation to every other note, and you be carried on to the following note. This latter must nical exercises will be found useful in helping to over¬ than anything that speech or words can do as to lift him His prodigious technic and exquisite tone, together with will have formal musical beauty which is agreeable in then assimilate it to the diminishing amount of sound come this difficulty. , . above the machine-like existence to which a purely indus- his startling brilliancy of touch in “The Lark.” electrified of the long note, unless of course the composer marks itself. trial age has condemned him. And those of u-, therefore, the audience. The delight of the gathering of Music Add to it the various degrees of loudness, accent and to the contrary. Broadly speaking, expressidn depends who try to instill in our fellowman the love of this great, Teachers was unbounded, speed, and this will be like adding the climbing roses and chiefly upon increase and decrease of tone 'and in a mysterious force that is so much greater than any words, minor degree also on fluctuation of time. As regards He tells us that Beethoven lingered slightly on the vines and shrubs which will give real beauty to the for¬ you render a service so wonderful that it passes my power Why Not Organize an Association in Your Community? mal lines. This means work, and care and thought not tone variety, we can increase and decrease gradually first note of the phrase. to pay jpst tribute to it.” The success of this unusual occasion was due largely to as in Crescendo and Diminuendo. The following This treatment often will be found very effective, forgetting the old-fashioned counting for measurements. The President then read letters from David Bispham, the magnificent ami unselfish spirit of co-oper.it i.n upon the Count aloud if necessary (and it usually is necessary) characteristic sign is often used to denote this. especially so in quiet melodies where this agogic accent Harold Bauer, and Leopold Auer, all of whom had Board of the°p0m"t.0®?'whTthm^hTnnt'hi'u of working will frequently be found more suitable than a dynamic but be exact, certain and definite. accepted the invitation of the Association to the Anni- till twelve or one o'clock, night after night, in Jrder to com- versary Dinner, but were prevented from attending. p t.® lts detmls- », . , . _ Officers for 1921: President. James Francis Cooke; It was not however, until the advent of Chopin that A Welcome to John Philip Sousa Honorary President, Theodore Presser • Vice I - - ms. Mrs. variations in time became a really essential part of ex¬ Don’t Flirt with Success Lt. Commander John Philip Sousa, U: S. N. R. F SSBT&flFL pression is pianoforte playing. If Chopin’s music were was then introduced and responded in his always wel- champ. played in strict metronome time, it would lose all its Alfredo Trinchieri come manner; , Executive Committee: Mrs. G. C. Anthony, II. C. Banks, Care must be taken that the increase and decrease poetry. “We musicians have one thing, we give solace or joy Fry, Groll^wis “jameT Ho^n,' Mau'riis"^ takes place gradually from note to note, and not as in¬ Success is a sly flirt. Just at the time when prospects to those who listen. Sometimes, possibly we take our- Charlton L. Murphy, Miss Emma A Price! M s <;mco WeM In part playing in compositions based on counter¬ POLONAISE, CHOPIN dicated by the following imaginary sign: have on their murkiest garb, she«is probably standing selves too. seriously. I recall giving some concerts in Burton*QisSi Ag°^s Cluno Quinlan, Miss Else W. Rulon, Mr. point, where every part has its own melody, balance No.4 Allegro appassionato around the corner smiling at whether or not you will have St. Louis some years ago, and every morning I went down Likewise® “he cooperation Tf'‘leadinOmusical organic of tone is of the utmost importance. In Fugues and the pluck to put the thing through. to my breakfast at the hotel, I saw a woman scrubbing lJon® Philadelphia, represented by their officers: Mrs. Canons for instance the importance of each part con¬ “Carmen” was so badly received at first that its near the steps and working away very hard. Finally, think- t s w (President Matinee* Musical Club). \[TS- stantly changes from voice to voice. failure is credited with hastening the composer’s death. ing that possibly a concert would be very enlivening The marking of the following example, will-help to Yet now we all realize that this work has placed Bizet’s, and elevating for her, I stopped her on the stairs one m? nh i?8>' Mr- John F- Braun (President Art Alliance), illustrate my meaning, the dash showing each part name among the immortals. morning and said, ‘By the way, would you like to go to a veraity ofPeJ'nsvlvani'/i (PrPfi'Tnt *hisicnl Alumni,J0"i- which should be made prominent. “Faust” caused Gounod many uneasy nights over its concert tomorrow night?’ thinking, of course, she knew FhUAdelphia Conservatories, "con^ibuted® “mmcnscly to the As a rule ascending passages must increase in tone The study of the 18th century composers, especially early reception. Yet now its presentations equal those of me. However, she did not know me (Laughter). She P 1 01 the assemlllag''- and descending passages diminish. Of course there of J. S. Bach, is absolutely necessary in order to ac¬ Chopin’s more modern compositions mostly require any other three operas on the boards. At the looked up at me and said, ‘Is that your only night off ?’ Whenever the same co-operation may be found, similar are many exceptions to this rule. One, for instance, of quire proficiency in part playing. Tempo Rubato. Let us see what Tempo Rubato really Grand Opera alone it has passed its fifteen-hundredth which Beethoven was very fond is an ascending cres¬ ‘I remember another occasion I was in a cafe one results may be achieved. Music Cachet groups in all We now come to fluctuations in time which also play implies. The literal translation of the term is “Rob¬ performance. night, and the man with me pointed out a man verv well narK nf Am*-:*., i u t . 7 . c u cendo passage suddenly breaking off and passing into an important part in musical expression, much more so bed Time.” The following definitions of Tempo Rubato Many other works, now recognized as masterpieces, fed and, I imagine, he had a good bit of liquid in him the P M T A anTth 6 ’"T.'T by ‘T tr,ufnP he Piano or Pianissimo. Sudden transitions from Forte in modern music than in that of the older composers. may be of interest. Chopin compared it to the flicker received equally chilly receptions when they made their at times, and said, ‘Down there is one Of the most sue- ideals of the find .WOrkmg °Ut ° to Piano are also a frequent occurrence and often hap¬ Bach and his contemporaries require hardly any varia¬ 5 01 ttle tounders conceived thirty years ago. of a flame fanned by a gentle wind,” and he warned first bow for recognition. But there was real worth in pen when a phrase or a portion of a phrase is repeated. tions in time excepting at the close’ of a movement, his pupils against blowing the flame out. Liszt’s them, and that was bound to find its rightful share of In such a case it is better not to play both with the where a Ritardando is generally effective; and some¬ acknowledgement. Just so it is with anything we start The Judge same quality of tone. As von Bulow remarked to a times, also, in a lesser degree during the bourse of a definition was “You see that tree; its leaves move to and out to do. Once our face is set toward a goal, to turn pupil, “People might think you were practicing that movement, in cadencial phrases leading again info the fro in the wind and follow the gentlest motion of to either side means failure, That little place in the Carlo Magliani measure, my dear girl.” principal subject. In the works of Haydn, Mozart and the air, but its trunk stands there, immovable in its lesson, where the fingers just will not quite bring out Where single notes have to stand out, the following composers of that period, very little license was allow¬ form.” Matthay, in his “Musical Interpretation,” the effect you feel, is the small weight necessary to shift In the Musical Court of Last Appeal the ear is JudgI the ear must • , ,. , i,. signs are used to denote this: ed. Mozart in particular was most emphatic in re¬ dwells on the necessity of “bending the time, not break¬ the balance from failure to success. Put the best you This is true as much with all the instruments as with trained tn *Jud.ge: F,rst thc ",nncr earf T'Vt gard to strictness of time. In one of his .letters he ing it.” The most practical definition occurs in Dr. have in here, just as the composer puts his best in the voices. Whatever the medium, the tone must sound well liters Tv dls<;nrn,nation by the study of the be> Sf. A. >• remarks that, although in the right hand the value of Greenish’s “Dictionary of Musical Terms.” Tempo work he penned, and leave the results to time that is And, not only must the individual tones sound well sic thfw- pictures- b-v listening to the best mu- the melody notes may be slightly varied in1 order to Rubato.—An indication of a relaxation of the mathe- always just. but also the musical language, in its phrasing; Its dyna- the judge to SS"*' Then the physica' car n,US‘S These denote three different degrees in accentuation; Don’t flirt with Success. Win her! THE ETUDE THE ETUDE AUGUST 1921 Page 509 Page 508 AUGUST 1921 that You Must Conquer matical regularity of pulse for the purpose of heighten¬ Difficulties in Playing 1 nnlv one Liszt has himself done this for us ing the expressive power of the music, and of giving a freer rhythmical rendering of the same. It is produced It is a blemish if a pianoforte piece, in the course of inmmany instances, but not in all. His example justifies by lengthening, or dwelling upon, some notes of a its length, contains bits here and there which, in pom he application of this procedure, w.thou laymg the phrase, and shortening or hastening others; the deflec¬ of difficulty, are, out of proportion with the rest, it player open to the charge of being an artful dodger." tion from the strict time being thus counterbalanced. would be better that every piece were of approximately I a bravura passage for the nght hand, the interven¬ uniform difficulty throughout, so that it could be classi¬ tion of the left with a note or possibly more, in each fied as easy or moderately so, difficult or greatly so. 1 SCHUMANN, Op.9 nemve or in each recurring group, will much simplify wonder that pianist-composers have not more generally matters' and, besides serving a technical purpose, seems recognized that a piece which conforms to some par¬ ticular grade of virtuosity, commends itself thereby to to have’a moral justification. Why should not the left a much wider circle of players than one that does not. hand “do its bit” for the common good? Of two part- A piece which commences in smooth water, but has Ss, why should one slave while the other takes his hidden rocks and quicksands ahead, is doubly handi¬ The Most Important Thing of All mistakes, indicate with a blue pencil all of these, and Fourth Finger Fighting capped. The .player who undertakes it because it looks ^There is alas! that further difficulty arising from im¬ “The fourth finger of my right hand discourages “1. So many of my pupils have poor hand pos: send them home with nothing to do but learn these places me because it so closely follows the motions of the easy, will, when he encounters the difficult bits, either perfect notation. The older masters were deplorably tions. This worried me until I found pupils froi correctly. Have a talk with the parents and explain what third. When I trill with my second and third it These various definitions agree on the essential point other teachers were equally bad, so conclude it is skip, or fearfully bungle them; while the advanced lax in the marks they used for their many “ornaments.” you are trying to do, and secure their co-operation. If depresses its key slightly. Not enough to make a that Tempo Rubato must never change the outline of common fault. Calling their attention to it doe sound but it annoys me so that I sometimes threaten player who revels in the difficult parts, will find the rest Even in the “common or garden” matter of the appog- not seem to make any difference. the pupils come again with the music uncorrected, send to give up playing. Can you tell me how 1 may the time in a movement, but must be a case of “give and 2. I have two pupils who catch the music s flat, and stale, and indifferent, and will give them only aiatura and acciaccatura, they often confused one with them home again in the same way, making them under¬ remedy this defect?”—C. A. take;” after hastening, slackening, or vice versa. It is quickly by ear that I cannot get them to look a Your letter sounds as if you might have a bad temper, his second-best attention. the other They marked them so indiscriminately that the notes. Hence their music is full of mistake stand in a very pleasant way that you cannot hear obviously impossible to mark these time fluctuations in which I cannot correct except by practicing wit These remarks are not intended to supply recipes for it takes some time to find out which of the two is really when you threaten to abandon the playing which you the music. Occasionally a composer marks Rubato, but them. How can I make them better sight readers? their lesson until they have learned it. You need not overcoming the difficulties which fugues present. But intended. And here, again, modern editors have come look for complete perfection at first and may have to love because of a spiteful fourth finger. You might do he does not show, where the speed is to be increased or I venture to advise all who make fugues their study to to the rescue, and students have no excuse for not pro¬ One reason for the faults of child pupils is the fact s things go, but gradually you may bring them as is suggested in the Bible, when it says if a member slackened. This must always be left to the good or provide themselves with a modern edition. In these, viding themselves with corrected copies. I am presum¬ that they are asked to do so many things at a time, and offends thee, cut it off. bad sense of the performer. unlike the older ones, it is clearly set forth what each just at that period in their lives when the brain functions A Practical Point or Two Your fault is by no means incurable. When you have I give below one or two examples where Rubato is ab¬ hand has to do; everything, without exception, which ing, of course, that they have been taught the important are in process of development, and hardly able to con¬ once made up your mind that it will require time and solutely necessary to give proper expression to the the right hand has to play is printed on the upper stave, difference between these two oft-occurring grace notes, “X. I have a beginner of nine months’ study, centrate intently upon one thing, not to mention four who often send3 word she is not coming for her patience, then you are ready to secure results. If you phrases. and vice versa for the left—to the saving of much valu¬ and I am hoping that thdre are but few pianists left lesson, and when she does come it is poorly prepared. or five at once. Piano playing, even in its early stages, go at it, however, as does the average pupil—“moon” able time, the saving of eyesight, and the saving of who would be guilty of so gross a mistake as to speak She also persists in using her own fingering to her CHOPIN is a complex operation. Even the elementary pupil has own confusion. She has no patience to actually carelessly through an exercise a couple of times and then of a long and a short appoggiatura. To do so would study, and takes no interest unless the piece is so to learn to read the notes, read them from two staves turn to something else, wondering why the trouble is A second piece of advice is: do not commence prac¬ be as reasonable as to speak of a long mile and a short simple she can almost play it the first time over. at once, compute the time values of the notes, count the Is there anything that can be done? not overcome, you will accomplish little. You can prac¬ ticing a fugue until you have analyzed the whole com¬ one, or of a heavy pound and a light one. measure groups correctly, determine the various sorts 2. I teach my pupils to practice each hand sep¬ tice a technical difficulty of this sort without in any position. Hot only analyzed it, but marked your arately at first. Does not this weaken their sight¬ of touch needed, hold the hands and fingers in correct reading ability ? way interfering with your regular playing. Make up analysis in the copy: subject, counter-subject, answer, A Trill Difficulty position, learn their proper action in all conditions, and 3. When learning a new piece, I tell my pupils your mind, however, that it may require months and not episode, inversion, augmentation, diminution, codetta, to learn the notes and fingering, then the time, days. If the time shortens itself, you may then surprise A special difficulty arises when one hand (generally, top off by playing with expression, eight simultaneous and lastly the expression. Is this correct ?”—K. M. stretto, etc. This will prove of the greatest assistance, yourself and be so much the better off. but not invariably, the right) is required to keep up a functions, a good deal to ask of the adult unaccustomed 1. The only way you can overcome the lesson omitting not only in the early days of your practice, but at all Now set aside a given amount of time each day during mind as well. The unfortunate side of music teaching problem is to establish your teaching upon business The last is an illustration of the kind of Rubato to times. Unless the construction of the fugue is familiar, continuous “trill” while bringing out a melody at the which to practice on a table. Arrange your hand in is, that children after a lesson are supposed to go principles. Make your pupils understand that lessons which Mozart alludes in his letter which I have quoted, the player cannot possibly give a satisfactory rendering same time. This happens in two ways: either the good playing position, and practice raising each finger home and put these processes all in action while they evaded must be either paid for or made up, that the where the bass has to be in strict time, but the right “shake” is to be executed with fingers 1 and 2, leaving up and down, slowly enough so that each one feels, abso¬ practice entirely without direction. No wonder Von period of time assigned to him or her Js definitely sold, hand is allowed more freedom in order to heighten the 3,: 4, 5 free for the melody notes, or the “shake" is to lutely free and supple, and independent of the finger each Know The Scales Thoroughly Bulow said he wondered anyone ever succeeded in and it is not possible for you to assign it to anyone expression. be executed with fingers 4 and 5, leaving 1. 2, 3 free. side of it. The fourth finger will be able to make scarcely learning to play the piano. The teacher who can system¬ else at the last minute. That even by making up the To know the construction of the scales, before at¬ A well-known instance of this occurs in the finale of any motion, but never mind. Practice the slow trill as atize these elements to the best advantage is the one lesson you give said pupil just twice as much time as CHOPIN tempting to work at them, is also of paramount im¬ Beethoven’s Sonata Appassionato. But von Biilow and well. Place a book on the table about one inch in who will produce the best results. was bargained for. Arrange all these things with the portance if scale playing is to be of any substantial use. others have explained how this difficulty is to be met. thickness. Let the fourth and fifth fingers rest easily on A much discussed question has been as to whether a parents. For the inattention to fingering, send the . pupil The scale of C major should be considered the normal The explanation acts as a perfect “open sesame” which the book, while the third and second act independently on teacher should insist upon correct finger action before home with no new assignment until she has properly one, its formation should be analyzed, the where, and unlocks the closed door. It consists in not making the the table, and in rotation until they can trill while the the student goes to the keyboard, spending many prelim¬ studied what she has. Make her understand that you the when, and the why of its occurring semitones closely “shake” truly continuous, but interrupting it at every fourth remains easy. Then repeat the same processes inary weeks at this; or whether the music should be are not giving the lesson “over again,” but that she noted, and indelibly impressed on the memory. With C occurrence of a note of melody. The pace at which letting the fourth finger rise just enough from the learned first, and finger action learned afterwards. must simply keep at it until properly prepared. Make major for his model, the student will be able to con¬ the whole thing should be taken will cover the gaps, so book so it does not rest on it. In transferring this exer¬ The first sounds plausible, but is a dreadful bore to chil¬ her advancement very progressive. Recognize her tem¬ struct the remaining eleven major scales for himself, that the ear cannot detect them. The same solution ap¬ cise to the keyboard, let the fourth and fifth fingers rest dren, and it is almost impossible to arouse a child’s perament and deal accordingly. She will advance faster, and will not require the aid of any printed copy. He plies to the “shake” variation in Thalberg’s famous ar¬ on F sharp and G sharp, and the second and third act One more factor is of great importance interest in anything that bores him. A second process that is, for her, if given music that is not very difficult will discover, in making each correspond to the normal rangement of Home, Sweet Home, and other similar on D and E. This forces, as on the book, the fourth and tistic expression of pianoforte playing, namely, the use is to let the pupil learn his little pieces and studies, con¬ from her standpoint, and given a good deal of it, rather of the pedals; but as this subject necessarily covers a one, why it needs “sharps” here, or “flats” there—the cases. It is the notation that is at fault. fifth to remain higher than the fingers in action. Study stantly impressing upon him that after he has learned than a little that is very difficult for her. difficulty of memorizing the requisite number will not In this short article it is not possible to allude to and work at this until you secure results. Meanwhile do lot of ground, I must deal with it in the next article. to play them the most important part of all is to 2. Teaching pupils to practice is the correct manner, In conclusion I must call attention to a bad fault of arise—and a musical interest will have been added to other difficulties which most advanced players encounter not insist on a too rigid independence of the fingers. come, that is, learning how to use the hands in proper that is, by conquering the difficulties with each hand which a number of pupils are guilty. When a Ritard- what otherwise would be but a dry, mechanical exer¬ at some time. And besides, the expressions "difficult" Unless there be a freedom of feeling and slight mutual form on the keyboard, and bringing the fingers into separately at first, will in no manner affect sight-reading ando occurs, instead of gradually playing more slowly, cise. The minor scales should, of course, be studied on and “not difficult” vary according to individual ability. action among the fingers in playing, tenseness and stiff¬ correct action. In order to do this effectively, the little ability. This must'be acquired also. they change at once into a slower tempo, instead of the same analytical principle. What A may find difficult may not prove so to B, and ness is apt to result, interfering with easy action. A pieces and studies should be committed to memory, so 3. Your manner of directing first practice is .satisfac¬ slackening note by note. The opposite mistake occurs But to return from this digression. There are some vice versa. Piano playing is a serious occupation, not rigid and stiff independence of action is nothing but a that the entire final process of watching the fingers while tory. Before taking up the expression, however, it is when Stringendo (From Stringere-to hasten) is mark¬ passages which will always be found difficult; frequent by any means a diversion for fools. Much of what playing and getting them as near right action as possible stiff hand after all, and counteracts the benefits of repetition will diminish, but never quite remove this. better to have them commit the piece to memory, then ed. The pupil commences to play faster at once instead every pianist (even the greatest) has accomplished, he at that particular stage, may be carried out. To make independence. They lie awkwardly for the hand; and the hand, how¬ practice with close attention to the manner in which the of gradually increasing the speed. has had to discover for himself. No preceptor ran pos¬ this completely successful you must constantly talk to Sight-Reading Again ever pliable, is but human. They have been evolved out hands and fingers are used, working hard for correct The same kind of mistake, also occurs when it is a sibly teach all there is to learn. your pupils about this final process, and make them “I can play music of a difficult order, but can only of the brain, but not with the concurrence of the fingers, position and action. You will find this treated more at question of increase or decrease of tone in crescendo or Many of us know what a rude man once replied to realize that it really is of the utmost importance, the last play the simplest pieces, or church music, at sight. by a composer who was not an expert pianist. He may length in the article in the Round Table entitled The The only way I can successfully play difficult music diminuendo. Both must be gradual, not loud or soft at a fond parent, who had informed him that the piece his necessary' step in learning the piece, or else they is to practice it for some time, or commit to have been a fine musician, but he lacked the special Most Important Thing of All. daughter had just played was very difficult. I wish,” will have the same feeling all other pupils naturally acquire memory. Are my fingers at fault, or do I try to knowledge which' would have made these passages pian- play too fast? Or is it that I have to look back and said the beor, “she had found it impossible!” 1 f pian¬ —that, as soon as they can play a piece through, they Talents With Talons istic. Or, possibly, possessing it, he did not condescend forth too much between the keyboard and the notes? ists would content themselves with playing a moderately have finished it. But by this process they are brought “A fashion has sprung up during the past year I should like so much to be able to read at sight.” to employ it for the benefit of the performer. difficult piece beautifully, these rude persons would have for young ladies to wear long, tapering finger nails, —S. L. Musical Facts for Busy Readers to feel ultimately that they are then just ready to do a foolish custom that I am unable to induce them to On the other hand, the majority of difficulties yield less occasion to make cutting remarks. And, after all, Your condition is not at all unusual. In the first place As recently as 1870 forty men were considered ample their best work on it. forego, even for piano playing. The worst of it is to practice; when once the correct fingering has been a good chop, well cooked, and well served, is far more that the wood of my fine grand piano, just over the I have heard some great virtuosi say that they were not for a symphony orchestra. That was the size of the I have been watching how surprisingly well this has keyboard is being ruined by the hundreds of stabs found, repetition will gradually remove them. All well- appetizing, and far better in its after-effects, than a good sight readers, due to the time they spent in detailed Thomas orchestra at that time. The modern symphony worked out with beginners. One of my advanced pupil- it is getting. What can I do to prevent this?” written difficulty is of this nature. We encounter it in badly cooked, badly served ragout. And music is the —D. A. L. and patient practice. Furthermore, sight-reading seems to orchestra runs from 90 to 120 men. teachers says it has completely transformed her thought Chopin, Liszt, Raff, Thalberg, Moszkowski, Schumann, food of the soul. The story runs that in a certain university the announce¬ be a gift, with some players, but does not seem to be an James I, of Scotland, .was a fine musician and was toward teaching, so much more rapidly and satisfactorily Mendelssohn, and others. It might appropriately be ment was written in crayon on the bulletin board that indispensable with all virtuosi. They play nothing in known to have been the composer of many works, none . 9ive me the 9°°d music that does not entail slavery do her students progress. One of them has brought into called “surface difficulty,” for it melts away under the Professor Blank, on account of illness, would be unable public at sight, but perform nothing except after pro¬ of which, however, remains intact. He died in 1437. in its preparation. I don’t like you to pant for breath, my studio some of them just to show how excellent are influence of' persevering practice. to meet his classes that day. A student wag came longed practice, and committed to memory. Players who The first mechanical musical instrument to gain popu¬ mop your face, and call out for water when you have the results. Her pupils all learn the little pieces, and a Some passages may be greatly facilitated by being along and erased the “c,” making it read lasses. Then read at sight well, as a general rule only do so with larity was known as “the musical snuff box.” It was finished your performance.-FRANCESco Bergfr, in Lon¬ wise selection of studies near the beginning of the Stand¬ broken up into sections for the two hands, instead of don Monthly Musical Record music that is much simpler than they are able to play simply the old music box, of the steel comb type, con¬ ard Graded Course, commit them to memory, and then another one erased the l, and changed it to asses. When¬ ever I hear of any such custom as you mention, I always brilliantly after practice. If you can play music in the fined in a little package the size of the old fashioned look forward to the “good time” they are going to have “fixing up” the fingers, and polishing the expression. She feel as if the bulletin board transformation had really sixth grade-well, you would not be likely to be a facile snuff box. At one time the dandies of Europe carried reader in music above the third and fourth grades. This, them with great delight and at any time could play the makes them all feel that this is going to be the “fun” been made, and not merely an announcement. It is One Minute with Wagner they get out of their music, and being an enthusiastic something difficult to control, for when human beings however, would be of great practical use to you. It is not “snuff box waltz.” likely that it is your fingers that are at fault, nor too Recent successes of musicians of negro ancestry abroad The one and only form of music is melody. person she makes the little folks feel the same. She determine to indulge in such asininities, they have more Whenever a composer attempts to be a painter fear of what their companions may think, than any suit¬ rapid playing. Reading well at sight means playing a are by no means the first of their kind. Elizabeth Vocal music is speech excited to intense passion. reports that her success in securing good finger action music, he will succeed in producing neither good nr and hand position is so much better than by her former able preparing themselves for even the most notable tasks. given piece at its proper tempo the first time over. In the Taylor Greenfield, “the black swan,” of about 1851, and I can grasp the spirit of music in no other manner nor a good picture. methods that it is a revelation to her. For your keyboard secure a long piece of cardboard, last two or three issues of the Round Table you will find Marie Selika, of Chicago, about 1881, made an immense than in love. some general directions in regard to learning to read at success in Berlin. Flora Batson Bergen, about 1870, Music woffid have no right to exist as an art, if 1 2. The kind of pupils mentioned in your second ques¬ thin, but strong enough to remain upright, cut it the Music influences the taste and morals of a nation no sight To.overcome looking from note to keys too much, toured Europe, Africa and Australia, gaining excellent tion are usually extremely musical, and take so much shape of your piano name-board, just high enough to lessaa powerfullypuwcuuu/ thanuicin theuic drama.mania. JSU’SS' J ”nM h » n «• pleasure m listening to the tunes, that they cannot hear avoid the finger jabs, and erect directly back of the keys. take a large newspaper, cut a hole in one end Targe notices. George A. P. Bridgetower, born in , was enough to. put your head through, let it rest on your a violinist who played the Kreutzer Sonata with Flying abroad from within temple-walls, holy music fn 2,"a*fVer *5 relations of music it will never the drudgery of earnest study. You can only assign then If you have difficulty in making it stand, run a cord in .’StrJSL »< -**~~• shoulders and the other end pver the keys so you cannot Beethoven. His father was known in England as the _oes forth breathing new life into every part of makes ft ♦ of‘hc arts- Its inherent sole certain pieces and studies, a small amount to be prepared front of it and in behind the front legs of the piano and Abyssinian Prince. for the next lesson. When they appear with the usual tie. This will hold it back. nature. "Sever comescom s in£ Wcontact with°nderful it. that il ennobles AUGUST 1921 Page 511 THE ETUDE THE ETUDE Page 510 AUGUST 1921 Dot and Double Dot SUNSHINE FAIRIES Can I Become a Good Sight Reader ? Mental Laziness Tobe played with feathery lightness. A characteristic scherzo. Grade 3*2. WAT TFR WALLACE SMITH By Marcus A. Hackney By Elizabeth A. Gest By T. L. Rickaby T„F of a dot after a note to prolong its value Some people, when they cannot memorize something Sight-reading is partly a natural gift, but it may be , £rpfl,if dates back to the earliest origin of our in about two minutes time, bemoan the fact that they acquired to . some extent or at least improved. The lack present musical notation; but the double^dot, Prolonging are stupid. Sometimes, if they make the same mistake of the pupil’s reading ability is often due largely to t e •t by three-quarters, is the invention of Leopold Mozart, twice in succession, they blame it on the fact that they are neglect on the teacher's part to provide sufficient (an father of the noted composer. correct) instruction in this particular phase of musical stupid. And sometimes, if they are corrected for the As has been often the case, the thing itself existed work. In the first place, no one instruction book con¬ same bad habit twice by their teachers, they are told that long before the sign. In the days of Bach and Handel, tains enough elementary material. Whatever book is they are stupid. olavers were accustomed to exaggerate the effect of the used at the beginning should be supplemented by work Once upon a time a little girl was told by her teacher dot in certain cases, especially in slow time, either lo from other books of easy studies and reading exer¬ that she was stupid. In fact, she was told so over and obtain a more striking rythmic effect, or to make the cises. Take any instruction book on the market, and it over again, until all of her spirit was deadened and she parts fit together better. Thus, for instance, if found in will be found that after a few pages of strictly elemen¬ assumed the “don’t-care” attitude towards her music stud¬ tary work, the studies and exercises increase in difficulty ies, and thought to herself, “Oh, I cannot learn this; with a most disconcerting suddenness, often presenting I am too stupid; so what is the use of trying!” problems that are to be coped with only after much key¬ That , teacher should not have told her that she was board work has been done. stupid, because she was not; but she was something even Further, pupils do not write enough music during the more inexcusable! first lessons. Manuscript books are cheap enough, and When one makes . careless mistakes over and over every beginner should fill two*or three of them. We again, it is not a sign of stupidity; when one cannot hear a great deal about ear-training, but very little, if memorize something in two minutes, it is not a sign of would commonly be played any, about eye-training, which is just as important. stupidity; when one has to be corrected repeatedly for It might be said that, while it is perhaps necessary 2 bad habits, it is not a sign of stupidity. But, do you k.'xiw that the names of the notes be known, it must not be what it is a sign of ? It is a sign that that person is men¬ forgotten that the ability to name a note is secondary tally and musically lazy! The mind is too lazy to con¬ to being able to locate it on the keyboard. In a sense, if centrate on what it is doing; the mind is too lazy to make a pupil, seeing a printed note knows exactly where it is the effort to memorize quickly; it is too lazy to exert it¬ on the piano, it is not absolutely necessary that he self to control the fingers; too lazy to remember what the knows whether it is “A” or “B” or “X” or “Z.” A One should keep this in mind in playing antique music, mistake was and avoid it. note merely represents a tone which is to be produced and be alert to act accordingly. However, it would Never let your mind grow lazy; and be sure to take by striking a particular key. every means to prevent it from becoming so. not do to lay this down as a strict rule, as other cases occur in which composers more probably meant just You, may think that if you are not lazy, your mind is Get the Group-reading Idea not lazy; but that does not necessarily follow. what they wrote. One must be alert and nsitive to It never seems to occur to some ordinarily bright peo¬ Some people have lazy minds, although they are not grasp their musical thought and do what tin character ple that music may be read like ordinary print in the lazy otherwise; and some people are lazy otherwise, yet of the context seems to require. The great possibility sense that we read in groups of printed letters, and not have very active minds. of misunderstanding is of course the very thing that in individual letters. The student who must laboriously Do not let that happen to you. Give youd mind plenty led Leopold Mozart to invent a new sign. spells out every chord, and note will never be a good Young pupils are often puzzled to know just how to of exercise. Memorizing is a very good one; and writing sight reader, One very good plan is to take a piece of out your scales, etc., on paper, (away from the piano) estimate, practically, the proper length of a double- blank paper and cover a few measures of new music dotted note. The well-known rule that the second dot is a very good one. with it. Tell him that you are going to remove the Thinking your pieces away from the piano is good, and adds again half the value of the first dot, while clear paper while you count eight. When he can see the enough from an arithmetical point of view, is meaning¬ forcing yourself to do difficult things when you do not measure’ he is to make a mental impression of every feel inclined to take the trouble is splendid. less to them when it comes to actual playing. The best note he sees, reading them by groups or “music-words” help is to tell them that a double-dotted quarter is prac¬ You may have some special way of your own to pre¬ as they might be called. Then expose other measures, tically a half-note, just enough shortened to crowd in a vent mental laziness from developing, and if you have, gradually reducing the period of exposure, and in¬ sixteenth note at the end. Similarly, a double-dotted apply your remedy regularly. Watch yourself carefully creasing the difficulty of the music. and see if you find any signs of this bad habit and if so eighth note is something just short of being a quarter The sight-reading eye is very much like the ex¬ note; etc. “rub in” the preventative at once. tremely rapid lens of the moving picture camera. It The same remark holds good in regard to the (very grasps an impression, records it, and then grasps another. Whether you are a good sight reader or not rare) instances of triple-dotted notes, only these are The Fault-finding Habit even more so. depends upon how rapidly and how accurately your eye By Ada Mae Hofffek can photograph continuously changing groups of notes. The process we have outlined may seem a laborious one, Why not change the fault-finding habit, if you have but if a teacher really and honestly cares to make a di i it, to the good-finding habit? Music Teachers have a good sight-reader of a pupil, he will spare neither ws great deal of criticising to do as a natural part of their pains or trouble to reach the desired end. This triple-dotted half-note sounds practically like a work and it is the easiest thing in the world to let As has been suggested, sight-reading requires a great whole note. this develop into deliberate fault-finding. When criti¬ deal of supplementary material. There are numerous There is a use of the dot found in some old editions of cisms have to be made, make them positively but cheap editions which teachers should always have at music, now so rare as to be almost forgotten, which entirely without any suggestion of fault-finding, sarcasm, hand, for this purpose. It may not be always practi¬ might puzzle a modern player. This is a dot placed at superiority, scorn. This is simply good pedagogy. The cable for the pupil to purchase the necessary music, but the beginning of the next measure. music teacher is teaching something which has to be the teacher may provide some of it without very great very exact in three ways: expense. He might with perfect propriety under certain —the position of the notes conditions make a slight charge for the use of it. —the time of the notes Kohler, Czerny, Bertini, Sartorio, Berens, Duvernoy, —the quality of the tone. Heinze, Bilbro, Gurlitt, Engleman, Horvath, Loeschhorn He also teaches something which makes the mind and and others have written a great deal of elementary mu¬ the fingers progress at a rate of speed higher than in sic that has value as additional reading drill at the any other study. Naturally there is opportunity to earlier' lessons. The “Guide to New Teachers” which criticise every few seconds, but the wise music teacher you may procure gratis from your publisher, contains _ j <*«■ me prcaciii unit, v* would omit mention of it, but examples still exist, fo so controls these criticisms that they bear the construc¬ hundreds of suggestions for sight-reading material, and instance, in some of the parts of Brahms’ Trio fo tive character of optimistic advice and not destructive the musical section of the “Etude” is used by thousands Clarinet, Violoncello and Piano. fault-finding. of teachers for this purpose.

Conducting Without Scores Joy In Music One Minute with Berlioz By Walter Stumoff By Francesco Mariano - ...v icauu ui Knowledge and msmiatic Music is What many people believe to be an amazing accom¬ a heavenly art; nothing supplants it exc true love. plishment of the present age, the custom of conducting The first music on earth was doubtless the result of without score, as Stokowski, Weingartner, Toscanini someone finding thus a spontaneous outlet for happi¬ cJn°jTnt4 bT‘ifuJ forms of rhythm is a thing i and others do, is by no means a new idea. Von Biilow, ness. music g,t- Tt is one of th* rarest gifts who had a marvelous .memory, used a score most of the Happiness in whatever one undertakes is one of the time, but a story is told of Mendelssohn which indi¬ surest mediums of success. A joyful outlook, an opti¬ re.f,y impressed by music, we should, at cates that he knew many of the important scores by mistic, faith springing from this, and there ’is almost voices. y feC thC vibration of the instrument heart. At the time of the revival of Bach’s Passion nothing within reason that the individual cannot accom¬ music someone happened to look upon the conductor’s plish. Study, music, then, not as a set tark. Look upon fu* °l mov,ng' a systematic combi desk at the copy of the scores. Instead of Bach he it as a means to pleasure. Practice, and in the joy of cultivated beings. eaffeCtl°nS °f intelliger,t’ receptive found an entirely different work. Fearing, however, mastering, something before unknown get your best re¬ that the orchestra and chorus might lose confidence, ward. Herein lies the most satisfying returns that ever Mendelssohn turned over each page as he came to it. come from any effort. though6we canerallinfed°inHnd ***** in music ^ means of a kindlo Si * * THE ETUb g Page 512 AUGUST 1921 AUGUST 1921 Page 513 CHERISHED DREAMS THE ETUDE VALSE work. Grade 4 Avery melodious val»e brillante, combiningthe singing style withsome interestingpassage CARL MOTER

Tn the popular syncopated manner. Very characteristic. Grade 2% GEORGE E HAMER

Copyright 1921 by Theo- Presser Co. British Copyright secured British Copyright secured Copyright 1921 by Theo. Presser Co. the etude AUGUST 1921 Page 515 Page 514 AUGUST 1921 THE ETUDE IN THE PALACE IN THE PALACE POLONAISE FRANK l.eyer POLONAISE FRANK L.EYER In majestic style. To be played in a full and sonorous manner, without hurry g PRIMO Allegro m.m. J =108 THE ETUDE AUGUST 1921 Page 517 THE ETUDE Paw 516 AUGUST 1921 WITH GLISTENING OARS WITH GLISTENING OARS IRA B.WILSON BARCAROLLE tr a r WILSON

An original four-hand pinna, not an arrangement. To be played in a ajnootl. and flowing manner. Grade 8 SECONDO Con grazia M.M. J-= 58

: 7 * 1 w f

P J.2 i '

Copyright 1921 by Theo. Presser Co British Copyright-secured THE ETUDE ' AVGUST 1921 Page 919 Page 5 IS AUGUST 1921 m ™E tTUM civ \innv-enchanted waters UJN MUUiN ^ 1'boat song leo oehmler.o^i Differing horn meet UrcaroUe* by being instead of|,| ete. Pi.y in a flowing manner wi.hou, j.rkmee, of rhythm. Grad, 4

Andante con moto M.M. J = 72

Icon calma ral. —-■ /v«j9 - 3*ff*- r. —*? Hu

3 1 4 - N/f- 5 -> jr PM —^---\ ■ /$ - ^ 11 r #' a. * 2 3 * ;r .iJT - imfenergico __ fL- ? 6 ^^4 \ y v\p- Ur^a r * f ■ r? ' • I 9 CU 5 8 5® D.S.* 5 3 1 4 15 mi a 5 -J?*.!. +-m * —J to -*Mk gE?g . hi it! \LZ_e_fe:— -n-- 5 11 2 ^4 1—H00 3 5 ... Piilmoss<> -- t 2 3 a—IU4 ! T>/8\ »| 3 f\* 1 3 k5| JL L-i~4-a?-1—1

TRIO | * 1 LTrLT -31 i eresc. 3^- o yj^ Tj & r 1 yrl * rj J»r*m 5 m\ 1 -ilT^ f [{ --^(S '«>f

! at . it fi a tempo a j 11 j 3 3 %L- ' 7~~- $3 ^ yr-t'p» H *[* T rtY. | cresc. J rrj

| 3 2 1 ■ -pi? irP^

Copyright 1921 by Theo.Presser Co. British Copyright secured m AUGUST 1921 Page 521 THE ETUDE THE ETUDE Page 520 AUGUST 1921 SALTARELLA Swift and light finger work is required. Grade 4 A light springingdance with a sort of a “skipping” rhythm. R.GOERDELER Op.472

International Copyright secured Copyright 1921 byTheo.Presser Co. the etude AUGUST 1921 Page 523

i

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LOVE’S RESPONSE Play thefirst theme in the manner of two voices singingtogether; the middle section like a baritone solo. ANTHONY Op 286 Andante moderato m.m. J = 84 g _ ’

!

British Copyright secured Copyright 1921 by Theo.Presser Co. AUGUST 1921 Dage 525 AUGUST 1921 . ____ TffS£TU2)£ THU ETUDE MARCHE AUX FLAMBEAUX

THE LITTLE SANDMAN RHENISH FOLKSONG A pleafling arrangement nf one «.he m.fl. bean..,nl oiall folg fl.nga,.. bepl.ped w„h .he vmi.n fof vio]in andpian0 Softly, gently yet with motion by ARTHUR HARTMANN

Violin

British Copyright secured Copyright 1920 by Theo. Presser Co. AUGUST 1921 Page 527 Page 526 AUGUST 1921 Tlf£ ETUDg TJIE etude THE OLD PIONEER DREAMING IN THE TWILIGHT A very fine example of a \ rhythm,spontaneous and not forced. Accent on the first and fourth beats, like a combination of three and two.Gradeb WILL H. RUEBUSH A wive and charming ballad with an alluring and waltz-like refrain. With sturdy good humor m.m. J = 84 ARCHIE A.MUMMa Moderato con espress

Copyright 1921 by Theo.Presser Co. HM British Copyright secured British Copyright secured Copyright 1921 by Theo. Presser Co. AUGUST..1921 Page 529 the etude the etude Page 528 AUGUST 1921 THE BIRD^AND^THE BABE thurlqw LIEURance

Mr Lieurance’s latest inspiration. Not an Indian song but partaking somewhat of the Indian c* 1 r.h^^ r.h. Andante conmoto

Sleep,_ my babe, _ To shad - ow land we fly. An - gels will guard thee, In

_ _ _ 4 ______F. MENDELSSOHN,Op. 108 - wS- CORNELIUS MARCH Arranged by Har^yB.Gaul "MM .siFf jXpt' This march, originally for orchestra, was composed in 1841 for a fete given in honor of the painter Cornelius. The first section of the I: it:—.M- H i -r H‘ ■ ■■ 1--=iF W - «| =J piece as here given makes an excellent sortie or postlude. Vivace m.m. J = ioel j . , . k. PB , I I lAp^ ILA HI J Hi J tiJ 11 --- Pea. simile

My ,. 1 . Jj—. * 1—4}*-—- m

ba ^y land.—^=^1 Ohl slum-ber on,- My pret - ty one,-

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Copyright 1981 by Theo.Presser Co. Note: From % to # may be omitted. Copyright 1921 by Theo. Presser Co. British Copyright secured AUGUST 1921 Page 531 THE ETUDE THE etude Page 530 AUGUST 1921 JOLLY MUSICIANS Do Any of these Hit You ? In a recent issue of The Lyceum Maga¬ 6. Don’t show that local conditions minor. Grade zine Charles B. Taggert presents “Twelve are not satisfactory. Don’t try to make A lively march movement serving to exemplify the related keys of G major and M. GREENWALD Suggestions for Lyceum Entertainers.” it appear that you are used to better AS we read these it seemed to impress us things. that the advice was in part very adaptable 7. Donlt try to show that you are to certain musicians young and old, chummy with great people. Bad taste 1 amateur and professional, who appear be¬ 8. Don’t assume too much humility. fore the public. Do any of these hit you? Never apologize for your work. Doij’t Knew "-a Robert- talk too much about your work. Do it! 1. Follow your gifts. Don’t try to do fys.°M™Luls one what you can’t. 9. Don’t obtrude your personality in words or manner. 2. Don’t try to appear extemporaneous. and endorse Ingram’s That is showing off. 10. Treat your audience as a kind friend Milkweed Cream for 3. Study to acquire an easy, natural who is giving up the evening to you. proper care of the com- 11. Don’t appear to condescend to your manner. 4. Be distinct. Make a clean-cut im¬ audience. Bad taste! The wise ones will pression in each different turn you at¬ laugh at you. If you are really great, they will find it out, without your doing any¬ tempt. 5 Be kind to your audience, not thing about it. snappish. Be able to be annoyed without 12. Strive for perfection in the fine showing it. points of your art. Grow from within.

Technic Tablets Does the burning summer sun .

By C. W. Fullwood redden and coarsen your skin ? ris — keep Mere technic makes a machine-like cular effort owing to a wrong position of h ^ight inn the thumb. The thumb, at all times, should complexion. player. Intelligent practice, on the other use Ingrai s Milkweed Crea hand, makes for an expressive, individual be held in an easy position, slightly bent, ularly. Send us a dime for Ingram’s Beauty Milkweed^ Creai interpretation of the musical idea. Technic ready for an instantaneous stroke or pres¬ Purse containing samples of Ingram s is a means of conveying the individual sure. Study the thumb. Where there is ^ecte^of^h^ elements—-mor^than Milkweed Cream. complete muscular control, it becomes a that, it preserves the complexion, for PowderA dainty powder pad. and soul of the true musician. Ingrams Milkweed Cream^has^an samplesof other leading Toilet-Aids. Mental action must precede muscular most useful member. Thumb exercises may be practiced anywhere, on the arms of r

Impertinent Points on How Not to Practice “H balf century of quality production” By Robert M. Crooks

Be sure to place your music upon the For pity’s sake dwell upon those easy rack just any way and to go slap-bang parts of your piece, and when you come to Che through your piece from beginning to end. those measures which trip you, stumble on Don’t dare to count your time; and have to the next part, even if you have to jump Craftsmans upon your mind that Johnny or Jenny is a few notes. waiting somewhere on the outside for a Don’t mind those sharps or flats in the good long play. _ key signature; they were put there just Play a measure or two, then run for a for show, and it is so much easier to play Skill look at the clock. Take one finger and pound .out two or them natural. had the training required Don’t use the fourth and fifth fingers HE SKILL that three scales, and thus fool mother who is any more than you can avoid.^ They are comes only from by the high standards of in the next room. the strongest fingers and don’t need de¬ Remember those chords your chum the House of Krakauer. velopment; besides they were designed to long experience showed you how to play are far more im-# fill out and ornament the human hand. portant than that new piece you consider in producing the best is Their skill, together Be sure to hold down the loud pedal so hideous. throughout the entire piece. essential to the pro¬ with the tested materials Turn over to the back of your book and Now hurry up and skip; your full hour play the easy measures and think what duction of the piano that used insure the lasting is worried through. wonders you are doing. gives lasting satisfaction. qualities of the rich Every man whose work tone, the sensitive touch The Lord’s Fiddle goes into the building and the perfect re¬ By Giulio di Conti of our instruments has sponsiveness of the sive organ, they were, used as an accom¬ From our early Pilgrim and Puritan paniment to hymn singing. ancestors we have inherited our now fast One good old deacon quaintly wrote, I dying prejudice against the violin as the love the fiddle; not the wicked, wee little “devil’s instrument.” However, though KRAKAUER PIANO fiddle, full of dance tunes, but the great the violin was held as of the world pro¬ big fiddle, with a most heavenly tone.” fanely worldly, this aversion did not ex¬ fAek any unprejudiced musician ” Deacon Prescott of Deerfield, N. H., tend to its “big brothers,” the violoncello made in'tniments that were much in de¬ aud double bass. mand With several of them strapped to The Krakauer Grand Under the name of “bass viol” both his primitive chaise, he travelled about The Krakauer Upright these larger instruments were classed; the countryside, disposing of them to will¬ and in many New England churches, The Krakauer Player Piano ing congregations. which could not afford the then expen¬ The Krakauer Reproducing Piano Send for catalogue—no obligation. Let us show you a thoroughly defied plan whereby any progressive teacher Krakauer Bros., 193 Cypress Avenue, New York. Income by turning a feu, spare moments each week to an interesting profit. Writ* to-day. Department C, THE ETUDE, Philadelphia, Pa. “Please mention THE ETUDE when addressing advertisers. AUGUST 1921 Page 583 Page 532 AUGUST 1921 THE ETUDE THE etude the head, which degenerates into chronic Procure an oil or Alboline atomizer of catarrh with a consequent loss or uncer¬ the following shape: tainty of voice. How do we recognize a The Secret of cold in the head? Briefly, a tickling sensa¬ tion or an irritation in the nostril is felt, a a Beautiful sneeze, and there you have it: the cold in Department for Voice and Vocal Teachers the head, as it is popularly called. It seems Edited by the Well-Known Boston Voice Teacher but a small thing, but if it be not attended to without delay it may rapidly degenerate .(.Voice ARTHUR DE GUICHARD into pharyngitis, laryngitis, bronchitis, angina or virulent sort-throat in which the “Thank You for Your Most Sweet Voices—SHAKESPEARE whole of the cavity (the cavum) comprised in the back of the mouth down to the larynx is inflamed; tonsilitis, acute head¬ (Glycol Atomizer) A Tested Remedy for Catarrh of the Vocal Organs aches and the grippe or flu; as commonly called. “What 1 All that from so small and Do not use an atomizer with a long tube How to Take Care of the Voice. What to Do. What to Avoid. Catarrh “Chest Voice” Constriction negligible a beginning?” someone ejacu¬ in place of this short nozzle; it is less lates. efficacious. By Arthur de Guichard Quite so! A small scratch with a rusty How to Apply It nail, if neglected, may be followed by Fill the atomizer with the solution about Mr. Arthur de Guichard, the well-known Voice Specialist and Musical in differing formulas by leading throat practitioners. As he suggests them, blood poisoning and death; whereas prompt up to the mark as indicated. Try the rub- Lexicographer of Boston, who has conducted the Question and Answer they are not likely to cause any harm and may prove very efficacious, if treatment with the highest grade of perox- ber bulb to see that you get a spray. Then Department of THE ETUDE for some years, mentioned in very fine print applied with persistence, in the average case of vocal trouble, when com¬ ide of hydrogen or other disinfectant insert the nozzle into one nostril, close the in one issue that he had found a non-proprietary cure for catarrhal afflictions. bined with his suggestions for avoiding constriction, etc. If, however, after would have removed all danger. mouth and blow in the spray some twelve This brought us so many inquiries for the remedy, that we asked Mr. de a fair trial, you do not find that these remedies are adequate, better con¬ Similarly with the cold in the head.. If or thirteen blows, inhaling it and then Guichard (instead of sending out a number of individual replies) to write it is not treated without delay and perse- blowing it out through the mouth. Apply Wonderful New Method a special Vocal Department covering this important matter. The medical sult your practitioner at once. In all persistent cases the singer is unwise who The quality of its tone veringly until cured, the malady will last it in the same way to the other nostril, imert* of the mjd remedies he suggests are those which any good druggist can compound and does not secure the best advice possible for remedying the difficulty, from some eight or ten days at least, without tak- (N-B. Swab, with absorbent cotton, the enraptures the heart will be MtODiuhed at the new ricbneBB^cleai^e»s are really local antiseptics and stimulants such as are applied in a bland oil the most experienced medical and surgical specialists. ing into consideration the fact that it may lip and b.ase of nostril- in order to prevent “go to your chest,” as they say. This irritation from any solution which may Of the entire family of musical instru¬ as its beauty of con¬ wrongly diagnosed the unmistakable strong lar bone. Whenever any dilation of the office of a friend of long standing, a doctor means that the infection may spread by have become deposited.) Then, placing the ments, the Voice is the most fragile, the dramatic-tenor as a high baritone and is veins or muscles of the throat or neck is having a considerable practice as a special¬ degrees, until you are laid up with a severe mouth horizontally over the perpendicular most susceptible of irreparable damage struction delights the Vocal Course—FREE trying (and, even so, is wrong) to give seen, we know we have lost our diaphrag¬ ist for diseases of the ear, nose and throat. attack of bronchitis. But there is one thing atomizer—but without letting the lips or either from the effects of disease, or of him a more robust and heavier quality by matic control and are forcing—or trying to A young lady of about 18 came in and that is very sure: the neglected cold in the mouth touch it—spray the back of the abuse, or of wrong training, or of want eye- making him “shout his lungs out,” and so force—from the throat. When we think, complained of sore throat and much hoarse¬ head will be followed by a strong dose of throat some twelve or thirteen blows, inhal- •ttSjU Pg*feclL!!°tot*gnn«e £ of daily observance of those rules which lose his voice. we know that this throat forcing is ridicu¬ ness; indeed, the latter could be heard in catarrh, then by another attack and another, ing the spray as deeply as possible and then govern the maintenance of a healthy voice. Classifying the Voice lous, because it is not only inefficacious but her speech. Having examined the patient’s until the catarrh becomes chronic. Then blowing it out through the nostrils with The throat is the visible barometer of From which it may be seen that the very it paralyzes the singer’s chief vocal organ, Do You Stammer? physical health. throat and found it much inflamed, the doc¬ “good-by” singing as a profession! closed mouth. first and most important thing to be done is his larynx. The throat effort grips the tor subjected her to a long verbal examina¬ Schomacker Piano What is catarrh? Many of our organs This complete spraying should be done When we open the mouth in obedience to be as sure as possible of the diagnosis larynx (the voice-box), holds it as in tion to find out how she had taken cold. are lined With a very thin and sensitive every night and morning without fail; also, to the physician’s command: “Put out your or classification of the voice. It is true that a vise and actually favors a loss of breath; No; she had not been in a draught; she had coating or membrane, called mucous mem- in bad cases, three or four times during the tongue 1” it is not alone the tongue that he Company mistakes sometimes occur: Pisaroni and whereas by concentrating all our will power not got wet, she had not had wet feet; in brane. The chief organs are: the bronchial day. As a matter of prevention, the singer examines, but also the whole aspect of the Grunaldi were at first classed as soprani, at the diaphragm—and at the diaphragm ESTABLISHED 1838 tubes, the stomach, the intestines, the throat should also use it in cold or damp weather mouth, palate and pharynx (the cavum). short, she had committed no imprudence Ellevious, a tenor, made his first operatic only—we are able to control and economize whatever to account for her seeming cold. and the nasal passages. It is this last just before going out. Recourse to the ato- The state of these indicates to the doctor PHILADELPHIA, PA. appearance as a bass of short compass; the breath. Consequently, we control the named which interests singers most par- mizer should be had, whenever a sneeze or the cause of the physical trouble. The Nevertheless the hoarseness and the throat Galli, a bass, began as a tenor; Mario, the voice, right to the very last atom, while at ticularly. The exact origin of nasal catarrh any irritation is felt in a nostril: slay the voice is even more delicate than these; trouble had been growing more and more renowned tenor, studied as a baritone; Nic- the same time maintaining the larynx and is not known. That is to say, it is some infection at its birth! It would be found for it, in turn, is constantly liable to severe for about a month! “We will soon olini, the tenor, who became the husband of other vocal organs free and flexible, with¬ microbe which enters a nostril, infects the very beneficial if the singer would supple- frequent alterations of quality or timbre, relieve you,” said my friend, the doctor; the late Adelina Patti, was first placed as out effort of any kind. mucous membrane, and propagates with ment this operation, night and morning, which reveal to the experienced ear of the “kindly take a seat in the waiting-room, and EECE15EH3 a baritone; Jenny Lind was at first trained How often it occurs that the teacher great rapidity; but the actual microbe is with 8 or 10 minutes’ deep breathing, inhal- competent teacher the exact cause of the I will prepare something for you to take.” as a coloratura soprano, but, after four asks a pupil: “Why are you getting red in not yet known. It is probable that a ing fully through the nostrils and exhaling vocal trouble, whether it be physical or When the patient had disappeared, my years of that study, her voice became so the face, with so much apparent effort at lowering of the temperature of the mucous through the mouth alternately fast (for mental, wrong use or abuse, or simple want friend expressed his surprise at his inabil¬ fatigued that Garcia replaced and restored your neck? What are you doing?” “Why, of the head favors the attack of the one breath) and very slow (for the next of attention. Thus the two indispensable ity to account for the cause of her trouble. it to its natural position and, after four I haven’t enough breath; it is giving out!” microbe and its propagation. To ward off breath). This combined operation of ato- essentials of good voice quality are good “My dear boy,” I replied, “you ought to years, she achieved a triumph in Bellini’s “But, why squeeze your neck? Do you Tal»niu.nPi»iioScho scars. Booklet free. KIMBALL HALL, CHICAGO, ILL. An invalid, suffering from heart dis¬ voice. Great emphasis is placed upon this Hem 1 Hem! Hem ! W»ayae^lDoasiDn! use all the time with remarkable results, and place in which they have developed. ease, would scarcely consult a doctor who matter of right diagnosis; because the so you will probably bring her voice back MaMer°<758-‘x.3 Mahler Skfa' In obstinate cases of chronic catarrh, it They work out their own problem, and, specializes in eye, ear, nose and throat, yet As one of the chief manifestations of the again. Let me know how you succeed. But must be borne in mind that the patient must quitting the arena of life, leave the fruits of whole life of the singing voice, its success result of “tight throat” is frequent hoarse¬ I know of an actual case (one of many) remember you will not be a perfect throat be just as obstinate in persevering with his their labors for the pleasure and profit of or failure, depends upon it. Therefore, let ness accompanied by the so-called “frog” “GOD'S MASTERPIECE” TINDALE MUSIC CABINETS of a tenor with a good voice who is study¬ specialist until you have taken some lessons treatment. It might take two or three future generations. To this type of artist the three (not one, but three) experts (“hem! hem! hem!” which irritates the A Sentin^ntal Love Song; different; told in a Just what you ing with a woman, who has not the least in the technic of singing. Au revoir!” weeks before any positive benefit would be workers belong Bach, Haydn, Mozart, decide, and “make assurance trebly sure.” larynx very much), this congestion is often knowledge of the well-known passage It turned out that my diagnosis was cor¬ published.” Thousands of copies now being sold. There are many pitfalls for the singer, thought to be the result of a cold. It Buy a copy now and give yourself a musical treat. felt but the benefit and relief will be felt, Beethoven, Mendelssohn Schumann, have been wanting which occurs atF (first space G clef) or rect, that the doctor did bring her voice Piano Copy, 50 cents—stamps not accepted and the disease will eventually give way to Glinka. Others, consumed by unmeasured particularly during the first two years of might be so; but when the cold is cured, the Will keep your music how to treat it, and who endeavors to make back, to her great delight; that he caused STARR MUSIC PUBLISHING CO. ambition in order to attain his preparatory technical studies. First and congestion should disappear. The cold is the treatment. him sing over it, E. F. G., in forte tones her to change her teacher, in order to avoid Dept. No. 7 DULUTH, MINN. a prominent position, push noisily through in order, free from foremost, is that described as “constricted catarrhal, the congestion is not. But they of the same quality voice as a fifth lower! any relapse; and that my friend, the doc¬ Catarrh Remedy the crowd, dispersing right and left all damage and where you throat” or “tight throat.” This is caused by both require careful and constant treat¬ ' Needless to say that the tenor, instead of tor, became my pupil for voice 1 5 01 Cassia gtt. xxiv whom they meet on the road and striving can easily find it. Va¬ making the vocal effort, called “attack,” at ment, if the voice is to be saved and the developing an excellent voice, is daily los¬ To Teachers,Schools, Colleges and Convents Gum Camph. to attract universal attention to them¬ rious sizes,holding 200 the larynx instead of at the diaphragm; user’s health preserved; for it must not ing what he has. Each lesson becomes a Neglected Colds Menthol a a 3i selves. Such artists are ready to pose as to 1200 pieces or more. and not only the “attack,” but the sustaining be forgotten that a sick throat is an open nail in his vocal coffin! It seems that the and instruments. °PricM'anircUa\af^.moTrhequML Alboline q. s. ad. 3ii the representatives of every new, and some¬ of the note and of the ascending passage, door to all kinds of infection. Next in importance to incompetent teach¬ Oak or Mahogany. fair teacher (I might say un-fair, were I ing and wrong practice (tight throat, rigid¬ PERLMAN MUSIC SUPPLY HOUSE Spray as directed. times false, idea and strive not for the all of which should be done by support at All doctors do not always distinguish 503 Fifth Are, at 42nd St., New York City not convinced that it is only another ity or stiffness anywhere, pressure of Recommend the druggist to be careful realization of their genius but only to the diaphragm, breath control. There between cold and congestion, as regards Note—Original House : No connection with example of “simple” ignorance!) has tongue on the larynx, gripping of the jaw that the camphor be completely dissolved, astonish the world by their Don Quixotism, should be no effort whatever above the col¬ cause. I happened one day to be in the any other house. Our one and. only address. muscles, etc., etc.) is the neglected cold in leaving no crystals in suspension. V.3. To this type belong Wagner and Serov.” Please mention T E when addressing THE ETUDE AUGUST 1921 Page 525 Page 581f AUGUST 1921 the etude Don’t Depend too Much Upon the Teacher Professional rNew and Artistic By Alfredo Trinchieri New Time Saving Directory Do not depend upon the teacher telling a part of this particular lesson, and see Methods in Business you everything. There are hundreds of how you will inspire her to do everything things you can learn for yourself, and be possible to further your interests. Know Four Albums of EASTERN and SOUTHERN all the better for it. The fact that you your notes and rests so well that, if called Song acquired the knowledge alone makes it of upon, you can name any one of them prop¬ They result from Marked infinitely more value to you than if an erly. Know just how much time each one pupils prepared for^oncerta of them represents, especially if it is fol¬ ALBERT b., N. Y. City. Telephone 53- instructor had brought it to you. It will the purchase of an Individuality stay in your mind longer. It will help lowed by a dot or double dot. Know the you to learn something else more easily. definition or meaning of every musical Albums-^ term or sign connected with your lesson. icoltyof ten teachers. J It will develop your mind more. It will beeghwood come to you more easily when you need Musical dictionaries and encyclopedias UNDERWOOD to know this particular thing again. were made for just such as you. It is PUBLICATIONS THAT HAVE BEEN RECEIVED WITH As a means of contributing to the development of interest in opera, for surprising how many students of music many years Mr. James Francis Cooke. editor of “The made " has prepared, Frotn a selfish standpoint, it is the best BOOKKEEPING ENTHUSIASM BY DISCRIMINATING gratuitously, program notes for the productions given m Philadelphia by The combs:: of economy. Every detail which you work never have learned this. Metropolitan Opera Company of New York. These have been reprinted out or learn for yourself only leaves that In fact, if you would make your best extensively in ‘programs and periodicals at home and abroad. Believing that advancement, if you would inspire your CONCERT SINGERS our readers may have a desire to be refreshed or informed upon certain much more time at your lesson for the MACHINE aspects of the popular grand operas, these historical and interpretative notes DUNNING S.SJSSSS5 teacher to help you on those things which teacher to do her very best for you, if on several of them will be reproduced in “The Etude. The opera stories you cannot do alone and which the your work has been dull and you want to Songs of the have been written by Edward Ellsworth Hipsher, assistant editor. make it interesting, if you want to get the Seven Songs from Arch1 St. ,°*PMla' teacher’s experience makes of greater value ’Way Down South North American Indian^ FftBRI I to you. Go to your lessons able to show most out of your studies, try depending It will demonstrate your teacher that you have been studying on the teacher only for those things which Artistic Songs Idealizing A Collection of Nine Indian Songs with _ . , -r n-r RUSSELLRUSSELL^S. S. + PracticalFracl instruction: you cannot possibly learn for yourself. Southern Negro Characteristics Preface and Explanatory Notes GILBERT for yourself, even things' not necessarily how your office By Lily Strickland By Thtirlow Lieurance Wagner’s “Tristan and Isolde” Artists and teachers everywhere are can cut down its This group of songs may be used as a There is an aura of romance around score for $800. After many disappoint¬ using Lieurance’s harmonizations of tri¬ Teaching the Child to Listen complete cycle pr the numbers may be ments the opera was placed in rehearsal bal melodies. This album containing Tristan and Isolde possibly not equaled HAWTHORNE overhead. programmed individually. They rank the most successful numbers, such as by that enveloping any other musical work. at Vienna (1862) ; but after fifty-four Teacher^of^SingingJ31 By Mary Alice Smith unquestionably among the best Southern By the Waters of Minnetonka, By the Wagner, always inclined to transmute his rehearsals it was declared “impossible” JACKSON | And one day, as the months went by, ' songs ever written; while some are Weeping Waters, Indian Spring Bird, very soul into his works, felt a peculiar and abandoned. In 1865 it was given for Mary Lu began her lessons before yet UNDERWOOD TYPEWRITER CO., INC. Walter H. Jenktna, Secret something unfortunate befell—Or was it? etc., affords a most convenient as well bond with this music drama; and, at one the first time in the Royal Court Theatre out of the kindergarten. She did not so grave, others are gay; some are remini- Mary Lu was attacked by what turned out as economical method of acquiring time, in a letter to his future father-in-law, in Munich, under the baton of Hans von much as know her letters, but learned , scent, others descriptive. to be a prolonged siege of “pink eye.” For these favorites. Franz Liszt, he intimated that, since he Biilow. Ludwig Schorr von Carolsfeld them—or the first seven—at the piano. KRIENS “ weeks she was not permitted to use her Price, $1.50 had never enjoyed his ideal of love, he She was so young, it might have been ex¬ Price, $1.25 and his wife assumed the leading roles. eyes. But this was the teacher’s oppor¬ proposed to embody in Tristan and Isolde plained, that little ear for harmony had The first American performance was at tunity. “Let her come on to the lessons,” a monument to love itself.' That he suc¬ MOULTON developed. But her wise mother had Songs from the Celebrated the Metropolitan Opera House in New trained her baby mind to be singularly she said to the wise mother, “and we will ceeded in making this wonderful legend, in York, under Anton Seidl, December 1, see. There is much we may accomplish.” Yellowstone Recital Songs dramatic and musical form, the finest epic receptive, and to accept everything that 1886. , Albert Niemann, came to her as just that much more adding And she set to work, playing with dosed Four Original and Characteristic A Most Notable Collection of Songs of love in the history of art, few will NEW YORK■ Compiled and Edited Marianne Brandt, Emil Fischer and Max to her happiness—whatever or wherever, eyes being her plan. deny. At that time Wagner was burning WE furnish our accurate teaching device with Alvary were in the cast. MARIO: Voice Culture. Mary Lu was happy. Directed by a loving First, the child' was taught to listen. By Thtirlow Lietnance By David Bispham tools, action model, lessons, and analysis of with his peculiar affection for Mme. SALVINI teacher, learning the keys and the charac¬ Then, as her eyes grew better she was al¬ business advertising which makes you a master Mr. Lieurance has taken a new de¬ Forty-four Master Songs selected The music drama, as a whole, is virtu¬ of the tuner’s art. Diploma given graduates. 17 Mathilda Wessendonck. He had set five ters of music was just as interesting to her lowed to glance now and then at the page, YEARS’ EXPERIENCE in teaching the most from the repertoire of this foremost ally one long impassioned duet, save for parture in this set of songs. The themes, of her poems to music,—one being the as the most fascinating play in the kinder¬ and with taxing her memory it was found American artist-teacher and arranged the few interludes making up the action. VIRGIL pmuienccL n^S INH* LER^AN E>r> r nate as to have their particular sphere of would hardly call it artistic to play the and girls from the mills, and children at l 1 i uals, twenty-five speaking stops, usual me¬ The Offertory is too often looked upon J. W. DRAIN. HORNOR-WITTE, art more deeply rooted in the past thar chanical accessories, built by Johnson. A War March of the Priests after the hymn play on the streets to go immediately from This were the prise, and is the pussle— very desirable, well balan-ed instrument, suit¬ as only an excuse for taking up the col¬ 1712 Chestnut St, 3000 Troost Ave.. any other branch of musical activity. They Peace, Perfect Peace, and yet such things their occupations, listen to the music for which So many organ students, in their efforts able for a moderate size church and at a very lection. Even that in no way excuses its Pa. Kansas City, Mo. are the guardians of live tradition, and by reasonable price. Address, W. E. H., care are done Sunday after Sunday. Have an all or a portion of the hour, and return Music essays to solve.” to preserve the legato, forget that it is of The Etude. being out of keeping with the rest of the live tradition I mean the noblest expres¬ eye—or an ear—for the fitness of things. directly again to their occupations or play. —Browning. service. There are so many beautiful lits the outside parts which must haVd the sion of the noblest ideals. It is, indeed, AUGUST 1921 Page 539 THE ETUDE THE etude Page 588 AUGUST 1921

What Progressive ETUDE Readers iMusic Lessons New Anthems are Thinking )ER MASTER TEACHERS | AND Tasf.r.irg Keeping the Interest on the ifingers loose their powt. . Question and Answer Department Part Songs _ and relax and this power can only 1 of The * ifrunB, which lor Conducted by Arthur de Guichard . - - also feel sure that singing ttfs 1 alS° fBel — * keen delight 1« my■ husDano,husband whowno savssays t?thata?he theF® wiUvocal aIso gtu adentSree withwill Mrnever- Campbell attain •• ‘ v"e' Anlv insmiuieiu the--- --*jewsharp,■» sueeugpeed or brlllianey except by the non-legato 1 reads page practice. A faithful reader. ; SSSS ttSStt _ pupil 5 3 . that. l girl I had i New York. imtav, „_o kept scales for months L_ fore she taught -_te of music. She told slSSSr“ me that she ha,.had been— taught.—.....- music------in “ Keeping Up ” Against Odds wav and that it was the only way. All that To The Etude : knew was the keyboard. It looked like “ student of piano, and taught for many black and white— checkers;. • and. I . thii eleven 3 "S. Circumstances carried me to that ,, „„ve thought of music in the an environ™lent*.. where,,__ for a number of years, light. I worked for months wondering j wag without an Instrument, ' ‘ ild come to flower into music. But Did I let fate defeat me? By no means. I i! happened. My father saw that I set my music against a pitcher or something _ sas^srs.ms. g0t me another master tall enough to hold it in convenient position You Can Take a Complete .5*. SSSTOSJlB.lv—.U '•""•bet. »"‘1 — J J” — pieces on the table. While —a lovely this w -e-study, still it kept zoo,, KKL,^, ariety 0 msic before me. I kept accustomed t, vas one of the n ing my hands and arms in position and work¬ Conservatory Course world. All suei ing my Angers. It drilled in on me the lesson Either Students’ or Teachers’ and learn how to play or teach correctly, IISI :::::: :!i to The Etude i may it keep up t that so much of the mechanical part of music teresting variety for 5'— - can be learned away from the piano. Of in your spare time at home, by the University Extension Method, which 1579, Thforf of Abr^mPr.ue.12 J. D. Woi.r.STON, Manchester, Eng. is now used by leading colleges of the country. phasized it most said, ‘‘Properly clireeted mental \ 20040 AWW^feltMW. P.., >Violin from___ the instrum_ient reduces the Glories in the Golden Hour necessary mechanical practice to Sherwood Piano Lessons To The Etudi Never in ail ■d music. Finally I had for Students thing which h opportunt ce on a neighbor’s piano. - Golden Hour. [ had done had been a Contain complete, explicit instruction on eje^.P^nbL^nHrfict' '» of Glory.12| ight great advantage ne and I did not have to ing. No stone has been left unturned to make this absolutely pertect , ,t‘with or without credit has begin as far do ■ybody. I have bought a number think. Some mi It would surprise you to know that Sherwood devoted to each lesson : The Etude containing the edi- practice” but tl enough time to earn at least $100.00 in teaching. It is possible for you have distributed them where I thrown away, t to get all this time and energy for almost nothing, compared to.what it thought t v would do the most good. foolish to an on 2.02S —“But mv child is well trained There is such cost. The lessons are illustrated with life-like photographs of Sherwood ‘to. ; why should we concern onr- tice. Too long at the piano. They are given with weekly examination papers. 2.0,1 Thou^ArUhe^Wiy, the Truth, the Life .. inch about this?” That is the elasticity that i ly take days to regai <■ in America we cannot afford It causes nervoi 15786 SffftffSL.. mnds of children go without any eye-sight. Shor ell-directed periods Sherwood Normal Lessons ethical training in our schools unless we want •acuce are 01 more real value to the studer One who practices a great deal shou ,. ____„ gercise frequently in the fresh air. T girls r righteous person piano student must have a healthy body. for Piano Teachers 2.038 ^WZTSClLLK. 1 life with good intentions, Contain the fundamental principles of successful teaching-the vital e public schools do not remedy this and it ,57,0 raT0DEm s do not cooperate with the schools principles—the big things in touch technique, ’rfhfi’ them what will become o' tone production, interpretation and expression-a complete set of physi¬ ,5787 Como^E oflJi PriUo the Lord. American integrity, T“-_e - American cal exercises for developing, strengthening and training the muscles Square Deal ? Of course there is nothing like n the Concert Platform of the fingers, hands, wrists, arms and body, fully explained, illustrated 20008 Sariowf Breathe an Evening Blessii music to inspire the child while he is getting To The Etude : and made clear by photographs, diagrams and drawings. his moral and ethical training. The whole I cannot refrain from writing to tell you idea is too beautiful for words and has al¬ that I think the article m The Etude. by 20030 EWoUd. ready thrilled many of my friends.Watson Henrynenry T.x. F‘r " entitled" “Don’t“ Be Fooled by Mbs. Maby if D„,fi Applause,” Is the very finest and frankest at. Paul, Minn. Qf‘ “ny j have eTer read on sueh a subject. Harmony PART SONGS FOR MIXED VOICES Note—So many similar letters j refer chiefly to the final section of the A knowledge of Harmony is necessary for every student and teacher ■ceived regarding the Golden Hour article with regard to the programs offered at You can study the Harmony Course prepared especially f>?r “s by Adolph only have space to publish a few g0ng recitals. It would be a fine thing if n. ‘ this article could find its way into the hands Rosenbecker, former Soloist and Conductor, pupd "r‘ —- of every singer ; though there is doubt in my Daniel Protheroe, Eminent Composer, Choral A NOVEL VOCAL „ , mind that many would take it to themselves. You will receive the personal instruction of Herbert J. Wngntson, Unfortunately, a type of compose] Theorist and Composer. PUBLICATION To The Etudi cently come tco “the■ “ “front * that is “ How long 1 st the music teacher ri£?ht souses l subjected to the hum lessons given Harmony Teaches You to Songs from the tasfisass1553

Yellowstone Sknd SSZSJT* “y^ Advanced Composition Edited and personally conducted by Herbert J Wrightson, distin¬ guished theorist and composer. This is the most advanced musical course given by any school in America. History of Music By Glenn Dillard Gunn, noted writer and musician. This History Course includes Analysis and Appreciation of Music. Unprecedented Special Offer! Lr“ Will you take advantage of our offer of 6 lessons which we offer to Etude readers without charge or obligation on their part? We will send £ you 6 lessons from the Normal Piano or Harmony Course or 6 lessons selected from some other subject, if you prefer We have courses m _.... 1 PART SONGS FOR MEN’S VOICES Piano (one for students and one for teachers), Harmony, Choral Con¬ ducting, Public School Music, Violin, Cornet, Gu.tar and Mandolin. Select the course you are interested in and write now for 6 lessons and catalog. You will receive full details of the course and be under no obligation to llHsg= : I us. The cost is nothing and you will benefit much. aSi^=—s University Extension Conservatory Dept. A-117, Siegel-Myers Bldg. Chicago, Illinois THEODORE PRESSER CO. THEODORE PRESSER CO. PA. AUGUST 1921 Page 5U THE ETUDE the ETUDE Page 5\0 AUGUST 1921 ---—-;---- ..." Ear Training and Cello Finger-board Mastery r 53T; ; * . ■ ■ 11? 1 ?liillllll' 1 ■!■■ .*:■ ■. ' j v % Iw v i' , , , * “ By George F. Schwartz MADO Shoulder Rest of mental anticipation is doubtless em¬ : Due to the fact that the Cellist’s hand Can be used with any style or model lays but three different notes, as com¬ ployed more or less unconciously by all of double screw chin rest; either large Department for Violinists pared to the Violinist’s four, it follows string players who attain any degree of ar small top, ebony or hard rubber. proficiency; but it is the systematic and It is of the strongest construction, that the former is required to make more conscious use of the principle that is here simply and scientifically planned, giving ; J Edited by ROBERT BRAINE frequent finger-board shifts. The greater urged. the best and proper shoulder support ten length of the cello finger-board also means As a means of acquiring this habit of to the violin. The pad is large and of i longer shifts; and last, but by no means mental anticipation the following plan is the correct shape. “/f All Would Play First Violin We Could Get No Orchestra Together.” R. SCHUMANN L_J THE MADO SHOULDER REST , J the least, the thumb positions add a pecul¬ suggested. First, play the note just pre¬ does not injure the violin or interfere iar element of uncertainty in finding the ceding the shift; then endeavor to hear with its tone in any way. It is free correct stopping places for the left hand the pitch of the note to which the shift from metal spur or projection, protect¬ hand fingers. Learning these things cor¬ in its continual ups and downs along the is to be made. Make the shift without ing the lining of the case against tear¬ Teaching Very Young Pupils be necessary to write the name of the Fortnightly Lessons ing and prevents the violin from rock¬ string on which the finger is to be placed, rectly requires an incredible amount of using the bow. When the shift is com¬ A violin teacher is often asked to give tedious labor on the part of the teacher, finger-board. pleted the note should be sounded and ing while in the case. A leading American violin teacher said above the finger mark, as in the following: Careful calculation of distances by the to me not long ago: “I have never taught lessons at intervals of two weeks. Some coupled with the most earnest co-operation the result compared with the mental reck¬ Price, $1.00 Postage Paid eye and substitutions of fingers contribute any very young children, and indeed, I do are willing to do this; others insist on the on the part of the student. In the case oning. The shift should be repeated in not know that I should know just how to pupil coming at least once a week or oft- where the effort to learn the fundamentals much and indeed are primarily involved the same manner until it can be made sev¬ Musicians’ Supply Company, 60 Lagrange St., BOSTON 11, MASS. set about it.” ener. My own experience in teaching is results in failure, the fault may be either in the formation of the habits required for eral times successively with accuracy and that the teacher can accomplish little or no Teaching youngsters of five or six, is an on the part of the teacher or the pupil, or accurate shifting; but where this mechan¬ confidence. One should, of course, ad¬ results from lessons at an interval of two vance gradually from short simple shifts art of itself and requires a considerable both. ical foundation leaves off, applied ear Little by little the child will get to know weeks, except possibly in the case of to the more difficult ones, finally including knack in order to do it successfully. The Where the pupil is financially unable to training enters in. the proper finger and string for some of advanced pupils who already have a broad back shifts and the thumb positions. average teacher is very apt to get discour¬ take frequent lessons to get a correct Just what relation exists between the Violin Strings aged when he gets so young a pupil, and the notes without its being marked, and foundation in violin playing. In the case It is assumed that the ear, in the above foundation, it would be really better to take reactions of the musical ear and the per¬ give up in disgust. Still it can be done, finally he will know them all and will, of beginners and pupils in the intermediate process, has calculated correctly. If the ETUDE BRAND two lessons a week for six or eight weeks, if the pupil has talent and the teacher is acquire the ability to read very simple stages, the lesson every two weeks is formance of muscular habits is perhaps ear is not sufficiently reliable, the student Used by the Leading Artists of the and then stop for equal periods, during skilled in the necessary routine. music. All this takes time, and there will money thrown away, if the idea is to get a a problem for the psychologist. The may cultivate this capacity by requiring Philadelphia Orchestra The importance of an early start in violin be much discouragement, but the founda¬ really correct foundation in violin playing. which the violin would not be touched at practical application of this relation, how¬ himself to hear from the printed page Elude “E” String, 3 lengths. . . .$0.20 net playing is gradually becoming more gen¬ tion is being laid which will lead to more Spohr says that a lesson every day in the all. It is the long periods of wrong prac¬ ever, is of much consequence to the string (withont the use of the instrument) at erally recognized. I have no doubt that rapid progress in the future. These early beginning is necessary, and certainly with tice, with infrequent lessons which does the first simple scale and arpeggio studies and Etude “A” String, 2 lengths.... -20 net player. One should therefore take pains to Etude “D” String, 2 lengths.20 net lessons will be imbedded deeply in the very young pupils not much can be accom¬ mischief, resulting in ingrained faults which the average age at which American violin form and faithfully cultivate the habit of gradually more pretentious Etudes and Etude “G” String, 1 length.20 net pupils start, has been considerably lowered brain of the little pupil, and will never be plished short of two or three lessons a can only with the greatest difficulty be “passages.” Until confidence is acquired, hearing (mentally), previous to its exec¬ Bundle Lota (30 assorted Strings) 4.25 net even in the last ten years. In Europe the forgotten. week. The necessity for this frequent eradicated. or occasionally when in doubt, a tone may Prices Qicen Jlte Slfef-fAfo ‘Discount average age is lower than it is in this instruction comes from the difficulty in ution, the tone, to which a shift is to be be sounded; but as a rule the musical ear establishing the correct position of body, made. Suppose, for example, the cellist THEO. PRESSER CO. Philadelphia, Pa. country. Setting Dad Right Pizzicato in Practice should be made to do the work.if it be There are cases on record where violin arms, fingers, and the correct movements' of is playing 6 (1st finger on the a string) at all possible. Confidence will soon © Saxophone — singly, playing has been begun as early as three arms, wrist and fingers in playing. In the and is about to shift to d (2d finger, third come; and shifting, instead of being mere ,ow to transpose cello parts gs you would like to know. years old, but my experience is that there is By M. L. Bach earlier stages the teacher must constantly By Bernard Binsted position). He should in this case insist haphazard guesswork, will eventually be¬ be correcting faulty positions, and move¬ little use in children making a start (where upon hearing (mentally % of course) the come, if net an absolute certainty, St least Free Trial and try it six days without obligation. If ments, until they are finally adjusted so as perfectly satisfied, pay for it on easy payments to suit your Album of Favorite they are to learn to play from the printed How does your dad stand in regard to Pizzicato playing appears to the great tone (d) to which the shift is to be made, a methodical and intelligent mental proc- convenience. Mention the instrument interested in and a to become automatic. In the case of a les¬ complete catalog will be mailed free. (26) page) much earlier than five years of age. you and your violin? Of course he de¬ majority of violinists to be such an easy before moving the hand. This principle son every two weeks, the teacher usually BUESCHER BAND INSTRUMENT CO. Earlier than the latter age the little pupil lights in having you play, but doesn’t he matter as not even to warrant occasional Makers of Everything in Band and Orchestra Instruments First Position Pieces might be taught to hold the bow and violin, finds that everything he has built up at the sit unconcerned with paper and pipe while study and practice in conjunction with the 3226 Buescher Block, Elkhart, Indiana FOR VIOLIN AND PIANO the correct motion in bowing, and scales preceding lesson, has been lost in the two you play and practice for your own bene¬ other numerous subjects in which the com¬ The Upper Position on the Cello and little melodies by ear, but the age of weeks intervening between lessons. In Price, 90 cents fit and enjoyment? This largely depends petent violinist is expected to be proficient. five or six is early enough. Probably the upon the class you are in. It is easy for the case of very young pupils, five, six or By Caroline V. Wood Notice, to All Kinds of Violinists A volume of this kind is of great value The fact that pizzicato passages go a long We can supply you^with everythingrymi^ni|^y in the violin world. It gives the best way would be to confine the musical dad to take pleasure in your playing if seven years old, I have long made it a rule way towards brightening up compositions beginner on the violin encouragement training of a child under five years of age, you have crossed that gulf which leads to refuse all who cannot arrange to take a in the “thumb position,” even though you We have a selected assortment of lesson at least every other day. With an which would otherwise be rather unat¬ One of the chief reasons for so much STUDENTS' JIOLI1JB. from to $60.00.^^,, through the excellent numbers it con¬ to singing little songs, listening to music, to from the sawing into the stroking class. do not want to use it to stop the strings. tains which are melodious and in¬ interval of a week or two between lessons, tractive is alone sufficient to necessitate “guess work” and sliding around in the learning to march in time to music, etc. But while you are still in the former class It should always be in readiness, a whole teresting yet at the same time easy the young .pupil forgets r ost of what has upper positions of the ’cello is that a good These babyhood musical impressions bear dad is hard to convince that sometime some attention being devoted to its culti¬ tone behind the first finger; although the to play. There are twenty-two num¬ been taught him at the preceding lesson, vation. hand position is not maintained when remarkable fruit in future years. Musical you will be able to play and not merely distance between thumb and first finger bers of real worth arranged in pro¬ and it is a case of commencing over again playing there. Let us suggest one or two seeds planted in the impressionable brain of scratch. Why not have him at your side The instruction book rule that the thumb diminishes slightly as the pitch becomes gressive order. Teachers here have at each succeeding lesson. things that perhaps will aid in overcom¬ an ideal volume for instructive pur¬ the young child germinate and expand, and with encouragement? Although he does of the right hand should be placed against higher. Do not make the mistake of hold¬ o' fo'orences, Of course pupils differ very much in ing this uncertainty. poses and beginning violinists will find accomplish much in making him musical in not mean to discourage you by his un¬ the edge of the fingerboard, and the strings ing the thumb stationary across the strings, Reconstruction future years. At four the future violinist their capacity of acquiring the bow move¬ The thumb is really the guide for the it just the volume to possess for their concern, you will find what a wonderful pulled with the first finger, taking care no' but allow it to slide freely with the recreation or recital needs, might be taught to pick out little melodies help it will be to have him interested. ments and other movements of arms and to touch the strings with the nail, is, of fingers, in a great measure, as you will on the piano, to develop his musical sense. fingers necessary for correct violin play¬ see shortly. To illustrate, usually a stu¬ fingers. HUGU5T GEWONDER 82 50N5 Be sincere and serious in your daily course, the basis on which to work. In It must be borne in mind that rapid and THEODORE PRESSER CO., At five the child who has studied in the ing. In rare instances pupils fall into the dent, after leaving the sixth or seventh po¬ Estab. 1846 141 West 42nd St., N. Y. practice. the course of practice, however, a number . accurate playing are practically impossible Bubscrihe to THE VIOLIN WOULD A Monthly, Estab¬ 1710-1712-1714 CHESTNUT ST., kindergarten or at home, knows the letters correct movements with scarcely an effort, sition, will take his thumb from under¬ lished 1892, $1.50 per year. The Instructive Magasine Show dad that as a private in a new of supplementary and all important points without a good hand and finger position PHILADELPHIA, PA. and figures when he sees them and is often while in the case of others, it seems prac¬ neath the neck of the instrument and let it army with the violin as your commander will be noticeable. The slovenly violinist, being maintained at all times. able to read easy words and little stories. tically impossible for them to grasp the stick up in the air, or rest at random on you are drilling conscientiously with no who is in the habit of permitting his bow Another thing (which may seem su¬ He is then ready to commence his violin principles involved. The reason why there the strings. This is always wrong! Un¬ AKADEMIE & ETERNELLE thought of deserting. perfluous. but considering the attitude of studies. A violin and bow of the proper is so much faulty violin playing in the to wander over the edge of the fingerboard, less one’s fingers are exceptionally short, Silk Strings A few times each week compel him to the average student, is not so), one can¬ THE MOST ELEMENTARY size should be procured, as much mischief world is due, first, to the fact that there are will receive his due reward by reason of the thumb should remain against the neck LA FAVORITA & ELITE watch and listen while you play, and let not consistently expect to be sure of him¬ is caused by allowing a young child to so few teachers who have the ability and the difficulty met in executing a satisfac¬ of the ’cello until out of the eight position. Gut Strings METHOD FOR THE VIOLIN him see the improvement in your play¬ self in the higher positions unless he For Sale by Leading Importera and Jobbers use a violin and bow, which are too large patience to give their pupils a really cor¬ tory pizzicato. Nothing sounds more try¬ Of course, I do not mean that the whole ing, which is bound to result from your makes it a point to do a good amount of for him. Violins and bows of any size rect method, and, second, to the fact that ing to the ear than the rough, scraping thumb will be against the lower side of the Sale Distributors M. E. SCHOENING CO., Inc. scrupulous attempts. practice in these positions as well as the can be procured, from one-eighth size up. so few pupils are financially able to get sound produced by pulling the strings at a neck, for, by the time you get to the Get him interested in the thing you are lower ones. It will avail him little to A pupil of this age should have a lesson enough lessons at frequent enough inter¬ point where they have become covered with eighth position, only the end of the thumb bemoan his inability to play well beyond Bel Canto every day or at least every other day. He If you could play some little air while vals. Franz Kneisel, the famous violinist resin, through the carelessness referred to. will be against the neck of the instrument; the seventh or eighth position if he allows should not practice over fifteen minutes at he would accompany you on the piano or and teacher, once said that “the funda¬ In any case, to avoid all chance of the but it still serves as a gauge or guide for mental fault of most pupils is that they do himself to slide over the hardest things Violin Method a time, as such a young child soon tires, on another violin it would be a great help. finger coming into contact with the resin the fingers. ■ Mrs. ■ of latest jazz hits, also stan- mtE and his attention flags. not know how to hold either the bow or and constantly neglect the diligent prac¬ If there are two violins to be had, make covered part of the strings, it is advisable On leaving the eighth position the I tffrvk I dard saxophone solos, duets, trios, By Mabel Madison Watson The most important thing is to give him the violin.” In other words, he meant that tice that these weaker spots require. ■ 9 quartettes—2000 selections. Largest him take one and you teach him, even to pluck the strings at a point as low as the thumb should now rest across the strings SI flcaT Y/, general dealers of saxophone music a correct bowing and to see that the violin though you are not far advanced. teachers as a rule give too much attention finst finger can comfortably reach. In ■ ] ’-.nr \ - and supplies in the world. Expert re- pairing. Send for tree catalog today. Price $1.25 and bow are properly held. The teacher On the sly get him interested in the at the start to notes, instead of to strict the event of the strings having become dry, SAXOPHONE SHOP, 423 S. Wabash Ave., Chicago should guide his bow arm, and constantly construction of the violin, its masters and technical work designed to give the pupil or coated with resin at the spot where they Violin Made Entirely of Brass A method that makes teaching and correct any tendency to stray from the true the correct movements of arms and fingers. makers. Have him realize what a won¬ have to be pulled, it is a good plan to DEEP, MELLOW, SOULFUL- study pleasurable and combines the position. The progress will be painfully derful creation in the musical world the In the beginning it is absolutely neces¬ apply a minute quantity of string oil. The wood in their instruments. The instru¬ ON CREDIT. Easy terms for slow at first, and the teacher should be well sary that the pupil be taught to hold the In an obscure corner of the window of wonderful instruments. GET art of melody playing with foundation violin is. BUT be sure you are well resulting tone will then be greatly ment in question is made of brass. VIOLINSr DETAILS TO-DAY. technic. Can be used as, preparatory satisfied if a correct position and bowing, violin and bow correctly, and to acquire the improved. an antique shop at Forty-fourth street, According to the proprietor of the an¬ posted before you inform him, and do not GUSTAV V. HENNING or supplementary material with any together with the ability to read very try “to put anything over” on him. correct motions in bowing. If these things The wrist of the right hand should be New York City, the editor of this depart¬ tique shop the violin was made in 1768 by 2424 Gaylord Street DENVER, COL. violin school for beginners. There are simple exercises and melodies, can be “In unity there is strength” and enjoy¬ are not learned correctly at the start, the kept flexible, and on resuming the bow it ment recently noted a peculiar violin. Hezekiah Quarles, who was an appren¬ accomplished the first year. The open ment. Get dad as a unit in your music? 1 chances are that they will never be learned. should be lifted clear of the strings to Stepping inside the store, he persuaded tice at the time to John David, Philadel¬ attractive and original studies in this strings should be learned first, and as most life, and you will find a new sport in A parallel case would be where, in the case enable it to be brought down evenly and the proprietor to show him the instru¬ phia’s leading silver-smith. The instru¬ work as we’l as many familiar airs easily instruction books have very few open string of a broken limb, or arm, the surgeon has practice. without scraping. In changing from one ment and incidentally was told its in¬ ment was played by Ole Bull and other arranged for violin and piano, and also exercises, the teacher will have to write a not set the member correctly. The result famous violinists. The bow, which was string to another the whole hand (except teresting history. This violin would jar as viol'n duets. number of exercises exclusively in open may be that the sufferer may be lame or the thumb) should be moved, in order to also of brass, has been lost, and the bridge the artistic ideals of those violin manufac¬ It is estimated that Stradivarius made crippled for life. give easy access to the A and E strings, has also disappeared, but the instrument is Theodore Presser Co., Phila., Pa. turers in the trade who are fond of call¬ The fingering can next be guided. Here in the neighborhood of 1,100 violins, ’cellos Once learned wrong it is extremely diffi¬ and on no account should the first finger believed to be in playable condition.- ing to the attention of their customers the the teacher will have to write the proper and other stringed instruments during his cult for a violin student to correct faulty be bent under the hand. Music Trade Review. carefulness with which they select the Please mention THE ETUDE v finger above each note, and at first it will long and industrious life. bowing, or incorrect movements of the left —London Strad. AUGUST 1921 Page 51,3 TEE ETUDE the etude Page 51# AVGUST 1921 How to “Arrange” for Small or even the whole limit, provided the Orchestra passage is not too difficult in other ways. Violin Questions Answered Although the violin is essentially a mel¬ Join This Mid-Summer Etude ody instrument it often uses chords with By E. H. Pierce By Mr. BRAINE good effect. In order to learn what Expansion Campaign Part II chords are practicable and effective it is necessary either to be a player or to make these with a good experienced teacher. You We will take as our first example for Every “Etude” friend knows of many others who would benefit by diligent study of the lists given in some might also study the following if you have practice Moszkowski’s Seremta, Op. IS, having the “Etude” sent to them regularly. II. 2. A circle (o), placed above the note not already had them: Bach Sonatas, for of the best works on the subject of or¬ violin alone; Bruch Concerto in G minor, No j—a piece familiar to all pianists, The Very Best way is to Inform them of Coming “Etude” Features A, first added line above, in the treble clef, chestration. Corder’s The Orchestra and Indicates that the finger is to be placed very Mendelssohn Concerto, Beethoven Concerto, and capable of being arranged very effect¬ St. Saens Concerto in B minor, Tschai- How to Write for It contains helpful ma¬ and for this Reason we want you to know of Some of the Many Fine lightly on the string at that point, without kowski Violin Concerto and any of the other ively for orchestra, either large or small. pressing the string firmly down on the finger¬ terial. For the present, however, the fol¬ things that are Coming in the Ensuing Issues. board. This will produce the harmonic E, standard concertos. For technic, study the (We take it for granted that the student fourth book of Sevcik's Violin Technics, also lowing list, though by no means complete, two octaves above the open E string. Schradieck’s Scale Studies, Chord Studies and will provide himself with a copy and num¬ Technical Studies. You would find much may be at least suggestive. profit also in studying Beethoven's Sonatas ber the measures for convenient refer¬ Easy: for violin and piano, especially if you can find a good pianist to play them with. ence.) There is an endless variety of miscellaneous Ex.7 compositions for the advanced student. Have The First Violin Part you played the Rondo Capriccioso, by St. SaSns ; the Faust Fantasie, by Sarasate ; the The first two measures are purely ac¬ Ronde de Lutins, by Bazzini; Perpetual Mo¬ tion, by Ries, and the Preislied from the Meis- companiment, consequently this part will tersinger, arranged by Wilhem. These pieces commence with a two-measure rest. Be¬ ______-_i the all require a somewhat advanced technic. in, but of course many notes above the ginning with the third measure, copy off seventh position are used. The highest note of the seventh position on the E string would E. E. F.—Fairly talented pupils rarely the principal melody, which (in this piece, be A, two octaves above the open A string. reach Kreutzer and the works you say you though by no means in all) is mostly in Still another higher octave is used. We find are studying short of three years’ study. in Wieniawski’s Legende the note G, one Are you quite sure that you are on solid the upper line of notes. Your work will octave higher than the fourth added line ground and have not been trying to progress start out something like this:- above the staff. too fast? 2. For violin duets you might get the Dancla Symphonies Concertante; Schu¬ bert March Militaire and the Six Duets in One Volume, by B. Godard. These are all BEETHOVEN published with piano accompaniment. Bic.—The label in your violin is in Ger- Selected Sonatas and when translated would read: “F. lader, instrument maker to the Court (For the present please confine yourself avaria in the Mittenwald, Bavaria, Many of Beethoven’s more intricate Sonatas to the first eighteen measures, as the rest All the above are perfectly easy. 2.—You will find a certain ai—... are rarely played, and a volume conta ning of the piece calls for some additional Somewhat more difficult : (requiring for harmonics in Hermann's Violin School, only the favorite Sonatas is to be desired a shift out of first position). ~ " II. There is also a great amount of instruction, to come later, depending partly ' ' ' ' - and dc ’ ’ greatly. This admirable collection contains on how you treat the flute or clarinet.) __ok of 10,000,000 to 20,000,000 violins in the world the fourteen favorites, among which are the _ __... It is very difficult which have Stradivarius labels exactly like Copy all the slurs and other phrasing Paderewski at the Keyboard to go very far in the art of harmonic play¬ the one in your violin. Of course it is not Pathetique, the Moonlight, the Appassionato marks as they stand, as they indicate the ing without a teacher. absolutely impossible that your violin is a and others. There is also an excellent biog¬ genuine Strad., but the above figures will composer's intention, though there are one Harold Bauer on the Secret of Paderewski’s Triumph. raphy and portrait of Beethoven given as Mr. Harold Bauer, the eminent pianist, who ranks at the front witn R. M. A.—You will find the works, Violin n idea of-•* jjagt: odds against it. or two places in which an experienced Impossible: (because requiring Mastery, by Martens, and Famous Violinists an introduction to this wonderful volume of Paderewski, has just given The Etude one of the most interesting con¬ violinist would alter them slightly, for notes at once from the same string). of To-day and Yesterday, by Lahee, about L. H.—The fantasias on airs from the 281 pages. ferences we have ever seen. Early in his life he was very closely asso¬ what you want for information on modern principal operas, for the violin and piano, technical reasons, and yet preserve the ciated with Paderewski: and in this discussion he gives, possibly tor the by J. B. Singelee, are very effective for the Ex. 9 violin student, and are in general use by Price, $2.50, effect. first time, the real reason for Paderewski’s immense successes, even at B. F. A.—The cramp in your jaw and violin teachers all over the world. The The compass of the violin is the beginning of the great Polish Pianist’s Career. The conference is snapping of the bones after playing is prob¬ student who has mastered the three books u ably caused by a too strained position in of the Kayser studies. Op. 20, is advanced THEODORE PRESSER CO. called “The Pianist’s Pallattes.” holding the violin. Maybe you tilt your head enough to cope with the difficulties of these Ex. 2 = ha ^ ^B Percy Grainger on “Glimpses of Genius.” _ over too far to the left. Consult a good ex¬ compositions. Most of the best-known grand 1710-12-14 Chestnut St., Philadelphia, Pa. perienced violin teacher and also a surgeon, operas can be obtained in these arrange¬ Chords of three!, and even four notes, Grainger, himself, is generally regarded as one of, if not the greates and they can probably solve the difficulty. musical geniuses of the time. In this forthcoming article he gives word- ments. They are pleasing and effective for are often used, but the inexperienced ar¬ Positions on the violin run in pairs, 1-3-5, recital use, and, if too long, the latter half pictures of meetings with Grieg, Busoni, Strauss and others, which will etc. and 2-4-6, etc. For instance, in a scale or two thirds of the composition < ranger will, with these, be even more apt passage of one string we would shift from the or even a few notes higher, but for be¬ interest all music lovers. first to the third and then to the fifth posi¬ to call for what is impossible than is the tion. Of course, there are many exceptions. ginners one must confine it to the “first case with chords of two notes. In chords From a Master’s Workshop. ... , ,, . c T Most tedchers take up the study of the third, M. I. S.—It was unfortunate that j position,” namely. Professor Frederick Corder, of the Royal Academy of Music of London, after the first position, for this reason, and first lessons were taken under a teacher of more than two notes, either the upper¬ has written a series of articles which are like a treasure house of miorma- also because the great bulk of ordinary violin tried to advance you so fast that he had most note or the uppermost two notes music lies principally in the first and third trying to play the Kreutzer studies a MAGAZINES at tion upon all manner of musical subjects, all told in Professor Corders four months’ study. This practice of o may be sustained at pleasure, inimitable style, often excruciatingly funny, but always sound, sage and training is the reason why so few violin A. T.—Your chances of becoming a concert students ever accomplish anything really practical. violinist, or first-rate orchestra violinist, de¬ worth While. As you are now studying un¬ Tobias Matthay, “the English Leschetizsky,” on “How to Develop the pend on how well you have mastered the der a violinist whom you describe as a first- Staccato Touch.” . . . , ., . works you say you have studied. Many class teacher, I should not like to interfere However, the majority of amateur play¬ violin students play through the entire liter¬ by advising you as to your studies. Your Greatly Reduced Prices Matthay’s books on technic have been very widely discussed; and this ature of the violin without really mastering teacher can give you much better advice than ers are well-skilled in the “third position,” article, written in the same spirit, will prove interesting to all who play anything according to the professional stand¬ one who has never heard you play. IIov which takes them to the piano. ard. No musical authority can give you ever, your ideas of reading good works o but it is impossible to sustain the whole really dependable advice without hearing you violin playing is a good one. Get The Violi A Square Deal for the Music Teacher. play and testing your talent. Can you not and How to Master It, and The Secrets c, chord together. n article which Music Teachers arrange to play for some violin authority in Violin Playing, both by Honeyman ; The Vio¬ THE ETUDE, $2.00} Now Reduced from Charles R. Watt of Chicago has written i the nearest large city. If you have real linist’s Lexicon, by Lehman ; Violin Mastery, The four strings of the violin—E,.A, certainly will want all their patrons to see. talent and a reasonable foundation your only by Martens; Technics of the Violin, *— McCall's, 1.00( D, G, have each a different quality, as well course is to devote all your time to your Thistleton. All these books woo" $2.50 $2.90 Are You Getting Happiness From Your Music? , , as different pitch, and sometimes a com¬ Daniel Gregory Mason, nephew of Dr. William Mason and Professor oi violin studies. You cannot hope to succeed n half a n of les! or (by means of a slight stretch of the by trying to get a college education and at class teacher, and you would get a world of } poser will give directions to play a cer¬ Music at Columbia University, gives a recipe for Getting the most joy the same time trying to study the violin and ideas from them. 2. Johann Samuel Fritz- Saturday Now Reduced from finger) to teach music as side lines. If you are to be¬ sche and Johann Benjamin Fritzsche both tain passage on a certain string—for in¬ from Music Study. come a concert violinist it will take all your made violins at , in the latter part Evening Post, j $2.00 $2.50 Ex. 5 stance, “sul G” or “sul D.” Also, there time and all your strength for the next few of the eighteenth and the first part of the The Piano Teacher and His Success. . years. nineteenth century, and were considered are many beautiful and varied effects pro¬ Constintin von Sternberg, who has taught many celebrated pianists, gives among the best German makers of that duced by different styles of bowing, etc., some of his rules for success, which teachers will enjoy. W. W. M.—A bank teller could not tel) nod. 3. How long it would take you THE ETUDE, $2.00} Now Reduced from whether a bank-note was a counterfeit with¬ complete any given composition would de¬ but we will not confuse the young stu¬ Something New in Musical Temperament. . out seeing the note, neither can a violin ex¬ pend upon your talent and upon the number Modern Priscilla, 2.00\ $3.60 $4.00 Fairly capable players, of five or six dent by going into all these advanced de¬ What is it? Only Cyril Scott, the great English composer, could have pert tell whether a violin is a genuine Cre¬ of hours daily you gave to your practice. mona without seeing the violin. Your only years’ experience, find no difficulty in go¬ tails in this .first study of the subject. thought of it. You will enjoy every word of his thought-provoking article. Ladies' } ing to the “seventh position,” There is also the effect called “pizzicato What the Violin Teacher Could Teach the Piano Student. your supposed Stradivarius violin by one of L. F. M„ R. T„ C. J. K., D. G„ and ma Now Reduced from the firms dealing in old violins who edver- othersThere are millions of violins in where the strings are plucked like a guitar Otto Meyer, former assistant to Sevcik in Vienna, and violin virtuoso, tise in The Etude. If your violin is a really istence with the Stradivarius labels pas Home Journal, j $1.50 $2.00 Ex. 6 . or banjo. The word “arco" is used to strikes a new and refreshing angle in this article. No matter whether you fine old instrument, it was a great mistake inside. These labels mean nothing at i play the piano “only a little bit” or whether you can play the Liszt to allow the man, who repaired it, to varnish They are found in all kinds of violins, go indicate a return to the use of the bow. it, as this greatly detracts from its value. bad and indifferent. You could find out “Campanella,” this article will help you. your violin is genuine by paying a fee to THE ETUDE, $2.00} Now Reduced from (To be continued) S. M.—It is only natural that your eight- expert to examine it and tell you ; but I year-old pupil should play better when you money would probably be spent in vain. Pictorial Review, 3.00 j $3.75 $5.00 are accompanying him, since from your de¬ HOW MANY SUBSCRIPTIONS CAN YOU SEND IN ? T. D. P.—In justice to our advertisers, cal hearing and instinctively tries to make cannot discriminate between violin deale Won’t you write us and let us send you a few subscription cards for dis¬ his tones harmonize with yours. However, you will find the advertisements tribution among your musical friends? The cards are dignified in every way -- ^oroughiy reliable violin dealer Our service department is ever zealous to relieve Etude The “Muir Mackenzie Strad” W. T. H.—Jacob Stainer, ’s gree t- TBe Etude. , Any of thes (resembling engraved invitations) and do not imply canvassing,. The loyal est violin maker, used labels pasted insiu s will r friends of the detail and annoyance incident to entering their : of the genuineness of which is absolutely as- Etude enthusiast can do the magazine no greater act of appreciation and friend¬ the violin. There is an immense number of trial; if you will write them, telling them it The “Muir-Mackenzie Strad.”, one s considered remarkably low, as sales ship than by distributing ten or twelve of these cards among friends whose imitation, factory-made Stainers’ which are just what you want, and about what price magazine subscriptions. We are always on the lookout for the best-known examples of the work of sured, branded on the back of the violin near the __record at nearly double that figure. whole musical life would be bettered by having The Etude. If you already you wish to pay. 2—If you are buying a Antonious Stradivarius, sold under the new violin (recently made) there is no es¬ new prices which will enable our friends to effect a saving. Just at present the prices of genuine old \' have some subscriptions ready, send them right along. The cards will help you hammer not long ago at the Puttick and E. K.—If you play the works you name pecial advantage in getting one with an imi¬ Hammer not long ago at the Futt.cK anu great historical makers,are, to get more. Kindly write before this escapes your memory. “Please send me tation old finish, ns far as tone is concerned. May we be of service to you ? It is the aim of this depart¬ S'mpsQns auction sales in London for * * r1v pvprvrtlin£r else. really well, after five and one-haif years' O—For $200, the sum you mention, you can like the prices of nearly everything else, a few subscription cards.” study, you have made remarkable progress. often get a genuine old violin made bv an ment to render real service. 11700, roughly equivalent in American It ail depends on how well you play them. very much at sea, owing to the reconstruc¬ r1-"- ”-"-iker, with ex¬ money to $8,000. The violin was bought The Annual Subscription Price of “The Etude” is Two Dollars. As you will not be under instruction for course these tion period following the great war. The some time, why not try the plan of reviewing by a dealer in violins, who will, of course, the studies and concertos you had with your saying that a “violin is worth about THE ETUDE, Philadelphia, Pa. scare makers, and not by the famous makers expect to resell the violin for well over last teach-r. Yon could also doubtless get of those nations. The violins of the most THEODORE PRESSER CO, PHILADELPHIA what you can get for it” is more pertinent some benefit in keeping on with the Paganini famous makers run to thousands of dollars $10,000. caprices, although it would be better to study right at the present time than ever before. The above price for a good Stradivarius, Please mention THE ETUDE when addressing advertisers, AUGUST 1921 Page 5+5 THE ETUDE the etude Page 5Jf4 AUGUST 1921 Preparatory School to Child’s First Book of Melodies Twelve Well-known A Volume of Original Great Singers on The A Hopeful Outlook The Sonatina. By W. F. Honska Four-Hand Pieces Art of Singing. The knowledge that the majority of our Nursery Rhymes 5555.——— —^ *We shall have ready for the fall teach¬ By Franz T. Liftl patrons have responded to the reques By Greenwald Some of the most charming composi¬ By J. F. Cooke ing this volume of delightful melodies for tions in pianoforte literature, especially Mme. Emma Thursby, when she taught The Sonata Form has long held a which appeared in this department of the This new collection has many at¬ prominent place in serious music. So A DEPARTMENT OF INFORMATION the child. The author is a practical and tractive features. It includes some of among the more modern writers, are Geraldine Farrar as a girl, employed the July issue of The Etude, have made talented musician and is thoroughly logical is this form that it has survived complete settlements of their On Sale the oldest and best of the traditional written originally for four hands. They same exercises which Maurice Strakosch REGARDING equipped to present something valuable are not arranged from piano solos or called his “Ten Vocal Commandments” all efforts to replace it or improve upon accounts for the teaching season which nursery rhymes. In each case the original it. Its diminutive, the Sonatina Form, is along this line, so that we are glad indeed tune is used, but it has been newly har¬ from orchestral works. Duet players when he wrote them for his pupil, Adelina closed June 1st, admits of our predicting to become the publisher of such a charm¬ only a trifle less important. The Sonatina a prosperous fall and winter season for monized so that it may be used as a having some experience find these original Patti. They are only one of the scores of New Music Works ing little work. First of all, it must be paves the way to the Sonata, but it is the members of the teaching profession. piano solo or to accompany the singing. pieces to be the most satisfactory of all. valuable teaching ideas incorporated in remembered that the pieces are either necessary even before taking up the These patrons, with scarcely an exception, In addition, each number has an appro¬ The parts are well balanced and there is “Great Singers on the Art of Singing.” vocal or instrumental, and that they are always interesting work for both players. Sonatina for the student to have some seem to share our spirit of optimism. priate illustration which accompanies the The exercises are given in full. If all the In this new volume we are assembling preparatory material. This is what Mr. They anticipate larger classes, have within the range of the veriest beginner complete directions for its performance great singers represented through indi¬ together some of the most striking of Liftl has given us in his new book, which ordered to correspond and, their accounts in music. Each of the selections has di¬ by a group of children as an action song. vidual conferences in this forthcoming rections for the information of the teacher these original duets, chiefly of intermedi¬ book were engaged to appear on one pro¬ consists of numbers in the Sonatina and beiner entirely free of last seasons This will prove a most desirable book for and the words, to some extent, are taken ate or moderately advanced grades. gram they would receive an aggregate of kindred forms, all easy to play but full kindergarten work. ... of musical interest. from well-known nursery rhymes. This The special introductory price in ad¬ Such composers as Brahms, Grieg, Jensen, over $50,000 (judged by the rates for quirements. . . Moszkowski, Godard and others are rep¬ their foremost appearances). Only in this The special introductory price in ad¬ Of course we understand that it is not little work will make the child musical by vance of publication is 35 cents, postpaid. resented. way can you picture the significance of vance of publication is 40 cents, postpaid. practicable for some of our patrons to giving it pleasing melodies with its first work at the piano, and should lay the The special introductory price in ad¬ the authorities who have contributed to NEW WORKS. Order Next Season’s Supplies make settlement of their On Sale ac¬ Secular foundation of a subconscious feeling of vance of publication is 60 cents, postpaid. this interesting and useful work. On Advance of Publication This Month counts as early as expected, their classes Duets Advance of Publication Offers— rhythm and harmony. The book has our every page you will find sound advice, Offer Withdrawn The music teacher preparing for fall perhaps continuing during the summer In this new volume will be included a New Pipe helpful ideas, all given, not by theorists months. Of these patrons we ask that unfeigned endorsement and we are sure most attractive assortment of secular Album of First Position Pieces for Violin work should remember now that thous¬ that any teacher or music lover subscrib¬ Organ Collection but by the artists whom the world has and Piano. ands of music teachers located in all they favor us with information as to when duets for all combinations of voices, paid millions to hear. ing in advance for this little work will many of them being interchangeable and This new book is almost ready, but the The special introductory offer in ad¬ Child’s First Book of Melodies—Honska i parts of the land will be starting their they will make settlement of their On The advance of publication price is Child’s Own Book—Grieg, Tapper- Sale accounts, always keeping before not be disappointed. suited to various combinations. All of special introductory offer will be con¬ vance of publication is hereby withdrawn Composition for Beginners—Hamilton.. classes again at about the same time; this Our special advance price before the $1.00, postpaid. on this work. The collection is now on Earlier Duets—Kinross. them the fact that any monthly charges these duets are of the most melodious tinued during the current month. It will means that music publishers and dealers work appears will be 30 cents. the market, all advance orders have been Elementary Piano Music—Neely. will be required to handle a much larger dating previous to June 1st are now character, singable, well harmonized and prove a worthy successor to our two ex¬ Great Singers on the Art of Singing— tremely popular collections, The Organ Wedding and Funeral Music filled and we have received many kind business than usual during the first four Past Due and should be paid without Tiny Tunes for Little Tots with interesting accompaniments. Mod¬ Cooke . further delay; in both instances avoiding ern and contemporary composers are rep¬ Player and Organ Repertoire. The con¬ For the Pipe Organ words of commendation. Introductory Polyphonic Studies. or five weeks of the teaching season; it By A. Louis Scarmolin The book contains twenty-two compo¬ Melodies for Teacher and Pupil (4 also means more or less delay in receiv¬ unnecessary correspondence. resented chiefly. All of the duets in this tents are well diversified, including selec¬ By Kraft Hands)—Mrs. H. B. Hudson. One of our patrons recently wrote us This work contains little tunes along volume have proven successful published tions suitable for church, recital and sitions, all exclusively in first position, J Modern Violin School—Linburg. ing music supplies just when they are in¬ We have been unavoidably delayed in stating that she had just closed a most original lines, to each of which there is separately in sheet form. It will be a picture playing. Chiefly modern writers a most profitable collection for beginners 1 New Pipe Organ Collection. dispensable. the preparation of this new volume, but it to play. They are in all styles and ar¬ Original Four Hand Pieces. We have been handling this class of successful season and further saying that a motto given. This motto expresses just companion volume to our very popular are represented and such arrangements of standard works as appear are entirely is now almost ready and we hope to be ranged in progressive order, and there is Preparatory School to Bach—Liftl.... orders for so many years that we know in she was “going to run away somewhere one sentence and is continually repeated album of Sacred Duets. able by the next issue of The Etude to Preparatory School to the Sonatina— for a good two weeks rest and that upon throughout the whole piece, in fact this The special introductory price in ad¬ new transcriptions made especially for not one piece in the book but which has Liftl . advance, each season, that certain things announce that it is upon the market. In already been well received in sheet form. School of the Pianoforte, Part III— will happen, so we are always urging her return she would sort out and send is a work along polyphonic lines or part vance of publication is 60 cents, postpaid. this book. Among the contemporary com¬ posers represented are Frysinger, Diggle, addition to all of the conventional num¬ Twenty-two pieces, the retail price is Theodore Presser . teachers to get in their orders early, back to us all of the On Sale music she playing, and gives the beginner some idea bers usually heard at weddings and Secular Duets . believed she could not dispose of and of counterpoint. Mr. Scarmolin is one Pease, Rockwell and others. Those con¬ 90 cents, subject to special discounts. Tiny Tunes for Little Tots—Scarmolin preferably not later than the middle of The Earlier Duets. funerals there is a large amount of in¬ Any teacher having need for elementary Twelve Well Known Nursery Rhymes— settle her account.” Others of our pa- of our leading American composers and tributing transcriptions are Harvey B. August, and it is a fact that this plan has By John Kinross teresting additional material. There are material of this kind will be greatly M. Greenwald. made it possible for us to give patrons trans may have decided upon a well- is very original in everything he does. Gaul, Gordon B. Nevin, E. A. Kraft and various numbers in march rhythm to¬ Violin Studies—Kreutzer . This useful little book, sometimes others. Standard composers who are rep¬ pleased with this volume. ever so much better service during the earned vacation before getting right down The first sentence that is programmed in gether with soft voluntaries, opening Wedding and Funeral Music for the known as “The First Step,” can be as¬ resented are Beethoven, Schubert, Gluck, Organ—Kraft . rush period. Still, the largest force of to the adjustment of last season’s account. music is: “I’ll Tell Mamma on You,” and pieces, postludes, etc. It will prove the To these and any of our patrons who are the second is, “What Shall I Name My signed to a beginner as a part of the MacDowell, Grieg, Bohm, Offenbach, Rim- Ready Money—Extra Money trained employees that we have ever had earlier instruction and almost at the first sky-Korsakow, Gabriel-Marie and others. most complete book of the kind ever pub¬ is scarcely able to keep abreast of the about to make returns of On Sale music Doll?” These mottoes on which the com¬ lished. The entire book has been edited Pin Money and Just Money Guide to New Teachers permit our advising that the parcel con¬ position is founded are beautifully ex¬ lesson. While the larger part of the This will be a splendid all-around col¬ “ON SALE” orders reaching us in Sep¬ book consists of the Teacher and Pupil by Mr. E. A. Kraft, who has made some All in Your Spare Time taining the music to be returned be well pressed in tone. They make a delightful lection. of the Pianoforte tember, and only by working many extra Duets by Kinross, there is some prepara¬ new transcriptions especially for this Thousands of our friends and subscri¬ wrapped in heavy paper, not rolled, tied study for bright pupils and we take very The special introductory price in ad¬ hours is it possible to give customers the tory material in addition consisting of vance of publication is 75 cents, postpaid. bers earn many dollars each year by in¬ Just at this time hundreds of young prompt service upon which we pride our¬ securely and that care be taken to Write great pleasure in recommending them. The special introductory price in ad¬ men and women, who have graduated or Stamp Your Name and Address reading exercises and studies in notation. troducing The Etude to their friends. selves; but we can do this work just as Our special advance price is 30 cents. The four-hand pieces are among the best vance of publication is 60 cents, postpaid. Some earn extra money, others earn pin from musical institutions, are making well and with better results for teachers Plainly on the Outside Wrapper. Preparatory School to Bach. their plans to enter the profession of of their kind ever written. The pupil money, while others derive a handsome in¬ if we may have the bulk of the orders a We ask particularly that the latter part The Modern Violin School By Franz T. Liftl Melodies for Teacher and teaching music. Playing the piano and plays alternately the Primo and Secondo come as the result of their efforts. We month, three weeks, or even ten days be¬ of the foregoing instructions be regarded By Theodore Linburg In the valuable little work. First Study teaching the piano are two quite different because so many of our patrons forget to parts, thus acquiring a knowledge of Pupil (Four Hands). have developed a dignified method of fore the material is actually needed. of Bach, by Leefson, only numbers by ' securing subscriptions and invite your in¬ things. No matter how brilliantly you perform this very essential action, the re¬ We will publish in time for the fall sight reading almost from the start. By Mrs. H. B. Hudson Teachers who have fairly definite The special introductory price in ad¬ Bach himself are included. In this new quiry. Let us tell you how it may be ap¬ can play, you must have some guide to sult being that parcels of return music teaching another work for beginners on This new work continues the series be¬ knowledge as to the size of their classes vance of publication is 30 cents, postpaid. and more extensive work by Liftl, not plied to your community. help you in selecting the right material reach us without names and addresses, the violin. This book is the product of a gun by Mrs. Hudson’s A B C of Piano and their probable wants will have no fine violinist and successful teacher. It only representative pieces by Bach are at the right time. You should have a cause to regret sending in an “early and of course we are, in such cases, un¬ Music and follows her second book, great many catalogs of course, but most may be taken up with the very first included but also numbers in similar order” for music supplies. able to give proper credit. As credit Elementary Piano style by various other classic composers. “Melodies Without Notes.” As in the How about your of all you will require some concise, handy studies on the violin, as the author had Why not mail your order to us now? memoranda are mailed to our patrons Instructions. At the same time this new work is very works first mentioned, it carries out the “Etude” Renewal? “Guide” which, like the tourist’s Baedeker promptly upon receipt of their returns, it in mind the young student from the very By Herbert G. Neely easy, a genuine preparatory volume. In idea of using large capital letters for the Have you sent in your renewal? We and the Automobilist’s Blue Book, will would be well that you let us hear from beginning. Development of tone receives view of the present developments in mod¬ melodies instead of the usual notation. know how easy it is to put it off—and are tell you just how to turn at the right The Talking Machine— you, after a reasonable period, if you do attention from the start; the grading of A book that will make the studies of ern music a foundation in polyphonic But this is a duet book and while the only too sorry we cannot enter the “per¬ time. For this purpose we shall be glad A Summer Delight not get our acknowledgement of the re¬ the work has been done most carefully the beginner easy and interesting. One playing is most essential. We have passed teacher’s part is in regular musical nota¬ sonal equation” and visit each and every to present you, without charge of any ceipt of your returned music parcel. and the selections are interesting. In who has had an extensive experience with Without doubt, no other medium of en¬ the stage of Czerny, Herz and others tion, the pupil’s part is in letters, as friend whose subscription is expiring. kind, our “Guide to New Teachers on When writing, please specify date, method most instances there is a second part to this class of teaching has put into the tertainment during the Summer outing when music was all runs and trills and aforesaid. The pupil’s part throughout is But we can’t—so our part must be a re¬ Teaching the Piano,” which tells just season can compare with the Phonograph of shipment, and approximate value of the exercises for the teacher to accompany book what was learned by contact with a very tuneful and the accompaniments wide range of pupils of varying ability. superficial embellishments. Polyphonic minder. Will you co-operate and do your what to do at the first lessons and also and a good collection of records. We have parcel; with this information we may be the pupil. Full directions are given played by the teacher are such as to give Thus it will prove to be just the thing music appeals both to the senses and to share? Send your renewal remittance to¬ gives you lists of several hundred exer¬ several small, compact and convenient able to locate it or at least be able to throughout the book. We received this real musical value to each of the little for which the teacher of beginners has the intellect and is in itself a valuable day before you forget. cises, pieces, studies, collections, duets, styles of Phonographs that are especially gi^p you information that will Drove help¬ work from another publisher and there pieces. The whole idea is unique but have been several successful editions been looking. The studies progress so training. ... etc., in all grades from one to ten. Your well adapted to this purpose, including ful in tracing from your end if by chance The special introductory price m ad¬ valuable. New Fiction For Those postal request will bring this at once. the parcel has strayed. gotten out, but the present edition has evenly and the text is presented so in¬ The special introductory price in ad¬ several Victrolas at $25.00, $35.00, $50.00 vance of publication is 35 cents, postpaid. Who Help “The Etude” You should have it now to make your and $75.00. Also the Cirola, which folds Always desirous of proving of best pos¬ been corrected and greatly improved. terestingly that the students will be de¬ vance of publication is 30 cents, postpaid. plans. up like a hand ; a handsome and sible service we have for years been build¬ Our price for those who order the work lighted with their studies. The success of our renewal offer in July in advance of publication is but 40 cents. Advance of publication price, 50 cents, Composition For Beginners, has shown the demand for Summer Read¬ convenient talking machine, with excel¬ ing up a strong force of capable clerks in Violin Studies. our Order Department and to this extent postpaid. By Anna Heuermann Hamilton ing. We have selected another group of Large Music lent tone qualities, price only $35.00. We By Kreutzer are filling orders for Victor and Bruns¬ that we feel safe in stating we are now Introductory There is a fascination about putting books and will be pleased to send you Manuscript Books wick Phonographs and Records from all in better position to serve our patrons Polyphonic Studies Child’s Own Book of little musical thoughts on paper that is Our new edition of this standard work any one of your choice for your own re¬ parts of the United States and many than at any time in the past. We are Great Musicians— not quite equalled when expressing ideas is to be added to the Presser Collection. newal and one new subscription. The In answer to a demand which we have This work has at last been completed We have been publishing from time to books listed below are interesting and foreign countries far and near. We shall able to fill orders no matter how small or and is in the hands of the printer at the in words. So here we have a book devoted felt for a long time but have not taken Grieg time new editions of the various standard entertaining: care of because of the war conditions, be giad to serve you also. Write us for how large with a surprising degree of present writing. We confidently expect Mr. Tapper has written that he is com¬ to the development of this ability. catalogs and particulars. promptitude. These orders are rushed to Beginning with the very simplest of studies for the violin, but we regard the The Rainbow Trail. Zane Gray. we are about to manufacture and put to have it out before the end of July. pleting the manuscript of this book, in Kreutzer studies as the most important Betty Zane. Zane Gray. on the market three large music manu¬ completion and, with but few exceptions, This book has been taken up by Mr. which he has taken a great personal in¬ musical ideas the pupil is gradually led are mailed or otherwise shipped the same from the expression of these into those of all. Mr. Frederick Hahn, who has Baree, Son of Tarzan. Curwood. script blank books. The hooks will be School of the Pianoforte Presser himself and he has been diligent¬ terest. For years he has had an intense been editing these studies, has given them The Cinema Murder. E. P. Oppenheim. day received. Small orders from the ly at woik on it all winter in the time he demanding more skill. All this is done in bound in heavy paper with a very at¬ Part III admiration for things Norwegian; and his best attention and has spared no pains Who Goes There? Chambers. tractive cover design, large sheet music young teacher just starting her first class could spare from .:’s other arduous duties, Grieg, set in this charming “Cut out” a series of lessons conducted in the con¬ Theodore Presser are given the same careful attention as versational method so that the mind is all to make the work as complete and accur¬ Jerry of the Islands. Jack London. size about 11 inches x 14 inches, sixty- but the work is at last completed. It has booklet for very little folks, will be one ate as possible. The Kreutzer studies John Barleycorn. Jack London. four pages in each book. They will We take pleasure in announcing Part those received from the larger colleges been a labor of love on his part and we of the best of the series which now in¬ the time entertained while the powers of thought are being developed. Thus it be¬ mark a certain stage in the development Treasure Island. Robt. L. Stevenson. be known as “Presser’s Music • Writing III of this most successful series. There and institutions all over the country. In hope it will serve some purpose in our cludes Bach, Handel, Beethoven, Haydn, comes the ideal method for helping those of the violin student and too much atten¬ The Yellow Claw. Rohner. Books, Numbers 7, 8, 9.” ;s no work in our catalogue that has been return for this painstaking care all we educational system. Mozart, Wagner, Chopin, Liszt, Schu¬ ask of our patrons is reasonable atten¬ that have lacked the confidence that tion cannot be given them. We feel that The U. P. Trail. Zane Gray. No. 7 will be made up of regular received with such enthusiasm as this first Polyphonic studies have not been re¬ mann, Schubert, Mendelsshon and Verdi. our new edition will prove most welcome Cappy Ricks. Peter B. Kyne. twelve line piano paper. No. 8 will be and second volume. The first volume is tion to the settlement of their accounts ceiving the attention that their import¬ These books already published cost 20 makes them capable of expressing the when due. Especially do we ask that small things within their power. to both teachers and students. Rain-Bow End. Rex Beach. regular vocal paper, four complete braces called “The Beginner’s Book” (The Red ance deserves. Czernv and the “School cents. If you order the Grieg Book in The special introductory price in ad¬ That Printer of Udell’s. H. B. Wright. to the page. No. 9 will be the same as Book); the second book is the “Student’s balances, unintentionally neglected be¬ of Virtuosity,” with Liszt at the head, advance you may secure it for 12 cents, Special advance of publication price, cause of their very smallness, be paid 60 cents, postpaid. vance of publication is 40 cents, postpaid. The House of Silence. Holmes. No. 8, but will be known as violin and Book” (The Blue Book), and the third have over-shadowed the polyphonic school postpaid. When a Man’s a Man. H. B. Wright. piano, four braqgi to the page properly will be the “Player’s Book” (The Green when due and not allowed to hang over to such an extent that it has been put in indefinitely, causing our Accounting De¬ Penrod and Sam. Booth Tarkington. spaced, twelve staves. Book). Much work has already been the background in our system of piano The Best Man. G. L. H. Lutz. Our advance of publication price post¬ done and it will be pushed to completion partment considerable expense in the playing, but we are very glad to see that p ^ . The ETUDE offers 35 cents toward any of the above Special matter of bookkeeping and needless cor¬ Partners. Rex Beach. paid anywhere in the United States for during the summer months. The mere an¬ lately it is coming to its own, and there The Auction Block. Rex Beach. these books will be 50 cents each. We nouncement that such a work is forth¬ respondence. An expense that not only is much more attention given to the study blots out the small margin of profit de¬ rremium ^j^dWorksln Advance of Publication (pages 544 and The Barrier. Rex Beach. make this low price in order to make the coming is all that is necessary, as the de¬ of counterpoint and we trust that this rived 'from that particular account but The Sheriff’s Son. W. N. Raine. books known and to further the use of mand for it is already created, so send little work will go a long way toward cul¬ The Desert of Wheat. Zane Gray. such books. The books will be ready for in your advance order without delay. as well creates, in some instances, a feel¬ tivating that branch of piano study. Offer — 545), for each yearly subscription sent us, not your own. ing of unpleasantness which it is our The Miracle Man. F. L. Pachard. delivery in a comparatively short time, Our special advance price will be but Our special advance price is but 40 The Long Chance. Peter B. Kyne. well before next season’s work opens. 25 cents, postpaid. policy, if at all possible, to avoid. cents, postpaid. THE ETUDE AUGUST 1921 Page 5.\7 Page 5+6 AUGUST 1921 THE etude Chicago Musical College FELIX BOROWSKI, President Dr. F. ZIEGFELD, President Emeritus CARL D. KINSEY, Vice-President and Manager The Leading and Largest College of Music and Dramatic Art of America FALL TERM OPENS SEPTEMBER 12 CHICAGO’S FOREMOST SCHOOL OF MUSIC Faculty of More than 100 Teachers including the following noted artists: (Alphabetically Arranged) VIOI IN PIANO VOCAL RICHARD CZERWONKY MAURICE ARONSON BELLE FORBES CUTTER LOUISE FERRARIS 36th Session Commences September 12, 1921 MOSES BOliUSLA'/VSKI STANLEY DEACON MAX FISCHEL BARTON BACH_.IANN EDOUARD DU FRESNE FREDERIK FREDERIKSEN EDWARD COLLINS ROSE LUTIGER GANNON MAURICE GOLDBLATT HARRY DETWEILER MABEL SHARP HERDIEN RAY HUNTINGTON Offers superior courses in all branches of music and dramatic art, including Master School. GLENN DILLARD GUNN JOHN B. MILLER LEON SAMETINI MAX KRAMM ADOLF MUHLMANN ORGAN Diplomas, Degrees and Teachers’ Certificates granted by authority State or Illinois, thorough ALEXANDER RAAB EDOARDO SACERDOTE CLARENCE EDDY RUDOLPH REUTER BURTON THATCHER ERIC DE LAMARTER preparation for concert, opera and teaching positions. Many special features, recitals, lectures. LOUIS VICTOR SAAR HELEN W. ROSS C. GORDON WEDERT2 GORDON WEDERTZ Two Excellent Dormitories Offer Accommodations at Moderate Rates HARMONY, COMPOSITION. COUNTERPOINT, CANON AND FUGUE FELIX BOROWSKI LOUIS VICTOR SAAR HAROLD B. MARYOTT LAURA D. HARRIS BARTON BACHMANN UNSURPASSED FACULTY OF NINETY-FIVE ARTIST-INSTRUCTORS TEACHERS’ NORMAL COURSES REPERTOIRE AND INTERPRETATION (Among them might be mentioned: JGLENN—(Katfo) DILLARD GUNN (Piano)1 RUDOLPH REUTER ^^^LENN DILLARD GUNN ORGAN—William Middelschulte, Frank Van PUBLIC SCHOOL MUSIC —O. E. Robin HAROLD B. MARYOTT (Voc:..MAX FISCHEL (Violin) EDWARD COLLINS LEON SAMETINI PIANO —Heniot Levy, Allen Spencer, Vic¬ and Dramatic Art) BURTON THATCHER tor Garwood, Silvio Scionti, Louise Robyn, Dusen, Herbert E. Hyde. WALTON PYRE (Expi Kurt Wanieclc, Earl Blair. MUSICAL THEORY, COMPOSITION- HARP —Enrico Tramonti. PUBLIC SCHOOL MUSIC SCHOOL OF OPERA VOICE —Karleton Hack tt, Ragna Linne, E. Adolf Weidig, Arthur O. Andersen, John SCHOOL OF ACTING AND EXPRES¬ HAROLD B. MARYOTT ADOLF MUHLMANN EDOARDO SACERDOTE Warren K. Howe, Cl., rles La Berge. Palmer, Leo Sowerby. SION— Letitia Kempster Barnum, A. Louise Suess. Stage Training, Public Read¬ DRAMATIC ART AND EXPRESSION VIOLIN —Herbert Butler, Adolf Weidig, VIOLONCELLO — Robert Ambrosius, Adolf WALTON PYRE MINNA MAE LEWIS Ramon Girvin. Hoffman. ing, Physical Expression, Dancing. and many others. OF THE TOTAL VALUE GUEST INSTRUCTORS, 1921 - Josef Lhevinne, David Bispham OF A Avtsivt+sirroc . Including admission to Conservatory Recitals (by members of the faculty and advanced pupils); Teachers’ Normal FREE SCHOLARSHIPS JA ICC AL ClUUjlTUgCS . Training School; Lectures; Students’ Orchestra; Vocal Sight Reading Class and A Capella Choir. 25 free competitive 73 Free and 140 Partial Scholarshipsrips tcto be awarded Sept. 1. Application blank on request Mason & Hamlin ^««1 ^ for mmprtltoi scholarships. (Examinations from Sept. 5 to Sept. 8. Apply for examination blank.) A Musical Bureau for securing positions. tion Class by the Mason & Hamlin Co. Conover Grand Piano, presented for competition in the Post Graduation. Graduation and Senior Diploma Glasses by the Gable riano Company. Valuable Violin presented for competition in the Violin Department by Lyon and Healy. Entire Musical Education for competition in the Vocal Depa, tment. Lyceum and Chautauqua engagements secured £ prizes will be competed for in Orchestm Hall. Chicago, before world-renowned musicians as judges and with Chicago Symphony Orchestra. Opera Scholarships. _ Examinations Free . Catalog mailed free on application - Moderate Tuition Rates 15 prizes of $300 each; 15 of $100; 15 of $50 in the classes; also Diamond. Gold and Silver MedaIs ^ AMERICAN CONSERVATORY, 571 Kimball Hall, Wabash Ave. and Jackson Blvd., Chicago DORMITORY ACCOMMODATIONS JOHN J. HATTSTAEDT, President-Karleton Hackett, Adolf Weidig, Heniot Levy, Associate Directors 620 SOUTH MICHIGAN AVENUE 56th YEAR o Blacks tone Hotel)

COLUMBIA SCHOOL OF MUSIC IY,9 THE etude THE ETUDl Page 51+8 AUGUST 1921 Schools and Col lodes Schools and Colleges SOUTHERN AND DETROIT CHICAGO, NEW ENGLAND AND OHIO_ Chicago College of Music New England ESTHER HARRIS DUA, President 27th YEAR OPENS SEPTEMBER 5th, 1921 Music Center Conservatory of the Offers courses and private lessons in Piano, Voice, Violin, Organ, Theory, Public South School Music, Dancing, School of Opera, Orchestral Instruments, Expression, eorge W. Chadwick OS' |W[ ij SlC „ Y*" °P““ Dramatic Art, Normal Training for teachers in all branches. Director September 15. 1921 BOSTON, MASS. fg§§|g|5LS S™ Address for free catalog, DEPT. 23 INCORPORATED Complete Curriculi A Complete Orchestra 1234 KIMBALL BUILDING a. G. DUA, Manager CHICAGO, ILL. Offers advanced pupils in pianoforte MR. and MRS. CROSBY ADAMS Faculty of Noted Artists and Teachers pearance with orchestral accompan Annual Summer Classes for Teachers of Piano for the Study of Teaching Material Frederick Morley, Regenald Billin, Mme. Cara Sapin, Ernest Toy, Lionel L. S n- June 15-30-1921-July 14-29 clare, Charles J. Letzler, Helen Riddell, Arthur W. Mason, Sara McConathy, MONTREAT, PLC.^ W. Lawrence Cook, and others. FOEEST Address Ralph L. Flander COSMOPOLITAN Largest and most complete Conservatory in the South, offering fflVEESITY “MONTREAT, 'NORTH CAROLINA private and class lessons in The Courtright System of Musical Kindergarten vlrs. Fletchcr-Copp would commercializ Pianoforte Voice Culture and Singing Violin |i SCHOOL OF MUSIC Oldest and most practical system. Write for icrWorld-rcno i Organ Dramatic Art Expression Languages AND IF :eachers to give her Norma! Course an I Conservatory of Music School Supervisors’ and Teachers’ Normal Courses ylj Mr». Lillian Courtright Card, 116 Edna Ave.,Bridgeport,Conn. •ell her patented Apparatus — she woul Courses in all branches of music, in¬ THE FOREMOST SCHOOL OF FINE ARTS Famous for individual training and personal attention given each student. HR DRAMATIC ART IN THE SOUTH Especially interested in those who wish to enter the profession as teachers, P** cluding piano, voice, theory, violin, DR, WM.C. WILLIAMS, President Advantages Equal lo Those Found Anywhere or through Chautauqua and concert work. There is a good position Kn harp, wind instruments, etc. Special awaiting each L. C. M. graduate, as the demand far exceeds the supply. jjEH An eminent faculty of 60 artists^ ^Offers to "Public School Music’’ course fitting Catalog. GEO. F. LINDNER, Director Such free instruction courses as Harmony, Solfeggio, Ear Training, History, |Kj upon the best modern educational principles, young women for positions. Peachtree and Broad Streets, Atlanta, Georgia in collegiate s '' ~ ' ‘ *~ Faculty of collegiate standing and international training. School of Music OF ______„ Miss Fletcher.” SHENANDOAH COLLEGIATE vestigator°ha8 been'the gratrfufrecognidon. An¬ INSTITUTE other Writer says “the ideas of this woman have Lake Forest is situated within easy LEADING SCHOOL OF MUSIC IN THE SOUTH access of Chicago and its advantages, time Unot far distant wheiMf'’dhe'stands'firmly by her ideals—America will recognize her as the one such as the Art Institute, Chicago Sym¬ strongest force for all that is Good in Music—as :. S.C.I. BOX lio, DAYTON, VA. phony Concerts, Chicago Grand Opera, the Mother of Self-Expressive Creative Music in the Public schools.” performances of solo artists and mu- OTHER CHICACO SCHOOLS AND For full inforhnation apply to COLLEGES ON PAGES EVELYN FLETCHER-COPP 546 AND 547 31 York Terrace, Corey Hill, Brookline. Man. Goveraed by Influential Board of Trustees THE A ARY CHASE/CHO°L MARTA MILINOWSKI ®FA\USIg£L ARTS“TS ESTABLISHED 1857 Director ow Ad.vN AND HEALY UU1LDLNG, CIIICAGOriLXlNOI* it 14 Lake Forest, Illinois DU A Dfinv CONSERVATORY 48th Year A SCHOOL FOR TRAINING OF PROFESSIONAL MUSICIANS DETROIT Repertoire for Pianists with Mary Wood Chase. Teaching Methods and Materials. ( I El/VDUU fi BALTIMORE, MD. r’s Certificate and Diploma. Write for Curriculum, 800 Lyon and Healy Bldg., Chicago, Ill HAROLD RANDOLPH, Director PUBLIC SCHOOL Bradley Conservatory of Music Franklin Stead, Director 1 CINCINNATI CONSERVATORY o^MUSIC. established iser 1 One of the oldest and most noted Music Schools in America. CONSERVATORY of son Opens Sepie All Branches of Music 53D YEAR CLARA BAUR, Foundrea. ^•sassaflcfsrs Conducted according to methods of most Francis L. York, M.A., President Dramatic Art I progressive European conservatories TEACHER! Help yourself to SUCCESS Elizabeth Johnson,Vice President Illinois Finest Conservatory in theWest Elocution—MUSIC—Languages by using the BURR0WES Course of Music Study MUSIC Faculty of International Reputation •r Classes c □ducted by Exceptional advantages lor post-graduate and repertoire Frances Pike, D.2289 W. 16lh St„ Los Angeles, Calif, Kathryn Jamieson, D.119 Powell Ave., Toronto, Offers to earnest students courses of study based upon the best modern work. Department of Opera. Ideal location and residence and educational principles. Renowned faculty of 70. Students’ devanmm with superior eeuipment. leen Parke, D 837 Clinton St., Carthage, Mo. K trine Burrowes, D.246 Highland Ave. H.P., Detroit, 1 orchestra, concerts and recitals. Diplomas and Degrees conferred. DUNNING SYSTEM Master class for virtuoso violinists under Write for Via ted Booklets Teachers’certificates. Desirableboardingaccommodations. g Teachers Cannot Be Supplied. Why? Miss Bebtha baur. Directress, Cincinnati. Ohio. EUGENE YSAYE Season 1921-22 SSES AS FOLLOWS: Fall Term Opens Sept. 12, 1921 OH. St, New To* City, Sept. 20 Founded 1878 Theodore Thomas, First Musical Direc )ETROIT INSTITUTE OF MUSICAL ART ; —GUY BEVIER WILLIAMS, -— UNRIVALED FREE ADVANTAGES 60^Artist Tcache°^e includmg the leadin^members of the Detroit Symphony Orchestra The College of Music of Cincinnati Piano—Francis L. York, M. A.; Elizabeth Singing—A; itudents^ayR^^dny Time ”” “or’aSdta. H. B. MANVILLE, Bus. Mgr. Johnson, Louise Unsworth Cragg Blanch Strong, Clements, Ml ELM STREET ADJOINING MUSIC HALL Minor E. White, Oleane Doty, Alle D Zuidema, F. Travers, G 5405 to 5415 Woodward Avenue, DETROIT, MICH. Mus. Doc.; Mabel Guess, Mus. Bac.; Nita Meyer, Loreh. Music, Dramatic Art and Languages in all branches taught Wiihelmina Sutz, Laverne Brown, Mus.Bac.; Ethel Littell, Alma Glock and 30 additional instructors. >, N. Y., A exclusively by experienced artist teachers. Dormitory for Organ—-Francis L. York, M. A.; Alle D. Zuidem young ladies. Advantages equal to most famous European BEETHOVEN C0NSERVAT0RYsS&Si«. Celia—Ludwig Nast. institutions. For catalog, address, J. H. Thuman, Manager. One of the oldest and best Music Schools in the United States 4525 Olive Street. St. Louts, Mo. g3SS “ETSb d^e^Fran A SmA sic, Kansas City, Mo. Entire season beginning Jan. 5th. Mandolin and Guitar—Alexander G. Poll. Normal Training for Piano Teachers Francis L. York. Now Is the Time! and Colleges of Public School Music and Drawing-Miss Hermine Loreh, Paul DANA’S MUSICAL INSTITUTE vtusic should announce now the advantages they have for the School of Expression—Miss Lilly Adela Darling. Okla,Aug. 1st., Oct. 1st WARREN, OHIO Indiana. Examinations Free. For Catalog nusic student during the 1921-1922 Season. and Other Information, Address THE SCHOOL OF DAILY INSTRUCTION IN ALL The Etude is a medium that is helpful to all in the music JAMES H. BELL, Secretary, 5035 Woodward Ave., Box 7—Detroit, Mich. BRANCHES OF MUSIC wofession, and the publicity service it canrertder school s o Address LYNN B. DANA, President Desk E, WARREN, OHIO E when addressing our advertisers. Please mention THE ETUDE wheU’scildreasing our advertisers. THE ETUDE AUGUST 1921 Page 551 Page 550 'AUGUST 1921 the etude Schools and Colleges NEW Y O R K - a 0 Interested in Piano Playing? Salvini School of Singing Then you should know of ninth Mario Salvini, Director m* JUNIOR* The Virgil Method, Vols. I and II 206 West 71st St., New York City Telephone: Columbus 2202 How When and Where to Pedal 175 Piano Pieces and Studies (Grades I to IV) ETUDE A singing school living up to highest standards of art. The direct way to the a, 4) manager, producer and impresario. Opera, concert, church, _® All by Mrs. A. M. Virgil £ oratorio, musical comedy and teachers’ courses. £ g PUBLIC APPEARANCES You should know also CONDUCTED BY ELIZABETH A CEST The splendid instruments for Piano Practice called Courses for beginners, advanced students and courses of perfection for artists. ® 4) Opera department endorsed by Gatti Casazza, Director General of Metro- The Virgil Tekniklavierl (Bo(h (||1, p.,no „„ The Music Lesson Mark’s Music and Ball Playing Pints and Quarts B politan Opera House, Arturo Toscanini, Giorgio Polacco, Gennaro Papi 03 The Bergman Clavier ) and others prominent in the musical world. o, By Violet Leigh c/3 The method used by Mr. Salvini and assistants is of the Italian School IS Four and Two Octave Keyboards in Suitcases By Rena Idella Carver _ of Bel Canto, comprising: breathing and vocal gymnastics, voice place- Jg TEACHER The Child’s Pedal (A pedal and footrest for the child) “Honorable Judge,” began Fingering. .2 ment, solfeggio, development, diction, phrasing, analysis of the voice, ~0 Two-four the time. One sharp. Take As Mark Jones had given more atten¬ “He ignored me, thus making life almost 4) its scope, functions and possibilities, development of the vocal, rhythmi- ^ care! tion to ball playing than to practicing for cal, and musical faculties. Songs, ballads, arias, operas in the different Playfully—see schersando a few weeks his music lessons had not unbearable for the plaintiff.” Also the well known Mark sat there overwhelmed with shame original 'languages. Lessons given evenings. Address correspondence And allegretto. Look out there. been well prepared. He came home tired Mind well the rallentandol and cross from a lesson, threw his music and humiliation. VIRGIL PIANO CONSERVATORY Then Mark’s teacher presented the de¬ Gradually make the time more slow; on the floor, dropped into a big rocker and MARIO SALVINI 2°6 We»« 7u* street New York City fendant’s side of the case. He produced 120 West 72d St. Ca,alogs Z\OL*""0" NEW YORK CITY And make the music sing, Did you ever think of measuring four- much evidence to prove that this was the 0 0 Let the “old cat die,” you know. In a crowded court room he saw a sol¬ four time by pints and quarts? Some¬ As if you were in a swing. emn judge, lawyers and witnesses. first serious offense. A Beethoven Sonata times it is easy to straighten things out if Slower—slower—until you stop, A lawyer, who looked very much like testified that he had not received an in¬ you measure them this way—or at least jury from Mark. Schumann and Czerny University of Rochester Get that ritard just right. the picture of Chopin in his teacher’s stu¬ pretend to. The eighth notes will be A thing half done we should not drop, dio, was eloquently pleading a case. The selections declared that he had been very the pints, of course, and two pints make a But work with all our might. lawyer alleged that the defendant had considerate. quart, so the quarter notes will be the Play softly now, see that pp? struck and injured the plaintiff. This Mark’s teacher cleverly brought up quarts; in fact they have almost the same Eastman Schoo Father Time. Leaning on his staff he sol¬ Mind each staccato note lawyer stated that on the first day of name. And four quarts make a gallon, so PIANfCg^qjlOOL As if the keys were hot, you see. October the defendant had neglected his emnly proclaimed: “I feel it my duty to the whole notes will be the gallons, and duties, as shown by the defendant’s own say that the defendant has shown me of Music Carnegie Jfalf, JVewiork. Now let the music float a half gallon is two quarts, or a half note. Founded by George Eastman Off in the air like some sweet song record. veneration and in the present case I was Really it works out very well, and some¬ an eye witness and a member of the plain¬ ALF KLINGENBERG, Director COURSES FOR Of gentle little bird; He said that he would now call times does help to straighten things out, es¬ Ithaca Conservatory There’s dolce. Next chord short and upon the plaintiff for further proof. Be¬ tiff’s household.” pecially when one is not “good at counting.” N ENDOWED MUSIC SCHOOL FOR Notes arose and said that it gave him PROFESSIONAL AND CUL¬ pianists Tr a r* 1417 D Q strong; fore Mark’s startled gaze there rose the It would never do to cheat in measuring pleasure to state that Mark was very care¬ TURAL STUDY on; that develops Sforzando is the word. first page of Chopin’s Grande Valse Bril- out quarts, because if three pints went for ACCOMPANISTS I L/lLllLlAJ lante. . ful and seldom made mistakes when deal¬ ____those who look foward Next comes a long, legato run. one quart that quart would be getting to concert work, for special attention is given to Be sure to never fail ing with them. something for nothing and there would not Lyceum training, the Conservatory being The SIGHT, TOUCH and HEARING System of Teaching. Write for booklet Faculty list includes for next actively associated with a flourishing Entertain¬ Until your music days are done. be enough pints for all the quarts. And ment Bureau and having several of its own if three quarter notes were put in place year: T. H. YorkeTrotter, Joseph companies in the Lyceum field. Ithaca Con¬ Bonnet, Harold Gleason, Arthur servatory students are holding masy of the How Notes Grew of two for the half note, it would not come best positions available in America. Graduates out right either. When we have a quarter Alexander, Arthur Hartmann, are qualified to teach music in New York State Did you know that, before the year Pierre Augieras, Raymond Wilson, Public Schools without the usual State exami¬ Institute «i Musical Art 1690, eighth and sixteenth notes all were note rest we can think of that as a quart nation. A special course for teachers of physi¬ OF THE CITY OF NEW YORK Adelin Fermin, Gerald Maas, cal education—unusual demand for teachers printed with separate stems jj instead measure too,, only it is empty; and an George Barlow Penny. throughout country. Large School of Express¬ Frank Damrosch, Director empty measure is just as big as a full ion and Dramatic Art. of FTj , except in a few specimens of one. So do not cheat measuring rests, Schools of piano and organ, violin, singing, An endowed school of music conducted Gravely the judge asked Mark if he had harmony, composition, orchestration, band, engraved music? John Hepinstall, a Lon¬ either 1 small string^instruments, languages.^ painting, solely in the interest of higher musical anything to say. Very much frightened education and providing complete and don music-printer, was the first to intro¬ Mark answered: “Oh, Sir! I treated SKIDMORE dious buildings, concert hall and dormitories. comprehensive courses. duce the “new tied note” to England. Resident and day students. Master courses SPECIAL PREPARATORY CENTRES in different Grande Valse Brillante shamefully. I SCHOOL OF ARTS with world-famous artists in all departments. parts of New York City and Brooklyn for children School of Piano tuning in connection. Terms between seven and twelve years of age. Owing to a delay in print the Chronologi- just love to play ball and the fellows CHARLES HENRY KEYES, Ph.D., President moderate. Catalog. rnlist is omitted this time, hut will he con- practiced during my music hour. I did L Women* ring broad general and THE REGISTRAR. Ithaca Conaervatory of Music For catalogues address tinned next month. 1 DeWitt Park, Ithaca, N. Y. not mean to be so bad and if you people Thousands of Them! will only give me another chance I will technical studyqualifies for leading Did you know that when you play a practice faithfully.” The Junior Etude receives so many letters rided—Fine and Applied Art, Home Economics, scale four octaves, four times, both hands from its friends and readers that it is not rfusic. Physical Education, Secretarial Science, Then there was a dreadful cross-exam¬ possible to print them all because many are nd General Course, with related subjects. Crane Normal Institute of Music together, you strike the keys four hundred ination. Mark shook with terror. The so much alike. Many of you live in inter¬ | Four year course^leads^to B^S. degree^ Resi- /"OFFERS Teaching Positions, Col- “Your Honor,” said Grande Valse Bril- esting towns or far-away countries. When Training School for Supervisors of Music and forty-eight times ? judge read law and the jury went out. you write, tell something about these places leges. Conservatories. Schools. And when you play the chromatic scale lante. turning to the judge. “You see be¬ and about the music there. There is no age BOTH SEXES When they returned the foreman an¬ four octaves, four times, both hands to¬ fore you the wreck of my former self. I limit for the Letter Box, but try to make nounced that as it was the first offense and your letters Interesting. gether, you strike the keys seven hundred have been daily abused by Mark Jones. CARNEGIE HALL, I as there were mitigating circumstances the and sixty-eight times? He threw me violently on the floor, dis¬ POTSDAM, NEW YORK jury had decided that the defendant Letter Box The National Conservatory of Music of America Enrmh And when you play the chromatic scales abling me for life.” and each of the twelve major and minor Upon Mark’s horrified ears fell the should be released upon good behavior and Dear Junior Etude: The only School of Music in the U. S. chartered by Congr scales in this manner, you strike the keys words of the witnesses. that he must report to the judge every I am just Writing to tell you how much (JEANNETTE M. THURBER, Founder) I am enjoying the letter of mine which I. Sec., 126 W. 79th St., N. Y. City Office also at Schools and Colleges Continued on Third Cover Page eleven thousand, five hundred and twenty “Your Worship, I am here to testify that week and must pay the costs of the trial. you so kindly published in the January times ? the defendant played at so slow a tempo Mark’s friends crowded around him that the whole meaning was lost. He with congratulations. • The baseball heroes Etude. When I wrote that letter to The slandered the plaintiff’s character,” said and musicians smiled, and as he opened his Etude asking for correspondents, I never Enigma even dreamed of getting so many nice Vivo briskly. eyes he saw his father and mother smiling SUMMER TEACHER’S COURSES B letters. I now have Etude friends all Beautiful Rhythm said that Mark was down at him, and he jumped up and put By Evangeline Close over the United States, and some in AT THE ^7 very rude his music carefully away. Canada. My first is in have but not in get; I have become so attached to The My second is in came but nof in met; Etude that I just couldn’t do without it. NEW YORK SCHOOL o/ MUSIC AND ARTS Play is nothing more than having fun with what you like My third is in you but not in me; I think it is the nicest and most wonderful 150 RIVERSIDE DRIVE (CORNER 87th STREET) My fourth is in do but not in be; to do best. magazine published. My fifth is in branch but not in tree; If you really like your music, practice becomes the best From your friend, . Kremer. Frank Howard V ny others. SEND FOR O'UTLINE. My whole is a man who lived far away, kind of play in the world. Anna Earle Crenshaw (age 13), Who wrote music to sing and music to play. Alabama. S ETUDE when addressing our advertisers. Answer—Haydn. THE ETUDE Page 552 AUGUST 1921 Junior Etude Competition ‘Ring-finger,’ ‘Little-finger,’ and ‘Mr. Thumb.’ The Junior Etude will award three pretty prizes each month for the neatest and best “My next step was to give each finger Schools and Colleges original essays or stories and answers to a house in which to live. Taking her to "Jennsylvaniaand middle west PUSubject for story or essay this^month^ "The the piano I put my thumb on middle C and told her that Mr. Thumb lived in that little white house. Laughingly she entered Etude Premiums the fun of this new game. In time the age a (written plainly and u... -- fingers ‘made visits’ to the other ‘houses’ a separate piece of paper) and be sent to the (the four notes of the C maj'or scale). Junior Etude competition, 1712 Chestnut e twentieth of “The next step was an important one— E0MB3 St., Philadelphia, Pa., before t: SELECTED SONGS August. Names of prize win that of introducing the staff. ‘We will contributions wlT draw the picture of Mr. Thumb’s house,’ IN SHEET FORM Please comply \ CONSEKv^IOKiyfiuSIC and do not use I announced, and I placed a quarter note on the proper added line below the staff. Your choice of contralto or soprano J W THE VOICE PHILADELPHIA (Prize Winner) Gradually pictures of the other houses “ ^ voice. This offer has been received were drawn, and we had the names of 37th YEAR OPENS SEPTEMBER 12th with much favor by hundreds of our friends and sub¬ five notes and their location on the staff ic methods, individual instru voice has a large r< ».tea, the range at and the piano. scribers. st, combined with efficient __nand being governed by “One day I heard her singing a little ___ e COMBS CONSERVATORY affords opportunities capacity of the_ _ l by physical c Awarded for 2 subscriptions. not obtainable elsewhere for a complete musical education. _s a disputed fact___ as t-’ who has melody which we had played. This pre¬ s highest t “Soprano singers All Branches. Normal Training Course For Teachers. Public Per¬ __ - is and tenors are a bit more sented the idea of using words, and I i, while a very good contralto is still more wrote exercises like the following: formance. (Four Pupils’ Recitals a week.) Orchestra and Band CONSERVATORY music of the voice intri C D E DC Adjusto = Lite Departments. Two Complete Pupils’ Symphony Orchestras. OF Mis-ter Thumb lives here Conductor’s Course. xpasses0 all'other" musical sources. Reciprocal relations with University of Pennsylvania. Geraldine Hopkins (Age 12), C D E F G A lamp that can be attached I will play with G Opens THE VOICE SCHOOL OF INDIVIDUAL INSTRUCTION (Prize Winner) C D E F E anywhere—throws light exactly (Theoretical and Applied Branches Taught Privately and in Classes) Sept. 2 ist Dorothy was practicing__ b-*__t thought the I know E is here e when she could go out Faculty: Gilbert Raynolda Combs, Piano; Hugh A. Clarke, Mus. Doc., Theory; Nelson A. MUSIC time would nev- where it is needed. Prevents _ __ at that moment a fairy Chesnutt, Voice; Russell King Miller, Organ; William Geiger, Mus.Bac., Violin, and play. "Instead of always singing the words of and 75 assistant teachers. HE Conservatory occupies a beautiful building devoted appeared before her. “What a the above exercises I taught her to sing eye strain. Guaranteed 5 years. T here?” Dorothy a"1”''’ exclusively to its own use. In the building are forty- you a beautiful melody and tell you about the numbers, thus introducing note values. SUMMER SCHOOL the voice,” she answered, "and how to sing. Complete with 8 foot cord, Teaching in all branche. will be continued during the Summer under the personal instruction and super¬ eight practice rooms, each containing a piano. In addition, She sang the melody and Dorothy thought she Quarter notes were always used until she vision of Department Directors. Work taken during the Summer will be credited on regular courses. had never heard such music. “It takes a lot unconsciously played the notes in even plug and gasket. there are large studios and special rooms for Harmony. of training to sing like that and you must be DORMITORIES FOR WOMEN For recitals, ensemble work, etc., there is a Recital Hall, patient,” she said. “You have to sing the time. It was not hard then to introduce the half note with stories about its being Awarded for 5 subscriptions. toryinipiu’havc^ufvantages'notaffordSf'in^any other school of Music! Daily Supervised Practice, Daily thoroughly furnished with every appliance for such work. high notes away up in your head, and you Classes in Technic. Musical Science, Theory, Concentration and Memory Training, Vocal and Instru- also must keep your mouth round and open. a big house, and the whole note as being The more you practice the better your voice A complete and broad musical education based upon the best will become.” a big, big house. Here is an illustration: SIX SPACIOUS BUILDINGS Then the fairy vanished. modern American and European principles is offered in: Margaret Watsqn (Age 12), The only Conservatory in the State with Dormitories for Women Penna. A School of Inspiration, Enthusiasm, Loyalty and Success. THE VOICE BOOKS PIANO, VOICE, VIOLIN, ALL ORCHESTRAL INSTRUMENTS (Prize Winner) Illustrated Year Book Free Hear the voice of the wind as it fitfully New and interesting, romance and fiction, by the Musical Theory. Harmony, Counterpoint, winds its way through the hearts of many— GILBERT RAYNOLDS COMBS, d,rector Composition, Musical History, Appreciation a voice not cruel but calm. The song of best Authors. Choice of any book listed in the July melancholy that brings to the aged thoughts Administration Building, 1331 So. Broad Street of yore; to the young, thoughts of the future ; or August Etude Publisher’s Notes. PUBLIC SCHOOL MUSIC, EAR TRAINING, SIGHT SINGING wakes the romantic from their reverie; for of what are they dreaming but of spirits Awarded for 2 subscriptions. CHORUS and OPERATIC CLASSES joined into one voice bringing before them “An interesting way to teach her the ■ Now in new building. -H^hn Philadelphia their hopes made true. difference in tone volume was telling her 1 Over 1300 students Ian FULLY EQUIPPED ORCHESTRA OF 40-50 MEMBERS UNDER I year. Degrees for mu- AN EXPERIENCED SYMPHONY CONDUCTOR The human voice brings its achievements. ‘Mr. Thumb ought to go home softly and Each tone that comes forth is a blessing of 1 sic students, in affilia- Musical Academy WITH EUROPEAN REPUTATION nature. Each tone brings one nearer to the not wake the baby,’ or ‘the door is locked a la tion with University of superworld. The song is but a whiff of air SPECIAL AWARD van'cedpuptls under eminent art[s£teachersCTheoryI and Little-finger must knock three times, Pittsburgh. Instrumental and vocal. Students’ Symphony Orcnea- blasted out of the depths of each inspired P.M ■ LYCEUM ART COURSE person’s heart, to be consumed as vapor but first loud, then soft, and then loud.’ Each Through a special For prospectus address CHARLTON LEWIS MORPHY, never erased from the memory. Pittsburg]i Musical Institute., Inc. Managing Director, 1617 Spruce St. Daniel Rolins (Age 11), exercise and story suggested another, and Thorough preparation for Platform and Stage in it was easy to keep the child entertained arrangement with the while she unconsciously learned the five- Publishers of the 20th VIOLIN, VOICE, PIANO, ALL ORCHESTRAL Honorable Mention For note scale, the corresponding letters, re¬ Century Cook Book, INSTRUMENTS and in DRAMATIC ART peated notes, either loud or soft, playing FALL TERM OPENS SEPT. 6™ Compositions • MRS. HARDING S on the tips of her fingers, using the left we are able to make One and Two Year Courses in Piano, Voice, Violin, Organ, SPECIAL COACHING FOR PROFESSIONAL Florence Rebyea, Elinor Kirkle, Marjorie Public School Music, leading to diplomas recognized by the state. Williams, Miriam Rosenfeld, Olga Sekey, hand, etc. Twentieth Q-ntory this exceptional offer. MUSICIANS, ACTORS and READERS Pauline Hombach, Harvey Herring, Beatrice “All this time she had been absorbing Send for free catalog. Dormitory accomodations. Frederick, Gladys Francis, Annie Dreca, Comprehensive and Mary Grace Murray, Sylvia Levin. The fol¬ the sound of the intervals and their dif¬ DEGREES, DIPLOMAS, TEACHERS’ CERTIFICATES lowing names were accidentally omitted from ferences. In a story I let her discover Cook Book complete in every de¬ MacPHAIL school last month’s list—Carrie Hoover, Florence ' and his recipes MINNEAPOLIS, MINN. LYCEUM and CHAUTAUQUA engagements secured Mvrick, John L. Sullivan, Janie Land Davis, that there were other rows of houses on tail, it is a new depar¬ Ruth M. Boyer. ‘piano street’ sounding just like the first 100 TEACHERS ONE OF THE LARGEST IN AMERICA row. Of course, the other rows were y canpy"Making ture—entirely different The Faculty consists of highly educated and experienced Puzzle Corner merely the next octaves higher or lower. from other cook books. Musicians of International recognition “More stories about calling at the new Prize Winners—Laura Potter, I..i (Age Special emphasis is Michigan State Normal College Conservatory of Music 14). Maribelle Albery (Age 8), Ohio. houses, and I had trained her pliable little YPSILANTI, MICHIGAN MODERATE TERMS Honorable Mention for Puzzles—Helen fingers to connect the rows in the proper placed on table eti¬ 6 Santsen, William Werner. Mary Ellen Mc¬ 8= schtxJ music STUDENTS MAY ENTER ANY TIME Kenzie, Gladys Goodman, Roy Winship. The way. Finally she learned the whole scale quette. Our supply is foUowing names were accidentally omitted upon which we built all other exercises. Total'1UvittgIeexpenae9llne^rtiottme

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