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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
6-1-1928 Volume 46, Number 06 (June 1928) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 46, Number 06 (June 1928)." , (1928). https://digitalcommons.gardner-webb.edu/etude/757
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. ORPHEUS AND HIS LYRE Four Song Composers Who Have Made Outstanding Contributions To The Repertoires of Many Singers
DON’T WANT TO KNOW This page with Songs brought to atten- ® The range of each song is indicated with small and tJ°.n and the portraits and short biogra¬ capital letters. The first letter is the lowest note in phical sketches of each composer will serve to give a better acquaintance with the song and the second letter is the highest note. A these celebrated contemporary writers small letter tells that the note is below or above the whose beautiful songs are frequently staff and the CAPITAL letter tells that it is on a used by voice teachers, concert artists and non-professional singers in our fore- line or in a space within the staff. %most musical centers. THE WORLD_ OF MUSIC FOSTER HUERTER Fay foster, composer, pianist and vocal teacher, was bom in Leaven- CHARLES HUERTER, teacher and iH Interesting and Important Items Gleaned in a Constant Watch on composer, was born in Brooklyn. —_ worth, Kansas. She began her musical Happenings and Activities Pertaining to Things Musical Everywhere instruction at the age of seven and it New York, 1885. His early mui t W was not long before she was playing her training on the piano was received from ISPS! A °wn compositions. At twelve she was WHEN GOD MADE YOU his father. Later studied at Syracuse sr an aye organist and choir leader and at No. 23544 By Alden Barrell Price, 35 cei University with such prominen t teachers Fa? Foster seventeen she made a country wide tour as Seiter, Frey and Berwald. He also M as pianist with William H. Sherwood. attended the Royal Academy at Berlin. I wo years later she became director of the Musical Con¬ His first composition was published c"'“ servatory at Onarga, Ill. in 1911 and since then he has written over l(- • numbers In her musical education and development she was m all fields of composition including choir nt associated with some of the world’s greatest pedagogues in sacred and secular, songs, violm, cello and n, 2™t0 having had the advantages of training in the sitions. He is best known, however, by hu r y piano leading European Conservatories. Her plans of preparing pieces and by his songs which appear on the ,. :r imi of for grand opera were changed after she was successful fo the worlds greatest singers. For many year- . |,s* de¬ winning a composition contest and from that time on she has voted his time to composing and teaching 1 .racuae Skip “ostLof her tlme ‘o composition and vocal teaching. New York, where he has a large class of pupil. r,J ah» e has to her credit more than seventy-five published songs piano works and choruses, many of which have finds time to act as choir director. gained distinction throughout the musical world. Git. No, Title W468°ChainsT'tle. $0% 23536 At Twilight.E aflat ,040 19483 Don’t Want to Know ? 4° 23534 Lovely Night.. c p suitable for warded to Julius “ ” . Brooklyn, New York. 23535 My Dearie. j „ 19484 Don’t Want to Know M ist-composer of :ur JBodansky, JMargarete Slat- „„„„„ , (Low).d—D an 15152 My Reverie.J F 22722 I Can Sing You a Song of 9727 Mystic Balm, The.(; g ^ ^ de TreC THE ALABAMA MUSIC TEACHERS’ AS¬ Hood.” Donize Springtime.E flat—g 4y 9728 Shine Inside.Eflat_F SOCIATION met for its Ninth Annual Confer¬ id "Nicolai'""’ ”s “Merry Wives 19469 Karma.dflat^gflat .40 April fifteenth, on the organ of Packer Memorial ence, at Birmingham, on March twenty-eighth. ranslated for Mr. en. 3 Local’ "ii tveraents of 9610 rH(High).hTi Sur‘ Gr“* N, Shtp_p Church of Lehigh University, Bethlehem, Penn, Topics of lively interest to the music teacher sylvania, by Dr. J. Frederick Wolle, founder ZU feSedA JEL M'lendid programs rendered. valuable hin_„s _and „help 15124 When Stars Greet Night and still conductor of the famed Bethlehem Kendall K. Mussey. (Low).J_D program was concluded hy BARRELL AT THE “CANADIAN FOLKSONG AND 23537 Where’er, Dear. You May HANDICRAFT FESTIVAL,” held in Quebec from May twenty-fourth to twenty-eighth, an *.c-Eflat event of great interest was the performance of Newton, Massachusetts, in 1900 “Le Jen de Robin et Marion (The Hay of and received his early musical training NEW YORK PHILHARMONIC OR- rrom his musical parents. Later, while CHESTRA,OA AC.the oldest-.-.-A- or : .ion of th;s nature the^'th n'e thIflr'°rt ^” WjJ1'chthwaj composed in a studenf at Harvard College, he studied 1st in the world, dour Adam de la Hale and is said to be the and the New York Symphoj Orchestra, which Marinensky Theatei .. _ earliest comic opera in musical history. Wilfred nJth ,Pr°f‘. WaIter Spalding, Prof. CANDLYN PeUetier and^Armando Agniui, from the Metro- Edward Burlingame Hill, Mr. Edward lamrosch, have combined foi SoL^ thThf‘se?ieThSterpe°r- Alden Barrell Ballantine, and Dr. Arthur de Guichard anization is to be known formances began on the fif¬ ductor and stage director^whil^'Jfeor^Votbier, T. Symphonyiv Society" • - of New York, teenth of March; and Mr. basso, and Arrnand Tokatyan, also of the Metro¬ rise as an organist and composer thief conductor, with Wal- Coates is the first British con- politan, interpreted the leading roles. of note has been sudden and a/^t —’ nest conductor due tor to have wielded a baton ies of Young in Russia. Mr. Coates is well kn 1892 H?s’ W“ ^ in **1*3 m through having been a guest 1 WILLIAM BERWALD, of Syra fcSasara-a/saat Christian Church, New Bedford, and during this 1 . • ™s musical education was re- » A number of our foremost orchestr; York, has been awarded the Priz, caved from some of the leading teacher, Thousand Dollars offered by the Nat: 1 io?^Uxr £lne conslderable composition. 8 Jt & RODMAN WANAMAKER, enthusiastic music m that country and in America to wWh ^ patron, especially of the organ, passed awav dation of Organists, through the ge: ,omed tbe Editorial staff of the country he came as a y^^ ,1 T. F..= - . H. AMERICAN COMPOSERS receive but scant the Estey Organ Company, for the be THEODORE PRESSER COMPANY. During the course Rosebud at his villa in Ventnor, New Jersey, on March encouragement from leaders of our best orches- tion for organ and orchestra submil the early years of h,s career asa mXicun C' ’N' 9th. It was through his zeal that the Wana- In the season of 1926-1927 the New Yurk of a year he examines many thousands of vocal manuscripts No. 19724 By T. Frederick H.Candlto Price, 4( maker Store in Philadelphia has long maintained which composers from all over the world submit to thL M ,'erfon__ the largest organ in the world. He promoted and twenty works, of which but fom ...... by. company. He also conducts in THE ETUDE Music organ and LynchrStmSgaCt,V,t,C3 ’ F* musical culture through supporting concerts, Americans; the New York Symphony Orchesti. jnaintaining a wonderLtl ^ collection ^ of stringed gave eighty-eight works, of which but five weri SIR HERBERT BREWER, 1 column of * *£ sitihn^chosm in a^comnet V ^ccessful in havinu his compo- American; and in the same season the Phila organist of Gloucester Cathedral and this Xmto^h ’ *Pon,ored bV THE ETUDE delphia Orchestra used but three and the Bos cnntlr;®ar(en'3 aongs have been programmed by prominent ton Symphony Orchestra but two works by oui ductor of the Three Choirs Fes¬ concert and operatic singers with notable success He has endeavor. hu itt£nt,°" to this field of musical tival, passed away on March also composed organ music, anthems and piano pieces! the first. Born at Gloucester on theluteOit V**? °( the Mlls‘C Department of THE MEMBERS OF THE NATIONAL the twenty-first of June, 1865. BOARD of the National Federation of Music THE WOMEN’S SYMPHONY ORCHESTRA and educated at the Cathedral 1805J°Candle™f Memory c—d”** Pff also ^hoX^^'’5 at N Y Hc “ Clubs, with Mrs. Edgar Stillman Kelley n. OF PHILADELPHIA gave the final program School, at Oxford, and at the Church of that city. ^ ^ St’ Piu,i'5 Episcopal of its series in the ballroom of the Bellevuc- Royal College of Music, the 1^882 Evening Song.E flat-a flat 35 tiphts’- Fi*d Stratford Hotel, on the evening of April greater part of his long life was 18901 An Hour. _p devoted to tile advancement of rf wwhy compositions eighteenth. This organization of eighty skilled najor musicians^ affording the complete instrumenta- the standards of ecclesiastical IIIri1 is APriI? •E abarp-F sharp 40 number of Sthems an fJ^rednand somc ®ecu!ar- Besides a music. Through his instrumen 18481 My Soul is Like a Garden 1 herewith. eXce**ent songs, which are listed era composers were invited eitl Close. d—E leadership of J. W. F. Leman, has, in this WAGNER’S “PARSIFAL” had its first per¬ its sixth season, given a series of fifteen per¬ to hear their works first perfori 18472 Turn of the Road, The ’, ’.c—g formance at Geneva, Switzerland, when it was formances. Included in these have been six dral or in the Shire Hall. 23544 When God Made You aflat—D flat ’ ’35 given at the Grand Theater 011 March 24 25 appearances in Philadelphia, while among out- 27 , andR 29 by the^ Orchestral Society of the sitle engagements have been those at Chestnut 19205 Little Telltale i Hill, at Ursmus College of Collegeville, Pennsyl¬ PUCCINI'S “LA RONDINE” had its Ameri¬ 1972a r—l. 1 .0 $0.45 I'/. Denzler, leader of the orchestra of the Staat- vania, and at Atlantic City, New Jersey. can premiere at the Metropolitan Opera House, soper of Charlottenburg-Berlin. New York, on March tenth, with Bori, Gigli •<0 8*5582 a-nda Vy"t the’ leadinf? -r61es’ 1712-1714 CHESTNUT ST. Theodore presspr THE WOMAN’S SYMPHONY ORCHES¬ deal of melodioi TRA^ of Los Angeles, ^ which consists of eighty rhyth : charm which CO. twelfth t :e in the stand- of its : cheerful works: PHILADELPHIA, PA. Engflt MUSIC AXIOM FOR JUNE MAKE HARMONY WHILE THE SUMMER SHINES MUSIC STUDY EXALTS LIFE
Page 421 Page m JUNE 1928
JUNE 1928 Page \2S Professional " SMOOTHoUt^I THE ETUDE MUSIC MAGAZINE MUSICAL Rutq Teachers, Professionals . * V TEACH Founded by Theodore Presser, Students Unable to Takf9^-Ambiti“us g®. c c the Buescher Directory mer Instniction Should “Music for Everybody ” Opportunities for Summer Se°f.Hri'8iect Saxophone Musical Education jI “Re-Furbish" Technic 'P Perfect Theoretical KnowJeHn ALBERTS Ga,n New Musical /nfor in the Home
A Miscellaneous Group of He,pftu Contents for June, 1928 Conducted hy World of Music. I FINGER GYMNASTIC!? coiviBsr: Musical Education in the Home.. By I. PHILIPP p1U> Margaret Wheeler Ross 1 At all seasons of the year ,?**’ ®l s0 Questions and Answers. provides the best type ,,f ’ , , volunie DUNNING Editorials . daily practice. Equal i.rund,?,,?* ,or “Napoli E’ Una Canzone”.,/. F. Cooke 435 fPven the hve finger, of eacb^hgd* “ erred in The Etude unless accompanied by the full name Dry comfortable How to Study the Encore Song.J. B. Wells 437 ir. Only initials, or pseudonym given, will be published. MDSIfimguichard rnn..._ Etching, Beethoven and Goethe.N. Bauer ■ L-ARTDU CLAVIER Only a Buescher affords you such remarkably nniam By THEODOR LACK p*: . quick and easy results. Patented Snap-on Pads, the hands— The Secret of Extracting Tone Color from the Piano There is plenty of mai. 1 ■ ''’.Al.SO greatest improvement for beauty of tone — easy to correct or rtrengihcn ao,*«!; replace — no more cementing. Found only on the E. R. Kroeger 439 ■re points in ' *,“k Buescher. Patented Automatic Octave Key — REE yourself from the discom¬ MOULTON The Musical Home Reading Table.A. 8. Garbett 440 F s*tcv 100 short plea' - ,, ,■ ,cthnic. always positive. Perfect scale accuracy. Easiest to fort of moist slippery hands. all phase, of iVchn," ‘Ud,e* cov«- play because of exclusive improvements. You can L5he Precocious Qhild 3t tHe Pian°.F- Ber9" quickly master the Buescher—then teach it. Even sudden dampness from ner¬ NEW YORK Chord Conversion for Small Hands.II. Ilokman 442 COMPLETE Increase your Income. Young people everywhere vousness at tense moments can easily Memorizing Notes and Staves.Dr. A. W. Patterson 442 want to play. Any instrument on 6 days’ trial—easy WO interesting communications have stool. With such talented children your SCHOOL OF TECHNIC payments to suit. Write for complete information T be prevented by regular use of Practicing Away from the Piano.E. R. Schmitz 413 1 By I. PHILIPP p’aJ' reached this department, each from responsibility is very great. But your joy normal Odorono. i masterly i c J2,5® a mother who has had musical should know no bounds, J’lilludelphlu. ,tt r<,,U ' • I’iunlste, cure of^tude! A?AFr6e hi16 -F-OUrth and Fifth Fin8ers.E. II- Pierce 444 ractrr T..11 work of Buescher Band Instrument Co. 00111,1 2500 Buescher Block Elkhart, Ind. training but who is too close to the situa¬ Odorono was made by a physician to check perspiration where it is dis- “ .****—< «* tion to decide for herself the best course to Scattered Lessons tiessmg—on the hands, underarm, pursue. We are making use of them for yRS. w > Camden> New Jersey Your PIANOMflllASSi Faust School of Tuning neck, etc., and prevent noticeable this month’s message because they involve 1V1 ,etter js most interesting and unusual J? STANDARD OF AMERICA odor and stained garments. Its use Sch'»l‘li‘l ?'?“*” D'P*rt”“t.V. O. 0,M problems of general interest to the mother j„ jts unity and clarity. The definite data RIESBERG^^stmS School Music Department. G T r;«no ALUMNI OF 2000 is advocated by physicians to end Piano Tuning, Pipe and who has children studying music. you have kept and offer me on your perspiration embarrassments. Teachers’ Round Table. .C O Ho7 * ^ Reed Organ and Player Teaching the Child the Legato. . ..~ ^ “9 Mrs. M„ Spring City, Pennsylvania, daughter’s lessons, proves you to be a • S. Whitson-Holmes 450 _ ^ yj”ic ttiai Odorono (ruby colored) brings freedom Piano Tuning—How Perfect? Your problem is unusual. While most careful, interested mother and challenges frommoisture and odor .T- A. Hendricks ■ mothers are struggling to find ways and my forces to give you a satisfactory reply Variety in Young Folks’ Recitals' " MASTERING THE s< ales used the last thing at VEON .Is- A. Belden ■ means to interest their children and get You state your little girl has taken music ad vlnce—Sli KOMlij. wo iD°"iSa,£‘J M« £ Summer Pianists’ Dailies.. and arpeggios^ night once or twice a mats' 8 6 3 “Etude” Acrostic. .IP. D. Galigher - I Bf JAMES FRANCIS COOKE them at work m music, your difficulty lessons since May 24, 1924 that she is week. Odorono No. 3, L. J. Schumaker TINDALE Educational Study Notes..■■■■ seems to be the very opposite The great now eight years and ten months old and milder (colorless) is for VIRGIL 1 wSn'J A» MD8,<^ Singer’s Etude . .II A. Barrell 467 «-> sew Music Filing Cabinet danger I see in such tiny children actually that, during the period of study, she has sensitive skins and Needed by every Musician, playing and studying is the probable loss taken one hundred and twenty-eight les- more frequent use At SOUTHERN Organist’s Etude .... . ‘ : Student, Lil of interest later on and the straining of sons. You are not satisfied with her pro¬ toilet goods counters Organ and Choir Questions'Answered' School and Convei 35c, 60c. Or send 10c Violinist’s Etude . .H. S. Fry 472 Will h muscles resulting m stiffened fingers, hands gre5s and request an opinion from me for complete samples CONVERSE COLLEGES Violin Questions Answered...... K- Brains 474 and wrists. Of course, there are instances This may be a case of starting the child to RUTH MILLER, antly of children of four years of age so decid- too soon> with iong breaks between the New Musical Works Reviewed .R. Brains 476 ; Ml study 386, Blair Ave., Cin¬ .Junior Etude. . Send for list of edly talented that they cannot be held iesSon series. A young child invariably cinnati, Ohio. most popular styles fPpopAFlpLLEGE Junior Educational Study Notes. ■■■■E. A. Gsst _ back or denied musical training. siips back when lessons are stopped fo'r a og ree. Iu the heurt of the Shenandoah Valley!a8°nabIe' TINDALE CABINET CO. Answers to “Can You Tell?”. • E. A. Barrell 486 40-46 Lawrence St. It seems to me that what you should any length of time. Much is forgotten ~~ WESTERN ~J1— Flushing, New York do now, and for a year at least ahead, and interest is lost. It is almost like be- is to keep the “music study” a question ginning over again each time This may Special $1.00 Bargain Offer AMERICANS#Oa=» „ . . MUSIC of play or recreation. Since you can play be the reason she does not play as well Over $2.00 worth of music for $1.00 “Ctz/gl*«— yourself, you can satisfy the little four- as you think she should for the length Five Pieces (Sheet Music) For Piano MM ARTIST year-old by indulging in a regular rhythmic 0f time she has had lessons. _ D . ™“‘T, _ , , Minuet Militaire ... Ewin9 427 YOU DRAWING in ^ ners $5.7^ ComptoeXTtf'M™? T^in/ Be'^S,0. spree. By the playing of musical games If we analyze the situation, we find that , Glittering Raindrops....‘ Kountz 428 Twilight Hour...... w- Kern 429 you can be unconsciously training him in from May 24, 1924, to February 20, 1928 Harlequin «•„) Pierrot 50c Send J|Ig« (Suburb of Chicago.) ’ 9K7 84th St,» Berwyn, the various rhythms, and by the use of (the date of your letter), is three years Sorrow - ----_40c S< Write today for A.. well-chosen juvenile songs and listening and near]y nine months, a period of one Nocturne in C Minor $1.00 Bill or School11 loCOllAn„6lc“ c . . c. Money Order. CHICAGO $CHGDL"AmiED ART games you can tram him in pitch and tone hundred and ninety-one weeks approxi- “Fantasia ‘ Slavonic“ - - - -_T5c No Stamps Room No. 7 BATTLEOittKMlCH. Nel Cor Piu. .. Ewing 451 values. \ou might even interest him with raately. One hundred and twenty-eight Total $2.05 Accepted In the Hammock. .L‘ Van Be»thoven 452 some of the toy symphony instruments, lesso„s during this period would indicate McilATisli^s: Frills and Fancies .. Cflanaarel 456 including the little sister in the game. that there have been long lapses without THE G CLEF A well-trained ear and a keen sense of lessons. If we deduct vacation periods, O Lamb of God “L’Arlesienne” .M’ 7vain 457 DETR6lTS^«{i; TWO PART CHORUS rhythm will send him forward very speed- four summers of fourteen weeks each we Paramount Music Publishing Co. BOOK ily when he is old enough to begin lessons. would get fifty-six weeks, which deducted 1207 West 37th St. Los Angeles, Calif. 0utZ%Z ZcmTiZTntal N7f7 Price, 50 Cents If he is so decidedly talented that “he from the one hundred and ninety-one weeks Discounts on Quantity Lots can pick out tunes on the keyboard for wouid ,eave a pe„od of one hundred A finer variety and a more useful col¬ himself, I would allow him to do it, not and thirty-five weeks with but one hun- MUSIC ENGRAVING You Stupid, It’s June! (W, (V°Cal>-B- Kountz lection of material in a compilation of worrying about his hand position because dred and twenty-eight lessons. This is Piano, Band, Orchestra and Octavo work. We KNOir^ nineteen numbers would be difficult to specialize in book work; also engraved titles. A Little Prayer (Vocal) .. O’Hara 4(j3 give. Everyone interested in the cho¬ he will not be apt to hurt himself ,f let less than a lesso„ a week for schoo, Estrellita (Violin and Piano).pM' L' Preat«n 465 rus work of schools, girls’ glee clubs alone. It will be only when you attempt year> even with the vacation period taken Send your mss. for estimate. and women’s choruses should get this OTTO A. C. NULSEN, TOWSLEYSiarr;. Delightful Pieces fori,. ■ J.Pon™-Bartmann new collection. to force him to a strict hand position, away, which really should be the best - Worh.ll LL’jThh'.M 0»,..l6.3.0 P.O.Box 774 Youthful Hero March'^ Etuie Readers Examination Privileges extended to while so tiny, that strain might result, time for music lessons. We find, further 124 Government Place Cincinnati, Ohio Flying Along ... R0ife w school supervisors and chorus directors Let him wander around for a year or so, that the child, being now eight years and John Paul Jones. .. Mallard 487 THEODORE PRESSER CO. getting what fun he can on the keyboard, ten months Gf age, was about five years Hie Wild Horseman. .B‘ Blake 488 1712-1714 Chestnut St., Phila, Pa. while you train his ear and rhythmic sense, 0id when she began. This is too early SPARE TIME WORK SCHOOL MUSIC tiing pays easily *2 - hour. Requires March of the Acolytes.. .. Schumann 488 bt, I fundamentals from for the average child, unless very wiselj average piano. Pay CATALOG A Little Waltz.... .R- J. Pitcher charts and games and develop and directed with a brief daily lesson. Per- ng. Player work also Gliding Along. • '.;.4. Foote 489 strengthen h.s hands with table exercises. haps your Httle daughter h\s ,QSt intefestj ; pay. No capital needed. „„ ,uu Sent Gratis Upon Request it home at small cost. Two diplomas PIANO «JAZZ Your own teaching experience will enable become wearied because of the early be- granted. !t ourfroe book—“Piano Tuning as The Happy Dancers (Violin"and' Pianf) ***** «f’ a Busines MACK INSTITUTE DiZZ^1 Zahe ior Scl,o°'and c°"<*= F- A. Franklin Bass, 684 Syncopated Effects, Blue Harmony, Oriental, Chime. yYou° should'watch the little girl very ?tS’ ‘“ITs^ if f ^ Crafton S Jtiorb_ET-4__-_ Pittsburgh, Pa. directors and Music Supervisors. It h?t, closely and allow her only brief practice prio1 t. i ’ f ee S^e ?as no^ FiU>er8’dS247S1thr8' TTt Rn.88’, Harmonyf Blue ({Si- periods. For well started, but there is the constant to expect soo young a.child to progress with danger of over-doing where the desire . assasaaraa? lesson l^lemr„ri7e copieenoflr^ is to ^ ZmT"1 ,n so keen. Be certain that her playing a week, and, from the compara- MUSIC PRINTERS ; - table, she has evidently not had even THEODORE PRESSER CO. when not °ut 4^ free from strain. Lift her s occasion- tbat mucb instruction. ally when she is not expecting it, and ENGRAi/ERSanb LITHOGRAPHERS 1712-1714 Chestnut St PRINT ANYTHING IN MUSIC- BY ANY PROCESS PHILADELPHIA, PA. ’’ see that she is perfectly relaxed from her shoulders down. Watch out also for eye- Not How Much but How Well WE PRINT FOR INDIVIDUALS strain and nerve strain, making sure her V EXPRESS dissatisfaction with established 1814 REFERENCE ANY PUBLISHER position at the piano is easy and com- *fle am°unt of technical exercises J WRITE EOR PRICES fortable—not too far away from the mu- §iven her. Many modern teachers avoid maa ** mam i wn sic-rack—with her feet supported by a (Continued on Page 495) _ZIMMERMAN 8 When yon write to onr adve ■tisers «tways mention THE ETUDE. It identifies yon as one t„ touch with the higher tdenbToT and life. Page 1,24 JUNE 1928 Tli» etude THE ETUDE JUNE 192S Page 1,2-5 D. Appleton and Company take pleasure in announcing an entirely new series of musical collections This “Whole World” Catalog Free to be known as to every music lover in the United States (n0t jn Canada) on request. It is an intensely interesting THE APPLETON booklet, profusely illustrated, containing the titles8 descriptions and complete contents of all the books’ MASTER - COMPOSER SERIES listed below. Whether you are a teacher, a student 1 he title of the first volume in this new series is or a musical amateur, you will find a number 0f books for violin, piano, voice, organ, saxophone SCHUBERT AT HOME etc., which will prove the most satisfactory collec¬ tions which you have ever used. Mail us a post card today with your name and address and the catalogue will be sent by return mail. THE “WHOLE WORLD” MUSIC SERIES is the world’s premier line of musical collections for piano, violin, voice, organ and other instru¬ ments. Each, volume contains 256 or more pages devoted to the choicest classic and modern com¬ positions. Printed from engraved plates on clear white paper, and substantially bound in either cloth or paper.
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To be always “at one’s best” I . . . whatever else that may re¬ quire of the modern woman, it obviously does require complete freedom from that unforgivable TECHNIC-TALES Just Out! Attractive 6 Page Teaching Piece social error, perspiration odor. “Mum” is the true deodorant RoWn Technic Tales Elasy Little Digits 50c Piano (Valse Brill ante > cream that gently neutralizes JJ By Louise Robyn Introduction CARL DEMA.NL ATE all perspiration odor, and keeps Moderate one sweet and fresh for all day. A MOST attractive book of jT very easy pieces and exer¬ And with the sanitary pad, cises for children. It is the soothing and completely copiously illustrated with fanci- tui and graphic drawings, which deodorizing effectiveness of occupy a half-page, to vivify to “Mum” is welcome to the Cy,e S music occupying the truly dainty woman. “Mum ” °ther,h*£paF Still further is the chdds imagination stimu- is 350 and 600 at all stores. OLIVER DITSON COMPANY a.ted by the descriptive inter¬ lined text to each little piece. SPECIAL OFFER Price, 75 Cents to introduce Bern Ban is an entirely new cream Hair Remover — pleasant to use, absolutely safe, and will not make Teacher’s Manual to Technic Tales the hair grow coarser. Ban simply dissolves the hair — quickly and » sincere desire * comfortably. You will be delighted. nical problems with pupils A chaDter nf° m,S0 VI.n£ t!leir tech- Ban is 50^ a tube at your store or read our Special Offer. i»?D.i"SOn and “"“iM lists of excellen^CaoUonsn.-’zioMVj Price, 75 Cents
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higher ideals of art a THU ETVDe Page 426 JUNE 1928 THE ETUDE JUNE 1928 Page 427 FASCINATING PIECES FOR THE MUSICAL HOME
Very characteristic. Grade 3. IN SUNNY SPAIN
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AN EXCLUSIVE CONT9J BUTION to modern home beauty Page 428 JUNE 1928 *****0* MINUET MILITAIRE THE ETUDE JUNE 1928 Page 429 Stately and rhythmic. Grade 3. GLITTERING RAINDROPS RICHARD KOUNT2 CAPRICE CARL WILHELM KERN, Op. 545 Somewhat quicker than Minuet tempo M. M. J=138-162 Like a“graceful”danee. Grade 3g. Andante m
Copyright 1925 by Theodore Presser Co. & *>rom here go back to the beginning and play t^Ti^then play Trtii. play Trio. British Copyright secured Page 430 JUNE 1928 TTATrn Wf trout THE ETUDE JUNE 1928 Page \S1 TWILIGHT HOUR A slow, graceful waltz movement. Grade 3. VALSE FRANK H. GREy Tempo di Valse = m
Lilting thru passages of joyous fantasy which require the utmost in technique — or thundering dynamically in thrilling climactic finale — only the Baldwin can portray the sensational versatility and power of Wilhelm Bachaus. C[ The Baldwin, as he says, is more than a mere thing of wood and wire; it is a sympathetic, understand¬ ing friend. (( A visit to the nearest Baldwiniealer will reveal to you the same perfection of mechanism, the same brilliancy of tone and responsiveness of action which have helped bring to Bachaus such rare fame. (( Grands $1450, and upward in mahogany. SWbtom to ”f - Play „ THE BALDWIN PIANO COMPANY, CINCINNATI P I A fl O
British Copyright secured THE ETVL Page JfS2 JUNE 1028
EDITORIALS
VYCa\ing Summer Study Qount
AMERICA, oldest of great republics of the world and As a matter of fact, the student in Havana, who has stud¬ ofttimes credited with being the most alert, has gradu¬ ied music for six years, has really studied about one year ally slipped into a habit so wasteful in its educational longer than the American student who has wasted his vaca¬ aspects that, if something is not done to remedy the situa¬ tion time. The Cuban student’s real progress is out of all pro¬ tion, great losses to the art of music will surely be in¬ portion to the time he has studied, in comparison with that of curred. many students in the States. While the citizens of other leading nations have indulged The Summer School idea was introduced into American in moderate summer recesses from study, in America the va¬ musical work through the success of the same principle in cation period has been growing longer and longer each year, ' Colleges and Universities. Now such schools are held in all until at this time we are confronted with the ridiculous sit¬ parts of America, giving intensive courses with splendid re¬ uation of asking American Students of music to compete with sults. It remains for teachers and conservatories to extend the students of other nations who have from one to three their regular work by means of a special Summer course. months more study and practice. If this is made sufficiently wide-spread, American musical 1 What is becoming of our American reputation for hard education will be brought back to a rational basis. The boy in and persistent work? Are we making “softies” of our children Kansas City, or Jacksonville, or Ogden, or Bangor, who has through overdoses of enforced indolence? Our forefathers hitherto had a skimped course of music study will not be had none of this. Who will gainsay that their labors were placed in unfair competition with the brilliant youth from responsible for our own leadership in so many fields? Are we Odessa who thinks nothing of working four hours a day for sinking into a slough ___ ... .,n twelve months of the of Roman opulence year with the prayer which is undermin¬ in his heart that he ing our birthright, may become another our determination to Heifetz, Elman, Lhe- utilize our lives to vinne or G a b r i 1 o- the best advantage? witsch. Climate has very Our long wasteful little to do with summer of indolence the determination to will then be cut down work. Your editor to a period corre¬ has just returned from sponding with that a second visit to Cuba which the average — that inexpressibly American family usu¬ delightful island para¬ ally takes as a vaca¬ dise of the Caribbean . tion—two, three or that always lures the four weeks. visitor back again and The study of an in¬ again. Cuba has a strument concerns it¬ wonderful climate, self with the problem but it is at times ter¬ of training the hands rifically hot; It is in to obey the mind every sense a tropical through the complexi¬ country. In February ties of music, ancient one can motor com¬ and modern. The fortably along the sea- Etude Music Maga¬ swept Malecon, in an Havana’s beautiful national theatre zine has often dwelt open car, clad in a THIS BUILDING IS THE HOME OF CRAND OPERA IN THE CUBAN CAPITAL upon, the great psy¬ Palm Beach suit. chological value of During the summer only the refreshing ocean breezes make this important co-ordination of the mind, nerves and muscles. the torrid days endurable. This is of far greater psychological and educational signifi¬ Notwithstanding the tropical heat of Havana, no student cance than most people realize. It presents deep neuro¬ of music ever expects a vacation of longer than one month. logical problems which have a bearing upon the life of the He is amazed, when he learns that music students in the north individual. The organs of speech, for instance, are very take two,^ three, and sometimes even four-month vacations, definitely related to manual dexterity. However, the point and asks, “How can they get ahead in music when they waste we here desire to leave with our readers is that music study, so much time?" particularly the study of an instrument or of the voice! The fact is that students who waste their summers do not requires continuous, uninterrupted prosecution. It is not begin to get ahead so rapidly or so securely as those who take something which can be taken up and dropped at conveni¬ vacations of moderate length. Thanks to the proverbial Cu¬ ence. Two weeks is a very long period to discontinue study ban hospitality, we were enabled to gain an insight into the and practice. excellent musical work done in Havana, by numerous con¬ Let us hope that thousands of parents who read this edi¬ servatories and private teachers and in the delightful Cuban torial will realize the economy of time, labor and money that homes. The students show clearly the effect of hard, per¬ can be effected by continuing the music lessons of their chil¬ sistent, regular music work, not for merely three-quarters of dren as long as possible during the summer months. Don’t the year but for the whole year, with only an interruption let the heat be an excuse. If it can be done with surprising for a moderate vacation. The absurdity of long summer success in tropical Cuba, it surely can be done with equal vacations becomes immediately apparent. profit in countries to the north.
JUNE, 1928 t5he ETUDE MUSIC MAGAZINE Vol. XLVI, No. 6
Page 433 THE ETUDE JUNE 1928 Page 485 ]\[aples is a Song THE CHILD FIRST AND ALWAYS PRINCIPLE AND PUBLICITY r-p HE difference between the systems of education of yesterday (TQapoli e Una Canzone) MUSICIANS and music teachers are vitally concerned in I and today is obvious to anyone who makes the most super- the methods of presenting their professional services to • r j.i— educational methods. It rcr ficial examination of the various ----- .... This is the Second Part of the First Article in a Long Series of Musical the public in such a manner that they may be justly and ade¬ mained for Charles Dickens, with his invincible irony, to expose Travelogues—Memorable Visits to European Shrines of Art quately rewarded for their years of preparation, their talents to another generation the fallacy of old-time educational and their labors in the field. There is one great principle in advertising, and that is in¬ mein°those days the core of any educational schedule seemed to By James Francis Cooke volved in the very organic nature of all human endeavor. In be the infliction of the intention, the will, the discipline and a broad sense, every penny spent in any kind of publicity is often the very bad temper of the teacher upon the child. Obedi wasted unless it is focused upon some project which is deserv¬ ence and, at that, iron obedience, was considered the principal edly cumulative. That is, there must be “repeat orders.” In ingredient. In the country schools the teacher was often selected Several years ago Mr. Coo\e wrote a series of similar business any undertaking which does not produce “repeat because of his ability to thrash the toughest pupil. The “Hoosier orders” is known as a “dead-end proposition.” Business men articles upon musical conditions in Europe, which were so Tales” of Edward Eggleston abound with this. in productive enterprises endeavor to avoid “dead-end propo¬ much in demand and so widely quoted that he this time sitions.” Since that time, however, there has been a wonderful revolu¬ visited other musical centers which will he discussed in lively tion. Education now is based upon the appeal to the child; and We have known many professional musicians who have and instructive fashion in future issues of The Etude Music always the child is given an opportunity to grow as a flower been dead-end propositions.” Some have thrown away thou¬ Magazine. Tfext month: “The Grandeur that was Rome.” grows, to unfold its spiritual petals, to develop its soul, to expand sands of .dollars upon advertising and have for a time secured profitable patrons only to hold them for a little while and then its mind. lose them. Now and then it occurs that the patronage is lost The effort in modern education is to avoid in books and methods any incumbrances that wili draw the mind of the child through misleading, exaggerated and even false statements in The Vocal Patron Saint of Ffaples interesting’ caricature of himself in away from things that pertain directly to the child. For this the original advertising. The hoodwinked public is usually role to which he brought such great fooled, but for a short time only. The great industries in reason, directions to the teacher, notes to the parent, are wisely STRANGE TO say, Enrico Caruso, the tistic power. It is reproduced upon t America that have in many instances been built through ad¬ omitted. The child’s train of thought is never interrupted by vocal patron saint of Naples, and of page. Caruso loved his Naples and Naj vertising have found that the truth, the whole truth and noth¬ something that is beyond his comprehension. all Italy for all that, did not make his loved him. When he was buried dehut at San Carlo, but at the much smaller ing but the truth is all that is necessary to make the background This is particularly true of the beginner’s book designed for outskirts of the city in a beautiful and less consequential auditorium known of substantial advertising. The judgment, the originality, the ' use of the musical little child. The gift of writing in a language leum, his body was visible through as the “Teatro Nuovo.” Caruso’s rise to artistry and the daring of the advertiser in presenting the truth that the child understands is something that is given to compara glass top of his casket After n fame was sensational but not strikingly months the curious and perhaps less so that its force and significance is impressed upon the minds tively few people. There are educational analysts who have rapid. It was by means of careful study erent tourists became so numerous of the average citizen has been responsible for the growth of made a scientific study of the words that the child does compre and real growth. Many thought that he the mausoleum was closed to public view. great advertising agencies which are now such an essential part hend. Alas, and alack, such analyses, while valuable, dojiot was the untutored son of the soil. Quite Musicians should know that the word of American industry. take the place of the gift of writing to a certain juvenile intel¬ the contrary was true, and he served a long Conservatory (conservatorio) originated At the laying of the cornerstone for a magnificent new lectual appetite. Lewis Carroll imbedded in “Alice in Wonder GUISEPPE MERCADANTE apprenticeship. He was instinctively ar- perhaps in Naples. Naples had a school structure in Philadelphia erected by the Advertising Head¬ land” his deep feelings, and Louisa May Alcott taught the lan COMPOSER, AND DIRECTOR OP THE ROYAL CON¬ of music founded in 1490, two years before SERVATORY CP MUSIC OP NAPLES quarters of the old firm, N. W. Ayer and Son, Mr. Wilfred guage of youth in “Little Men” and “Little Women" in such As a boy, he helped as a laborer in the Columbus set forth from the port of Palos W. Fry, senior partner, laid great stress upon “the elimination ingratiating fashion that these works have never lost their charm. excavations of Pompeii. Once he showed for the New World. This school was of the unfit” from advertising. The Etude endorses this very A good instruction book for little children must do likewise, me a little bit of real bronze, found in the founded by the Fleming, John Tinctor. ruins about Naples. This he prized above The School of “Tiny Priests” strongly. The interests of all musicians are injured by the false, jajSe V£ry ^ew.teac^ers or parents have the gift of concise Queer Merchandise It was followed by four conservatories, exaggerated and misleading advertisements which some mis¬ all things. He told me that, when his which had such unusual names as Santa and direct expression in such matters, and must depend upon a pKRHAPS I have exaggerated the A T THIS date it is hard to tell just guided musical “shysters” occasionally get into print. The voice was gone, he intended to devote all Maria di Loretto, San Onofrio, Di Poveri text which is either read to the child or may be read by the 1 popularity of the four best-known how they should be distinguished, as of his time to sculpture. In this he had di Gesu. Christi (The Poor of Jesus Etude censors its advertisements in the interests of its readers child. Neapolitan Folk Songs. Of course, the music schools, from orphan asylums and already developed uncanny skill. One Christ), and Della Pieta di Turchini. who are largely composed of musical enthusiasts in the American Neapolitans are an extremely musical peo¬ theological schools. The pupils were for RAINBOW DAYS Christmas he surprised me with a present These institutions were designed to con¬ home. Thousands and thousands of dollars of questionable ad' ple. Naturally, opera is their chief in¬ the most part homeless waifs, often taken of a bronze bust of himself as Canto in serve (consovare) music from base in¬ vertising has been rejected by The Etude in an effort to pro¬ 'KyfANY of the greatest musical masterpieces of th from the gutters of Naples. The students terest. What would you think, if you were “Pagliacci.” It was his own work, a rarely trusions. tect the interests of readers. Any suggestion of lack of com¬ 7 . have been in the Rainbow Dav to go down a street in Kansas City, as I of each school were clad in costumes of an plete satisfaction rising from any transaction between an Etude their composers—days filled with youth’s gorgeous colors in did in Naples, and find, instead of a cart especial type and color, designating the hie s spectrum. reader and the advertiser will be investigated at once. load of bananas or peanuts, a vendor with school. Their heads were shaved and in their little gowns they were often called Our careful supervision, however, spares us this unpleasant a huge stock of opera libretti? The ex¬ experience. ofSrW ,many °f the ***** art galleries cited groups in picturesque costumes, gath¬ "Preterelli” (tiny priests). Their educa¬ of so7ePnf^ e beendeep!y impressed by the extreme youth ered around the cart, were picking out tion was musical, but also theological. THEN AND NOW at the time T (7phael’ Titian’ Perugino, and others) their favorite operas. Although they cost They helped support their institutions by are the 7 produced,these imperishable masterpieces. They hut seven cents apiece, they were snatched singing at services for the dead. Some HE King of Dentists stepped to the back of his cart and T one glorious Ini ™ t73’ *7 h°pe ^Vnal and life up as though they were emeralds and even carried the dead through the streets said to the yokels at the backwood’s fair: ysPl j exPenence after another. rubies. Doubtless every purchaser was at funerals. Some acted in the mysteries “Just step up, my friends, and I will show you how I extract Why do we let our rainbows vanish? Why must the snirit of looking forward to an hour in Paradise at convents and monasteries. teeth with one hand entirely without pain.” He then shot his. at the great opera house of San Carlo. The significant fact about these schools dirty-vise-like fingers concealing a short iron hook into the vic¬ giaaS or'fSFZm sad, should °make hving richer andf lif ‘Vnenceswhpurer for us’ eh Ah! Caro Amico. San Carlo c’ di vero is that several of the foremost musicians tim s mouth and out of the howling cavern came the tooth We see so many musicians whose care-worn faces an,I h mi paradisial The great and pretentious of the day taught upon their faculties. while the King shouted so loudly that the audience could not theater of Naples has long been one of These included Scarlatti, Durante, Por- hear the screams. the foremost operatic centers of the world. pora, Sacchini. and others. Moreover, they While its interior resembles in its pro¬ trained many of the foremost musicians “There,” shouted his majesty, “entirely without pain.” portions the wonderful Milanese opera and composers in Italian musical art. Con¬ Possibly he had broken his victim’s jaw, but he had created house, “La Scala,” going to opera in San fusion resulted from so many institutions an atmosphere that led to the sale of a score of packages of Carlo, surrounded by the explosive, pas¬ in one city. In 1808, the real Conservatorio worthless tooth powder. sionate, warm-hearted, gesticulating Nea¬ di Musica, the great Royal Conservatory Compare this with the practice and equipment of the modern politans, is a very different experience of Naples, came into existence. This, then, dentist in his spotlessly clean, excellently equipped office. Precocity at° ^surprisingly earN^ge “cvido,KCS of from attending the theater in the great is the school that was once directed by Is there not lesson in this for the music teachers of to-day? man when he finished his masternT- 77 W?,S an old- old manufacturing and business center of the no less than Donizetti and Mercadante. north. The crowds stream in. They have Method and equipment are everything. The public, all other Roman Church of St. Peter in Chains ’ M°Se*’ now in the It also had upon its illustrious rolls such b. in there countless times before, but on things considered, value equipment very highly. The music names as Bellini, Ricci, and Michael the faces of the eager throng there is the teacher must have the very best that the means permit. This prodigality hardly equaHe^b^t W°rk aftCr vvork with a Costa. Here, too, studied Leoncavallo. expression, “Surely life holds no greater In modern times 'one very distinguished means the best piano possible, the best and largest musical varied experiences Lt he &££ £ K? aftcr vast and joy than this.” pianist, well known to Americans, was Cross (Antwerp), perhaps th7rear * Descent from the library obtainable, the finest music cabinets, a modern phono¬ The original building of La Scala was trained in the Naples Conservatorio. She graph, a fine player piano, a fine radio, the most appropriate . mgs. Rubens never kist Ns rainbow I °f “ ecclcsiastical paint- erected in 1737, when George Washington is Marcia Carreras, one of the greatest pictures, rugs, furniture, draperies, and other appurtenances. as an aged man, he wrote Ve riest did Verdi when, was a boy of five. It was destroyed by performers of her sex. The dominating Falstaff.” most masterly of all Italian operas. a devastating fire in 1816, when the pres¬ personality in the field of piano study at ent building was built. Most of the great Naples was Beniamino Cesi, whose piano¬ singers of history have trod its boards. forte method for years.had been one of Sontag, Grisi, Rubini, and Lablache made the most widely used in all of Italy. The it famous. The performances at San CARUSO BY CARUSO genial and gifted composer, Alessandro Carlo to-day are thrilling in their rich¬ Longo, upon whom I had the pleasure of ness and spirit—added to which is the This reduced reproduction of a bronze statuette, created by Caruso as a calling, is at present the best-known piano electric spontaneity of the audience. A caricature of himself in the role of “Canio” in Leoncavallo’s “I Pagliacci,” was teacher of Naples. His compositions are well-delivered high “D” acts like a spark presented some years ago, by the great singer, to Mr. fames Francis Coo\e, greatly liked and possess distinctive charm. in a powder arsenal. the author of this article. I heard one of his pupils play some of the THE Page 486 JUNE 1928 THE ETUDE JUNE 1928 Page 437
How to Study the Encore Song
By John Barnes Wells
‘Distinguished Singer and (Jomposer
John Barnes Wells was born in Ashley, near Wilkes-Barre, Pennsyl¬ vania. His early musical training was obtained in the choir of one of the leading churches of his community. His father was the choir master. After lessons with various other teachers he went to the Syracuse Uni¬ EXTERIOR AND INTERIOR VIEWS OF THE ROYAL SAN CARLO THEATER OF NAPLES versity where he studied the musical course at this famous institution. In New York he studied voice with John Dennis Mehan. For many years he was a highly paid church singer in leading congregations in the east. works of Bach with fine fluency and un- the world (excepting possibly Wales) is seems more formal and conservative than You are overcome with the romance of He entered the concert field thereafter and has since become one of the derstanding although she was a mere child, singing loved as it is in Naples. In fact, we imagined it. Where is the hysteria of that marvelous civilization -f Amalfi and most demanded recital and oratorio tenors of our day. -t. ” i t!lis is 80 widely admitted that the most the victim of the bite of the crawling, the picture-like dwelling perched upon the Mr. Wells is fortunate in having not only a splendid vocal training Where Atmosphere is All-Pervading successful moving picture in Italy during fearful tarantula, which could be cured only cliffs. Somehow you have the sensation but also a thorough training in musicianship. This, together with a broad T F THERE ever was a city in the world the last year bore the title Napoli F una by the sweat of the frantic dancing of the that you have observed tin- Scene before experience in the vocal field, enabled him to become a composer, and sev¬ in which the word “atmosphere” has a Canzone. Nor do the Neapolitans make tarantellc? This, at least, we have always many times painted1 upon theater curtains eral of his works have proven enormously successful. He has devoted a significance, it surely is Naples. True, the any pretense of restraining themselves it heard was the origin of the name of the but never believed that there could be such great deal of time to what is known as the encore song. There are “atmosphere” now and then is all too slcalljr. It is a remarkable experience ii dance. The tarantelle, as we saw it, was a land in reality. At Amalfi you will not numerous delightful compositions in this class from his pen. pungent for American nostrils; One t,!e morning to be awakened at six;'o’clock fail to climb the gorge..,,/ ravine to the o mild and so pretty that it would hardly realizes, however, after a glimpse of the bjr the stone masons under one’s window still lovelier Ravello. There you will visit prove a specific for the mosquito bite. Per¬ wonderful Mediterranean metropolis that essaying some of the tunes from last haps we expected too much from the the enchantingly beautiful Hardens of the one must live long in Naples to come to night’s -opera. After all, La Donna ( tumbling palace of the Ruh.lu family—the merry-faced singers and dancers who HY THE encore? artist used such a song as Dixieland. Now love it and understand it. There is a mobile from “Rigoletto” does not make ai W JOHN BARNES WELLS will shortly take up a collection. living ruins of untold r. nuances. Great There are, of course, scores of there is no objection to Dixieland. There charm that brings its visitors back again unacceptable aubadc. poets and musicians hav.- for centuries and again. Even the dirt of the ages gives Our Puritan mores make it impossible wander to the court yard, where the singers who affect a detestation of are times when this song might be used as sought this inspiring spot, surrounding a the encore song. “Why,” they say, "should an encore with tremendous effect. In fact, tones of rich sepias, umbers, maroons, and for us to sing in the streets. Not so the °‘d h°Stu °f the hoteI points out the 4* nature, with an appropriate musical setting, part of the singer in delving into the Moresque palace overlooking the Medi¬ a singer be expected to tag on another I have seen it used many times in a way- ochres to the scene. Where can one find Neapolitan. If he feels like singing, he whlch.Caruso’ as a ™mber of the same their opinions would change at once. For folk-song literature. Foster wrote a vast terranean in the far distance. Was any composition after he has already com¬ in which, in popular parlance, it “brought in real life something which seems- more sings, when and where he chooses. It is ‘ro"p.or Us al*estors’ sang, when a youth, this reason the encore song has a distinct, number of airs, as have the other folk¬ scene ever more colorful, in, ‘ ■thrillingly pleted what is supposed to be a master- down the house,” but it would be little like the stage of a great opera house? his right. When one sees the beautiful city a'ldthf1> m all probability, passed the hat. a pertinent importance in the development beautiful? There you drea, while you song writers of his type. They have not Surely that is not a veritable corner, but of smiles and happiness, who shall say ,, ° toows—Perhaps some of the very short of artistic murder to use it after listen to the battle of a so , of the musical art in America at the pres- had the currency because they have not an exit to the wings 1 The towering steps, that he has not the advantage over any dancers sfe ‘o-mght may someday sing n -rc of belfries Kor answer, one can only reflect upon the Schubert's Die Allmacht. Notwithstanding in the deep valley below, belt been well sung, but they all have inherent teeming with life, the age-old architecture, of us? He cannot live his life without ,°Ver the footllghts at th.e Metropolitan and ,1 fries contend- immortal words of Oliver Twist, ”1 want this, it is often difficult to go to a concert ing against each other to prm beauty and many of them deserve wide always festooned with the variegated music. One American musical traveler bnng down a golden rain. Ah! that is the t ,claim the An- ■some more!” It is human, when one is without finding encores that are just as in¬ The Piquant Point gelus Hour. We do not wmi.lnder that Grieg most pleased, to want just another little congruous. An excellent encore after Die lingerie of the citizens, male and female, went so far as to say, “Music! Why the “Ti!" °* V*? NeaPolitan street singer, Two or three songs are often the maxi¬ came here from frozen Scandinavia to taste. An artist sometimes fails to realize Allmacht might be the Lullaby of Brahms. TT IS HIGHLY desirable that there the lights, lingering behind curtained win- very plumbing in my bathroom kept me ,le enc"anting beauty of Sorrento will mum number of encore songs chosen by find warmth--- ii -- it-lc scene. Nor that his efforts are most appreciated when This, with its ideal delicate melodic outline -*■ should be special encore songs. These dows, the actors themselves playing their awake all last night playing a futurist °ad y°.U on .to Am.alf* over that perilous songs should be cumulative, that is, their in¬ singers. They should know dozens and part in the great drama of life—these sonata in thirty flats. It was a shame m°untain drive with precipitous cliffs, do we wonder that Richard Wagner who the emotional interest of the audience is and gentle accompaniment, would “catch” terests should develop as they near the end. prescribe them for particular occasions. make a picture, which we only expect to , Schoenberg, Bartok and Stravinsky could g arlng down uP°n the emerald sea. The had conjured a Paradise in his imagina¬ raised to a very high level. He approaches the audience at just the right mood and If there are songs with a witty point that Sometimes the encore song will save the see, when, for instance, the curtain ascends not have heard it.” scar 0 . a recent landslide almost makes tion when he wrote “Parsifal,” here what he is inclined to call a “cold audience.” permit an enormous decrescendo which point should he in the last line so that it day. One time when I was singing in a upon the first act of “The Jewels of the Perhaps you may go over the glorious T w'sb tbat you bad n°t taken the exclaimed, “At last I 1 . , found my He makes an initial essay. If his person¬ would be both appropriate and artistic. may be delivered in piquant fashion by the large armory in an eastern city I chose as Madonna.” turquoise and sapphire bay to unforgettable “1.anc®’ but tbe unforSettable charm of Klingsor’s Magic Garden. ality and his art and his voice and the singer. I have heard many recitals where an encore song something which proved At night we climb to the lofty hillside Sorrento. You may stay at the fascinating ™S’ u loveIlest road in the world, tells work which he is interpreting has the vital¬ The Seasoning of the Sauce the real "hits” of the program, that is, the extremely humorous at that moment. The overlooking the bay and the glowing Hotel Tra Montano. Here it was that y°U t"at.you would never have forgiven ity to take the group of people before SELF-TEST QUESTIONS ON MR. f A X THE OTHER hand, there are times parts which the audience seem to appre¬ song is called The Owl and the story tells \ esuvius. An elevator cut into the solid Verdi came for his holiday. The host rev- yours, .if you had not come. Your only- whom he is appearing and raise that group COOKE’S ARTICLE ^ when the average audience of the ciate the most, were the encore songs. .They of the owl who, when he goes a-wooing, rock carries us up to the magic terraces erently shows you his very room, profaned c°n8°]atl°n is in the habit of your driver to a higher musical emotional and human present day simply must have, as a tonic, a submitted to the classical number in order calls too-wit-to-xvoo. One night when he of the Bertolini, Palace Hotel. Now, surely, alas! by a brewer from Hambourg on °. . ow,ng his b°m on any and all oc- 1. What is the advantagec of the linear status, he has accomplished something that Pedal marking f bright and happy encore song. Musicians are to get the tidbits. Some encore songs are went out he discovered before he left his this is fairyland. This is the dream we a honeymoon with llis smiling young bride casions' The Italian chauffeurs drive with he lias longed to do. frequently quite impractical people. They veritable masterpieces. These are appre¬ nest that it was streaming rain, so his arricd in our hearts for years and ' ' °ne lland uP°n the horn and the oilier the four favorite songs of imagine that their audiences are made up ciated by the cognoscenti. But usually song changed to Too-zvel-to-woo. A ter¬ then * !&(X( !*X|) !*(X 1 JAZZ, JAZZ, Tracking the Tarantelle upon your nervous system. City traffic o.. Naplest Dispersing That Vague Impression of a homogeneous group of listeners on the those that are most liked are the simple rific rain storm was impending and, just JAZZ 1 Che cosa desidcra i signori—Blek a busy day in Rome or Milan sounds like TRA z.iw/vMONTANO 1 miu .youyou will also a convention of <'; “li T—; f what purpoi VX/TIEN THE group has been raised to same intellectual and artistic plane with at the right moment, it commenced to Baivtum. Yays sir, shccze my beppy. We ■ ■ A track the tarantelle to its native heath un at nnee T,buco^l'c bands all timing sc,wo,s tn A a pies fin ’ v this state he hopes progressively themselves. They do not realize that the turn away in dismay and disgust. Of course it is a mistake to have too pour, with the line too-wet-to-woo. The With, na whirl of A*i;~Uit..idelightful ..,.tunes, the grace¬’ once, i tie only relief is Venice 4. through his program to keep up sustained average audience is composed very largely Yes, “Naples is a Song.” Nowhere in many songs that are purely humorous used audience was brought to tears of laughter ful dancers go through the dance that ; least safely insulated front Caruso gifted? interest and achieve at the end something of people who know comparatively little as encores. It is better £o sandwich in and changed what might have been a very about music. Many of them, particularly 5.. Give a brief pat picture of Amalfi which will send the audience home with such classics as one can readily find in disconcerting situation into a pleasant one. more than an indefinite reflection of his the tired-busiliess-men group, have been Schumann, such as the Widmung, Per There are scores of excellent encore art and his personality. In this field the coaxed there by artistically inclined wives Nussbaum and such selections as Franz’ songs but as I have said before one should encore song often provides the light which and are simply bored stiff after they have Es hat die rose sich bcklagt, Grieg’s Swan not content oneself with knowing, just a brings out the shadows in-bolder relief. heard the first few numbers. and MacDowell’s Thy- Beaming Eyes. few but should know a large number and The proper use of the encore song is Men who attend concerts as a matter of Certain encore songs gain an enormous have them ready at instant call. They are something which demands far more than duty, as followers of social custom or currency. Such a song as the Old Folks one of the most important artistic tools superficial thought. The greatest artists through a desire to have their wives shine at Home, Annie Laurie and The Last Rose of the practical hard-working public before the public today give more, attention in society, are really martyrs to the cause. of Summer have been used so many times singer. Special study upon encore songs For July, our readers may loo\ forward to Glory That Was Rome'- and f a “The to their encores than they do to the regular They are punished from beginning to end. that it is a matter of audacity for any¬ will always repay one for the effort. This may be good art but it is very bad of Flowers." Other articles in this series will he announced later. The boL nfruvT’ “F!°rence’the City numbers upon the program. body to attempt to sing them or use them Let us say, for instance, that one is sing¬ common sense. In a great country like as encores—except artists that have been to ma\e the summer numbers especially eventful; because we know that ^ c Music MaS^zme is ing such a song as Die Allmacht of Schu¬ ours we must have rungs to the ladder, the .very widely accepted, and are in the “su¬ SELF-TEST QUESTIONS ON MR bert. Where is a work of more sombre gran¬ lower being just as important as the upper. preme” class. They invite odious compari¬ WELLS’ ARTICLE upon these months for particular reading, study and preparation for thelmborta ^ ^ C0Unt deur? It has great power and rich and When will our musicians begin to realize sons. It is far better to use such songs beautiful coloring. Its singular dynamic this ? 1. What, concisely, should the encore portant work of the coming season. as Dima, By the Waters of Minnetonka song accomplish? force is felt to the utmost by the audience. There are recital programs so frigidly or Dream Pori. Properly sung, it never fails to make a deep severe in their restraint, so utterly lacking 2. How should the ending of special impression. Now it would be perfectly 1 in any higher relief, that it is no wonder encore songs be characterised? . Delving for Songs possible for an inferior singer to employ an many men claim that they do not like so- 3. Why is it unwise to use such a song encore after this song which would destroy called classical music. If it were only pos¬ T T HAS ALWAYS seemed to me that as ‘Annie Laurie” as an encore? the gorgeous effect intended by Schubert. sible to bring in, diplomatically, now and in the making of recital programs there 4. From what source may a large num¬ For instance, let us sup’pose that the then, a little touch of interest or human has been a great deal of neglect on the ber of encore songs be derived? the etude JUNE 102 s Patje .',00 The Secret of Extracting Tone (folor From the Piano
By Ernest R. Kroeger Tooted -American (Composer, Pianist and Teacher
CONSIDERABLE EXPERIENCE tion opposite to that given; in which case The left hand, descending, corresponds writer does not agree with this. The body with pupils who claimed to have the plan is identical, with movements in its motions to the right hand when should not sway from side to side unneces¬ been taught the weight system of reversed. ascending. sarily, when one foot follows the other in piano playing has constrained me to in¬ When the left hand is practiced the' walking. This principle is, of course, a quire, “Do the majority of these pupils Bx.4 fifth finger begins on C an octave below Lert Hand reaction from those methods published dur¬ know what weight playing really is?” In that used by the right hand. This is nat¬ Largo • ing the past generation, when fingers were fact, it might be asked, “Did their teachers urally not so strong a finger as the thumb abed mainly considered and the arms mentioned know what is meant by weight playing ?" of the right hand. Care must be taken but little if at all. It is so easy to take up a shibboleth—to that it. is not used with a punch, a push launch a war cry. But, “Does it mean or a shove. The weight of the finger itself anything?” must cause the key to go to the bottom The Great Goal (a) The thumb of the. left hand falling What is zveight touch ? of the dip of the key. The remaining HAT IS the great thing to be de¬ It is a concentration of power at a given fingers follow in a manner similar to that with its weight on C; the other fingers sired? It is to obtain the greatest relaxed. point. Every muscle, not necessary at this cf those of the right hand. possible results with the least possible ex¬ point, must be relaxed. For instance, in (b) Weight transferred to the second penditure of energy. Any motions of arms the ordinary five-finger exercise which is Analogy to Walking finger; thumb takes position under the or body which distract the listener and to follow, the thumb of the right hand is second finger; wrist bends outward. cause his attention to be drawn to these first employed in the attack on Middle C- \\TALKING illustrates the principle ’ ’ of the “transference of weight.” (c) Weight transferred to the fourth motions, instead of to the pianist’s inter¬ Enough power must be used for the thumb When the right foot is used, all the weight finger; thumb takes position under the pretation of the composition in hand, are to strike the key with sufficient weight to of the body is placed upon it. When the fourth finger; wrist bends outward. to be discouraged. depress it immediately to the key-bed. left foot follows, the weight is taken off (d) Weight transferred from the fourth Look at three great artists whose repu¬ Every other finger of the hand must be the right foot and transferred to the left. finger to the thumb; other fingers relaxed; tations are unquestioned: Godowsky, Hof¬ relaxed. There should be no tension or rigidity in wrist bends outward. mann and Rachmaninoff. Notice how When the second finger follows with the the body. The wider the interval of the arpeggio, quietly they sit. There are no unneces¬ next key, the weight first given to the If the common arpeggio is practiced,* a the more rotary motion must be used. sary movements. Everything is done with thumb is transferred to it. As the second gentle swinging or rocking movement is For example, in the Etude in C, Opus 10, a minimum of motion. They realize that finger descends, the thumb ascends. When employed. The hand should not be held No. 1, by Chopin, the thumb strikes C the mission of the pianist is to convey the thumb ascends it is not to be jerked in a taut or immovable position. firmly; the second finger follows on G to an audience the message of the com¬ up or pulled up. It should follow as the and the third finger on C, so that when poser. This is as it should be. When tile natural reaction to the descent of the Ex.3 the fifth finger strikes E the thumb is artist renders Beethoven’s Sonata Appas¬ second finger. Only in this way will it Right Hand over tlie key C (an octave from the first sionato, his aim should be to adhere as ascend without tension. When the second key), which it strikes with no thump closely as possible to the spirit of Bee¬ finger descends, all the weight previously or knock. thoven, and not to display such eccentri¬ centered in the thumb is removed from it. cities or idiosyncrasies as he may happen The same principle must be carried out St.5 when the second finger passes to the third, (a) The thumb of the right hand falling the third to the fourth, the fourth to the with its weight on C; the remaining fingers fifth. The Key Attac\ relaxed. (b) Weight transferred to the second T X REGARD TO the “attack” of the Ex.l 1 key when producing a tone, the lack Right Hand finger; the thumb moves to a position just under the second finger; the wrist turns of freedom or of resilience, found in the a little outward. In the course of the progression the playing of most students, is all too notice¬ (c) Weight transferred from the second thumb moves towards its goal after the able. The fact is that too few “methods” to the third finger; thumb moves to a initial attack. The accent comes on the pay sufficient attention to the vertical mo¬ position directly under the third finger; fifth finger, and the legato must be perfect. tion of the wrist or arm. Also, too few (a) Firm attack; weight on the thumb; wrist bends farther outward. In order to accomplish this smoothly teachers iristruct their pupils in proper remaining fingers relaxed. Beethoven and Goethe (d) Weight transferred to the thumb as the wrist is elevated considerably. Strong “attack.” Notice the great pianists and see 0>) Weight transferred from the thumb it falls on C; wrist bends distinctly out¬ advocates of the rotary principle believe how freely their arms are used. Such to the Second finger; remaining fingers ward. In returning the fingers prepare to that a trill or any form of legato should artists tes Paderewski, Bauer and Lhevinne relaxed. cross over the thumb. be played, with a rocking motion. The sometimes raise their arms eight or ten (c) Weight transferred from the second inches above the keys. But many inferior Fourth in a Series of Masterly Etchings by N
ffhord Conversion for Small Hands “When I practice, my By Herman Holzman “The whole scientific chief mental function is side of music rests upon listening. One of the Students with small hands are ever cannot be played at the first stroke of the the hand.” A solution may be arrived a a revision of the works of Chopin or a the scale. A knowl¬ threatened with a musical disaster in ex- hand, if the hand is small. The follow- through the process of conversion. simplification that necessitates a great most essential prere¬ ecuting large, extended chords. To them ing example is typical and characteristic Conversion is the changing of the notes deal of concentration, but merely a change edge of the scales is the quisites of mental prac¬ such a notation is a detriment. It. will of many chords in Chopin’s Preludes: being held from one hand to the other. to allow for striking a chord with less always be a stumbling-block in the road In the following example: exertion and repetition. irreducible minimum in tice is the ability to to progress. Therefore it demands at- Ex. I In Ex. 1 the first finger is used for the way of mental tention, correction and a remedy. ‘carry the \eyboard in nfy.f fp both the A# and CS. Such lingering is most A natural error, in the rendering of usually found where the Memorizing Tiotes on Staves By Dr. Annie W. Patterson PERHAPS nothing presents so much A Guiding Hand lows, on the fingers, starting with first hand, counting in the spaces between. difficulty to students, young or old, hne m bass, the left-hand thumb (or first THE FOLLOWING plan,-suggested All this takes much longer to describe when commencing to study notation, finger) being assumed to represent this -*• by the famous “Guidonian Hand” than it does to show, with the two hands as the distinguishing and memorizing of G. The calculation upwards is then an 11'T' RAVELLING continuously from a scientific point of view, this is a back¬ ot old—might perhaps be commended, at of the student stretched before the face, E. ROBERT SCHMITZ notes on the treble and bass staves. The easy matter. The space between this left- one concert to another, living in ward process. It is, as I say, easier at least as being worthy of a trial. First, palms inwards, as mentioned above. The usual plan adopted by teachers—as cus¬ the pupil is informed that the musical hand thumb (representing Bass G line) trains and hotels, how do you first to learn to dp by doing. But if one alphabetical sequence of the notes is, how¬ E. Robert Schmitz was born in Paris, in 1889. At the age of tomarily followed in preliminary tutors alphabet makes use of only the first seven and index finger (figured second finger) practice?” This is the question frequently will really learn to concentrate it is finally ever, preserved, and the two staves taught or test-books—is to present the treble letters, A to G inclusive, these being re¬ stands for A (on first space, bass staff) • asked by interested students and other mu¬ fourteen he was giving public concerts on both the violin and piano more profitable to work under conscious at once after the manner of an object- staff first, with its series of five lines: peated over the entire compass of musical the index finger itself follows in alpha¬ sicians. As this is a matter, in the first mental control. One must at least support lesson, the five fingers of each hand and later studied both these instruments at the Paris Conservatoire. (E, G, B, D, F) and four spaces (F, A, sounds. betical sequence as B; the space be¬ place, which calls for a good deal of the physical work with a great deal of corresponding to the upper and lower After giving up the violin, he graduated with the first prize in piano C, E), informing the pupil that this must The double ladder, or Great Staff, may tween the index and middle fingers may thought, and as the answer may be of gen¬ mental exercise. Indeed, mere physical staves, with the Middle C line and its be committed to memory. then be shown in notation, with the be named C; the middle finger D (as eral interest, I propose talking about the playing, in 1910. Following successful tours of Europe, he organ¬ work, without this support, is almost cer¬ spaces beneath and above. tain to be valueless. Some young folk are quick enough in “imaginary” line for Middle C coming be¬ standing for third line), and so on, until way in which I keep up my playing and, ized an orchestra of sixty men, forty-five of whom were prize win¬ getting acquainted with these first steps tween the upper and lower series of five I hope, improve it. My plan, in two words, Lhabet d agai"’ WhCn the ™>sical ners of the Conservatoire. He came to America first in 1919 and on the musical ladder. But, to the adult lines. Then the learner might be asked alphabet once more starts at A (on the is this: I think. The Mental “Movie” learner, the series might appear, at first to hold his or her hands out at a con¬ httle finger, still 0f left hand) This Getting Acquainted with the During September I do really concen¬ by his visits has won a distinguished position as pianist, teacher and NSTEAD of the grind on the key¬ sight, as unmeaning as the typewriter’s venient distance, palms turned inwards uses up the lower hand, which completely trated practice. Besides this, during the lecturer. He was the soloist for John Alden Carpenter’s “Concer¬ board, over and over again, oh difficult- towards the face. The left hand will, represents the bass staff, the fingers £ Keyboard customary alphabetical start with Q, W, summer session in Colorado, I sometimes tino for Piano and Orchestra” when it had its premiere performance passages, there should be a continuous E, R, T. held thus, be supposed to represent the !yjrd,er *f!ven> ^presenting the lower By David Orris Smith get an hour or two in the evening; but, polishing and clarification of mental im¬ bass staff, and the right hand the treble staffs five lines and four spaces. Still more puzzling to anyone com¬ for really concentrated practice, I can al¬ by the Boston Symphony Orchestra. pressions. Here are so many white keys staff, each finger standing for a line with Becoming acquainted with the middle of mencing to learn the musical alphabet low myself but one month out of the and so many black keys. The hand will spaces in between. A slight gap should the keyboard is a simple process compared Extending the Compass year. be at such an angle here, at such another comes the distinguishing of the treble and be preserved between the two “little With learning to feel at home in the upper REMEMBERING about the imaginary Any movement which we may be sure tice a movement over a long period, ap¬ have sufficiently developed the art and sci¬ angle there. The essential point of the bass staff series, the latter having its lines fingers” of the hands, this being allotted and lower ends. called G, B, D, F, A, and spaces A, C, of making, whenever we go to the piano, parently getting no nearer to the accom¬ ence of concentration, we find that get¬ fingering scheme is to put the thumb on to the place occupied by “Middle C” It is the custom to practice scales only E, G. The human mind is at once apt is held in the mind by the clearest possible plishment of the task, and then, one day, ting an absolute mental vision of the inner this key and the fourth finger on that. (which may be shown on the pianoforte on the middle part of the keyboard. They to think out some “plan whereby the pupil to think of B cominc, on th*Sk ' ^ impression of what steps are necessary. while thinking the matter over, suddenly mechanism of a physical movement is Going over passages in this detailed way keyboard), and the space above and be¬ beneath and D on the , Space should really be begun at the left-hand end memory may be helped, at the start at neath it. Moreover, not until we acquire that exact obtain the clearest conception of what we equivalent to performing that movement. one can see mentally the keyboard and all events; and not a few teachers have connecting line. The next 14°^ and be played up to the right-hand end, mental vision can we depend upon doing want to do and go right to the piano and In the first stages, especially with the one’s own hands playing on it. Here die ingenious schemes of their own, especially The “Two Hands Staff" alphabet, E (first line, treble clen" ^ tonvard and backward, over and over. any one act. do it? I have found this to be the case student who is unaccustomed to mental flexor muscles will drive down; there, the ,hen Practicing pieces it is often well to in the case of certain students to whom HPHEN THE NOTES that fall on the Which comes first? Which is the par¬ with so many students that I am convinced concentration, one learns to do by doing. extensors will lift. Here, all opposing Play the piece in all the octaves, from the a more or less logical sequence would Great Staff, thus pictorially repre¬ ent? The vision or the action? it is waste of time to work at the key¬ But we must not forget that this is be¬ tension must be released. There, there lowest to the highest. make an immediate appeal. sented, may be named right off as fol¬ Do not most of us, as young students, board before the problem of technic has cause we have trained the outward senses must be a momentary tightening. The This is a great help in getting acquainted find repeated instances in which we prac¬ been worked out in the mind. When we far more than the inward and that, from mind must be able to- create continuously, with the keyboard. Page U4 JUNE 1928 THE ETUDE JUNE 1928 rage knowledge who memorize music: but THE ETUDE clear to another, you will have made it a consciously, an accurate vision of what is Self-Searchers cases prove nothing. Because of a"Uc!l to take place. thousand times clearer to yourself. 'HE STUDENT who wishes to usually comprehensive ear and u,ms ",Ulv Even technical drill may be done in this ordination of ear and finger, or ai C°" way. Because it is so highly concentrated, profit by these ideas should ask him¬ Self-Help the Only Hello Aids to Musicianship self some such questions as the following, usual visual retention, they are able t t" it is highly efficacious, and little of it is - N ALL such work, no teacher can be of in order to take stock of his mental equip¬ a good deal from memory. But these f y required. Indeed, personally, I do not find as much value to the student as he can Scientific ‘Principles a Necessity for Perfection in Art ment and to determine the contents of his I ulties are treacherous at best; to de the usual technical drill any longer neces¬ to himself. He is really bent upon a sary. own information department: upon them alone, unsupported bv tW^"? vovage of discovery and that is the . theoretical knowledge, is a task wh;chU8h When I do practice, my chief mental Do I know what sound I want to pro- By Mrs. Noah Brandt way he learns. What he discovers for him¬ real musician would attempt. n 110 function is listening. During my long self he knows. What others tell h m he periods of mere or less enforced solitude Do I know exactly what movement I 1 stress especially the point of memorv AUTHOR OF “SCIENCE IN MODERN PIANOFORTE PLAYING” should make to produce this sound? believes, perhaps, but he cannot realize it liecause close concentration upon nas ’’ coincident upon travel, I mentally gauge with the same sense of reality, the same Do I know what muscles and what work rests upon the ability to keep tf the dynamic, melodic and harmonic evolu¬ i v ( ,Mcinn nnr the same authority IT IS JUST to demand that one who Thorough Training Nfeeded tion of the composition and gain the most processes are involved? whole thing in mind—notes, time, dynami which applies to his knowledge of the thing advances a theory shall prove it in ITHOUT TRAINING in perfect intense mental conception of the means for Do I know this clearly enough to de- emotion, muscles, nerves, processes Th' W lie has discovered for himself. Howtruly practice; therefore, he who intelligently musicianship, the student fails to its performance. Then, at the piano, I try very basis of mental concentration is co * demonstrates his theories by infallible re¬ Can I write a description of this move¬ Leschetizky spoke when' he said, 1 here mature musically, as this inner spiritual out these impressions to discover whether plete independence of all physical aids .Ail sults, in the performances both of himself ment, showing muscles and processes in¬ are no great teachers: there are great development ripens only with a solid musi¬ or not they sound as I thought they would, must be stamped upon the mind with T and of his students, is entitled to advance volved. which would be intelligible to the students.” cal basis. A student may be ever so musi¬ and whether or not the effects produced delihle clarity. ?' his ideas and to form his own method. average student. Let the student continue to practice at cal, yet his playing will be merely sickly are the outcome of the same physical Thus we see that, even to begin upon Perfection in any line of endeavor must Can I concentrate so intensely as to the keyboard. But let him add to his prac¬ sentimental, lacking in every essential qual¬ processes I had imagined. The actual tice an increasingly sharp observation as tins sort of work, one, ...formation n,™ ' be scientifically accomplished, as no true practice is almost entirely interpretative, create in my mind a clear picture of the ity,- without proper grounding in all the to exactly what and exactly how. Let him include, as a minimum, a thorough knowl science can ever fail. and, in a sense, experimental. thing being done? rules of musicianship. add an increasingly vigorous curiosity as to edge of scales and arpeggi-,s, a good work One may not properly comprehend or I may try one passage in many different The average student will be compelled to A few examples will serve to illustrate muscles, nerves and processes, as to every mg knowledge of harm . ,,- analysis and of scientifically apply technical and tonal prob¬ vvays, in order to decide which effect I answer most of these questions in the nega¬ common errors in students from advanced tive. Therefore he must needs do a good branch of the science of music, as to emo¬ form, and. on the physical -ide, a knowledge lems ; but owing to inability in this respect, like best and which is in closest accord of the anatomy of hand and arm and of the no person may assume that an infallible deal of preliminary work before he will be tional and spiritual content, as to his The first example is Measure SO of the with what I believe to be the thought of processes and principles .f movement principle could ever be anything but able to put this plan into practice. own mental machinery and the discipline Adagio Cantabile from the Sonata the composer. Having determined this, it well as of the elemental > laws of physics scientific. remains to find the simplest way of pro¬ He should begin this preliminary work thereof. Let him add also an attempt at by Haydn. by attempting to supply such information mental practice and be neither surprised governing weight properties and of me. Technic and tone, comprehended and ducing this effect. This, of course, is de¬ chanics concerning lever- scientifically applied, commend instant and termined by further analysis of the sep¬ as may be lacking. The information as to nor discouraged if his first experiments muscles and nerves he can come by most bring no results. For the faculty of clear Clearly, the more . '"hensive the respectful attention. Applied to any tech¬ arate movements. nical or tonal problem, response is im¬ surely by studying charts of them. Any and close thinking does not spring full- knowledge of such matt, , and the larger mediate. It is so rapid and positive as to doctor can tell him how he may obtain grbwn in the individual, any more than the the equipment, the bett r the results Practice at the Piano these charts and give him some idea .as to ability to read Chopin Etudes at sight fol¬ Above all stands clear th night and the excite admiration in students, stimulating them to greater efforts. Nothing is so T F, FROM the foregoing, the average muscular and nervous processes. Mean¬ lows instantly upon the learning of the faculty of holding clear t’.,.light for lone disheartening as a daily haphazard grind x student should cull the idea that he while he must continue his practice at the names of the notes. periods. year after year without any appreciable need not practice at the piano or that he keyboard. One of the most essential prerequisites The final point is that js notonI results. This is needless, as there is a can instantly or entirely at any time sub¬ For developing the ability to concentrate of mental practice is the ability to carry the basis of this particul.u plan of work perfect principle for piano-playing as pos¬ stitute mental practice for physical prac¬ and to create clear mental impressions, no the keyboard “in the head.” This is greatly It is the basis of all s, : ! musicianship itive as for the violin or any other string tice—the object of this article will be de¬ exercise is comparable to writing. When simplified if one have, to begin with, a All sensible educators u, Id object stren¬ feated. instrument. you think you are fairly clear about a thorough knowledge of every major and uously to having these principles of study In an Adagio Cantabile. or any other As regards practice, the chief ideas are: certain matter, try to write a description, minor key in both scale and arpeggio form. regarded as a “method.” They arc nothing slow movement, turns such as the fore¬ 1. Careful planning of all movements, definition or discussion of it. You will be Indeed, there is hardly any other basis for a of the kind. The stipcrimp ,,„g of stand¬ The Missing Quality going are performed slowly with breadth the planning based upon exact information, surprised at first and perhaps discouraged dependable music memory; and we are as¬ ardized methods preclude the possibility and mature deliberation. This should not which, at first, will be confined only to to notice how cloudy that clear surface has QNE OF THE ESSENTIALS gravely suming that ultimately the student is going of individual thought, the velopmcnt of lacking in present day piano-playing affect the rhythm, which must be exact the general or principal types of move¬ become the moment you try to put pen to to practice studies and pieces, as well as which is the only pur;. one might or as the character of the music demands. ments. paper. As soon as you begin to grasp the is the ability to draw long singing tones technical drill, away from the piano. almost say the only excu-, for education. In the following passage from Mozart’s 2. Close mental concentration on these thought firmly enough to clothe it in words, from the keyboard. it eludes you. Clearly, the student mn-t -t„dv fundamen¬ The modern grand piano is constructed A Major Sonata, many students play thirty- movements, brought by'repetition to such tal principles. But. uni, he has the second for sixteenth notes, giving a (lip- Writing your ideas gives excellent prac¬ Merital Mastery of Scales scientifically, satisfying even the hyper¬ a degree of clarity that there exists prac¬ ability t„ make his mw ,,,plication of pant air to what should be a refined simple tically an absolute mental vision of all tice in three valuable departments: clear ' | 'HE WHOLE scientific side of music critical; therefore inability to produce a these principles, lie will n ,,T achieve his tone of superlative beauty is due to lack interpretation of a theme, fraught with that is to be done. thinking, concentrated thinking and expres¬ rests upon the scale; and a knowledge end. meaning. Regarding interpretation, we begin with sion of thought. It is amazing how the of the scales is the irreducible minimum in of scientific application and intelligence in the same process, that is : search for the right word clarifies your the way of mental equipment for the kind the use of the instrument. Short, brittle tones are an impossibility if relaxation and 1. Careful planning of effects in ad¬ own idea about the matter. Do not be satis¬ of work we have been discussing If to SELF-HELP QUli.s / i.VS ON vance, based upon broad foundation of fied with your first definition. Try it on a weight are properly applied. Every note this minimum is added a knowledge of ■MR. MACKLIN'S \KTICLE general and specific information as to tra¬ student to whom the matter is more or harmonic analysis and form, the task of will sing long, producing a scale of purity and equality in legato and staccato. The dition and as to the character of both com¬ less unfamiliar and note the kindly but remembering is again appreciably lessened L What is meant by i.don precedes actionP” rules for length of tone are many, a few poser and composition. blank expression on his face—kindiy, as It is only as a result of such knowledge 2. In practicing, what -tal activity of which are mentioned below: 2. The selecting of that effect most being willing to humor you, blank, as hav¬ that one becomes intelligently aware of the The wrist should be developed very close should have most firominn 1. Complete relaxation of the body, arms Book I) with Bach’s Inventions in Two and likely to be in keeping with the thought ing at best but a dim idea of what you are relationship between one note and another to the keyboard at first, gradually dropping Three Tones, also performing original edi¬ 3. Name two indispensa’processes in¬ and shoulders. They must be free from The sixteenth notes must receive their and character of the composer. (This talking about. Remember that if you are onesequence and another, one phrase and from greater heights. The wrist should fall tions of Bach, Beethoven, Schumann, volved in practicing the pi.i the slightest contraction. full value in both time and length of tone; selection is made possible by artistic in¬ compelled to explain a direction, it is a another. Without it the mind is com¬ with unerring accuracy, if the rules are Chopin and others. Owing to his scientific sight, taste and experience.) A H rite a short descrip:, : of the unm¬ 2. Fingers trained to play always in con¬ otherwise musical intelligence would be useless one. Remember, too, that there is pelled to remember individual notes, each carried out, as the principle is never-fail¬ training, he will play with conviction, fine ounts called for in plan,, the scale of junction with the triceps muscle. They lacking. The portamento marks must be .3- The determining of the best and a way to make this thing clear and that, as a separate, detached musical entitv-a ing. After development, the wrist drops of and clear tone, and flawless technic, not simplest way of producing this effect. gigantic task. entity—a C -major. must be enabled to bear the weight of the observed, also full length should be given when you have found words to make it hand, each one independent of the other. its own weight, and no finger pressure is one note omitted, glossed over, or slighted. to the tone, before removal of the finger True, there are those without theoretical S. Why is the express: of thought Fingers and wrist must be freed from permissible. Fatigue is also eliminated, as necessary for dear thinking/ Success Sure from the key. The rhythm should be stiffness. fingers and wrist move with perfect ease, clearly and delicately defined. 3. The first, fourth and fifth fingers re¬ being almost sensationless. However, no 'T'HE EARNEST INSTRUCTOR will The following example from the Rondo How to Free the Fourth and Fifth Fingers quire rigid discipline but acquire unbe¬ student could develop a beautiful singing *■ succeed in each instance, as strict dis¬ in G, Op. 51, No. 2, by Beethoven is a lievable strength if aided by this unerring tone without the most severe, consistent, cipline has been maintained and no dere¬ By E. H. Pierce good example for students in maintaining principle. and conscientious instruction. liction on the part of the student has been exact rhythm. In certain editions of Etudes by Kohler find no unusual difficulty in them. Yet 4. Muscular development at the wrist countenanced. This child’s progress will Czerny and others, one may come across a there was a time, in past generations, when and forearm prevents weariness, aiding en¬ Early Advancement be continuous until the completion of his foot-note recommending that some particu¬ they offered serious difficulty to pupils and flesh and bone. Practice exercises of this durance immensely for finger passages. musical studies. All this has been and can lar measure be practiced "tpn times” or kind: A CHILD OF NINE or ten years, if a troublesome problem to teachers. Why A fine singing quality of tone is acquired, be accomplished in an hour and a half to possibly “twenty times.” It is invariably -Cl- trained along these lines by an in¬ was this? Simply because the most favor¬ by allowing the triceps muscle perfect free¬ two hours’ conscientious practice, the some combination of notes which gives Bx.2 4 . telligent preparatory instructor, will ac¬ able hand-position had not been discovered dom to act in conjunction with the finger length dependent upon the ability of ’ the severe work to the fourth and fifth fingers. I he elbows should not be t i complish present third-grade work in the by the ordinary run of teachers but only ™ tips. Any contraction at the elbow or For instance: body but should swimr JZC°V0t first year. After eighteen months’ tuition, by a few great artists, such as Liszt and wrist immediately cuts off the resonant Infallible rhythm, breadth of conception Rubinstein, and because tradition called Even the position on one’s “at is a f" quality. at one weekly lesson, he will have accom¬ and variety of tone should be very early in¬ Ex. 4 for a too stiff holding of the hand. plished : stilled in the mind of the student, and after 1st—A perfect comprehension of ordi¬ the third term they are of paramount im¬ The illustrations in most instruction “with quiet hand." as tlu older books Forearm Development books—even some comparatively modern d,rect. but allowing the hand to move nary time, counting aloud, and explaining portance, as the deeper classics require The entire page requires good musician- to°lean slight WdTo ** ** *> 411 'V[ O AMOUNT of finger practice will each measure satisfactorily. ones—which aim to show the proper posi¬ as much as it pleases and the wrist to solid musicianship. An Adagio. Lento or ship ; therefore the student should not rely develop the forearm, however; 2nd—The ability to read at sight capably tion of the hand, are absolutely incorrect ®CU*e 3 SOrt of revolving motion. Be any slow movement from the, simplest on his ability to count each measure. He and out of date. They represent the hand therefore, as the wrist and forearm must in both treble and bass. Mozart or Beethoven sonata requires a ma¬ Though a most thorough believer in in¬ h i' ,, ever* that 'be kevs which are to may count with mathematical exactitude at a perfect right-angle to the keyboard, the right or the trebL with th 'Tr Wi >e held down are held down to the very he highly developed, to produce a lovely, 3rd—The execution rhythmically in two ture mind, ripened by vast experience, for tensive practice for overcoming any spe¬ So much for favnr,hi l. ? Ief> and yet fall far short in rhythm. Count¬ whereas, if it Is turned a little so that bottom. Do not let them rise at all until sympathetic quality of tone, never neglect octaves of all major and minor scales, its complete interpretation. Many stu¬ cial difficulty, the writer for the last for avoiding stiffness .• e.positl011- No ing time and keeping it are entirely dif¬ the fifth linger extends over the keys about the wrist. An hour daily is not too long chords and arpeggios (From Cooke’s dents, however, recklessly play 32nd for twenty years and more has never had occa¬ "e pr.°per time. This, if properly attended ferent propositions. Advanced students will the same distance as the second finger (in¬ weaker fingers. The nlav uf 11 finally, but one should start with ten min¬ Scales and Arpeggios), in parallel and con¬ sion to insist on such practice for this par¬ th'„h ,°f 1,self Prevent the "wiggle” of 16th notes, race over turns which require thus find the necessity of playing with good stead of barely reaching the end of the extend the motion of the fifth fi try utes daily, increasing the time as the trary motion, thirds and sixths, with per¬ ticular type of passage, because his pupils and fr0m becoming exaggerated or mature deliberation, and disregard ac¬ routined musicians as even the best per¬ keys), action of the fingers will be much back into the side of the oat ^ muscles develop. With correct applica¬ fect understanding of their formation. grotesque, while the fourth and fifth centuation; variety of tone color, and the formers unconsciously go their own gait regarding the palm as a solid • 'nStead c ngers acquire a freedom and strength tion, development is continuous, with the He will enter the third term (after suc¬ thousand and one details so necessary to a muscles assuming huge proportions. without this important element in their never known before. cessfully playing the Cramer Studies, musical performance. training. THE JSTUDE THE ETUDE JUNE 1928 Page U7 Page W JUNE the melody in the right hand with charm ‘Master Vises and grace. When the conditions are re¬ versed, tlie right hand is played with the DEPARTMENT OF same linger staccato touch. This page, played legato, would he uninteresting to A Department of Reproduced Music the verge of monotony, as its success is de¬ 1Bands and Orchestras pendent upon the beauty of touch and By Peter Hugh Reed charm of delivery. (Conducted Monthly ‘By Many instances of flagrant errors could HE Italian term “viola” possesses a be added to the list, but many of these T double meaning. To-day, in a par¬ would be avoided if the preparatory work The Etude herewith institutes a Department dealing with Victor J. Grabel ticular sense, it denotes the tenor had been built on,a solid foundation. lost interesting if properly brought ni„rs an(i written by a specialist. All Master Discs of edu- violin, formerly called the alto. This is FAMOUS BAND TRAINER AND CONDUCTOR out, but in many instances it is very ritMnlumoortanJ will be Considered regardless of makers. Cor¬ the third member of the string quartet SELF-TEST QUESTIONS ON MRS. poorly performed, regardless of the respondence1^ relating to this column should be addressed The Etude, and the largest representative of those portance of a beautiful finger staccato BRANDT’S ARTICLE “Department of Reproduced Music. ’ members of the violin family which are 1. By what means are long, singing tones supported by the arm and bowed hori¬ for major keys, and in D minor for The wrist and arm should be motion- assured? zontally. With this particular meaning of minor keys, the former method being less. The fingers accomplish the work by 2. Give four rules for acquiring the term “viola” the present article does playing directly from the knuckles, and tained tones on the piano. . termed “sharp,” the latter “flat.” Much not deal. Instead it will give considera¬ 'Various Viola Varieties they require no assistance whatever from 3. Outline a plan for developing the Since this column aims to facilitate the No. aOlOO). Although I crgolesi lived used in the seventeenth and eighteenth tion to the older and more general mean¬ the wrist. The pulsation from the triceps wrist. growth of the musical library in the home, only a brief span (1710-17.16). lie left centuries, the instrument has been em¬ ing of the expression, namely, the Italian muscle is continuous, as without its use, a 4. What three principles should be early questions relative to it or pertaining to some very beautiful music m the facile By Dr. Orlando A. Mansfield ployed in quite recent times, Meyerbeer term for a viol. Its object is to show to finger staccato, with full delicate tones instilled in the student’s mind? recorded music will be gladly answered. and melodic style of Eighteenth Century having used it for the obbligato accom¬ how many different types of viols the paniment to Raoul’s air in the first act of would be impossible. 5. What qualifications arc required fur The first records to be brought to our Italy._ His opera bulla “I.a Serva Pad- really a Viola da Braccio of a “larger the middle of the eighteenth century, was name “viola” has actually been applied. “Les Huguenots,” passages from which Every note will be exact, accompanying correct interpretation of slow movements? attention aic.are: Quintette in , F minor, rona,”.... always recognized. f< r ,its , endur- growth.” being rapidly supplanted by the violon¬ Into a detailed description of old viols Berlioz has quoted in his appreciative no¬ Brahms Opus 34, played by Leuer String ing distinction, served as a model t This Viola dq Spalla was introduced cello. it will surely not be necessary for us to tice of the instrument in his “Treatise on Quartet and Olga Loeser-Lebert (Colum- sequent Italian composers. Like many about 1700 and was primarily and prin¬ Proceeding to some discussion or exam¬ enter just here. It should be sufficient to Instrumentation.” Many writers have bia Nos 6737S to 67379), and “Symphony composers he suffered from rebuffs and cipally intended for use in processions, ination of the instruments of the viola A.ccents remind ourselves that these instruments speculated upon the origin of the name, No’ 2 in D major,”" B'rafimsT Opus 73, lack of appreciation. One friend told him ecclesiastical or otherwise. As its large name which were not of the recognized were the precursors of the violin family and, like Dr. Bushy, in his “Dictionary of By Gertrude Greenhalgh Walker Walter Damrosch and the Nt-w York shortly before his death that his music size rendered it difficult to be.held or sup¬ viol family, we first note that all these from which they differed in many respects Music,” 1786, have asserted that the affix Symphony Orchestra (Columbia. Nos. was too delicately beautiful i receive the ported by the arm, it appears to have been varieties were distinguished by one com¬ Proper accenting is necessary in the cor¬ Rhythmii but chiefly as regards their possession of “d’amore,” of love, was due to the beauti¬ 67389 to 67393). Brahms stands for approbation of the rabid, . His Stabat fastened to the performer’s chest by a mon feature, namely, the addition of what rect interpretation of a composition since flat backs, frequently fretted finger boards, ful tone which could he produced from wholesome and expressive workmanship. Mater is almost bcatitic v. |, n pathetic band or ribbon and then thrown partly were known as “sympathetic” strings, that phrasing and pedaling are dependent upon His music is profound, serious and more beauty. Dying of a tenacious and ener- “C” or semicircularly shaped holes, solid the instrument. More probable is the ex¬ bridges, smaller tone, and, to us, curious over his shoulder. Hence it would be is, fine strings of steel or brass which accents. The “rhythmic design” of suggestive of the master workman than of rating malady, he complete,1 the score of planation that the name was due to the tunings—in 4ths and 3rds instead of in played something after the manner of the were passed through holes in the lower position is of prime importance. The meter Metrical Acc*-. the poet. It is said that lie imposed upon this work five days prior t his untimely modem violoncello but, being suspended “sympathetic vibration of the open metal¬ 5ths. Again, as is well known, the viols part of the bridge and underneath the of the piece may be, for instance, -M but A very fog practice for a student is to himself at an early age a severe study end. Danise, the Metropolitan Opera bari- rather than supported and not resting on lic strings.” These, as the late Mr. E. J. were made in about four sizes, namely, finger board and were tuned—according the design, 912. A splendid example of look over the design of a selection and then, period which enabled him to acquire his lone, nobly sings an aria i t , in this score, the ground, it would not impede the per¬ Payne remarks, “produced a perfect the Treble or Discant, the Tenor (Viola as their number varied from about seven metrical and rhythmical accent is Beautiful with a baton, beat the counts beginning on firmness, purity and breadth of style. It is coupled with ail effect: . . hr Maria. former's march in any religious or civic shower of concords and harmonics,” thus da brace in), the Bass (Viola da Gamba), to fourteen—to the notes of some diatonic Isle, by James Francis Cooke. whatever beat the design starts. Regarding this Daniel Gregory Mason Sonata in C minor. I’m!: l/yue by Bee- procession. producing a serious difficulty in the ma¬ and the Double Bass ( Violone), our mod¬ or chromatic scale. One of these instru¬ in an essay on Brahms wrote, '. . . . thoven, Opus 13, played In Wilhelm The other standard variety of viol bear¬ nipulation of “a singularly beautiful and ern double bass, with its flat back, peculiar ments, which most closely resembled the tones are stubborn material until' one Bachaus (Victor, Nos. 6771-6772) and ing the generic name of viola was the Viola da Gamba, was the Baryton, a type attractive instrument,” a difficulty so "It it bowing and unusual tuning in 4ths, being marked that “all notes which would not s my duty to hear music every day of my life. I am paid to hear has learned by hard work to make Seven .Variations on a theme from “The Viola da Gamba, perhaps the most cele¬ of viol which (joes not appear to have been the only member of the viol family which bear a major 3rd” had to be “very lightly I not only go into concerts free, but I receive a reward at the end of them transmit thoughts. Technic is in the Magic Flute” by Mozart-Be, tliovcn, played brated and certainly the most popular and made outside of Germany, and there mostly has been admitted into that of the violin. touched.” Hence the Viola d’amore was the month for having attended them. So. being paid to hear music, 1 do musician what character is in the man by Casals and Cortot (Victor, Nos. 3047- the longest lived of its tribe. As in the from the second half of the seventeenth hear it, and I hear a great deal, and yet I find I miss things. Sometimes Invented in the fifteenth century, by the essentially a solo instrument, one which .... Brahms’ long apprenticeship was 3048), may well lie given thorough con- previous case, the name is derived from to the second half of the eighteenth cen¬ I take the score with me. As I listen with the score before me I say: middle of the eighteenth the viols with its numerous harmonics or overtones .... needed. ... to teach him the deeper sideration. During the first six .years that the position in which the instrument is tury. Its name is supposed to have been 'There is a bit that I should have missed if I had not had the sense to were practically superseded by the violin lesson that the part must be subordinated Beethoven became afflicted with deafness, held—da gamba, “from the leg,” as op¬ derived from the French Bourdon, “hum¬ would not blend well even with the other bring this score. There is something that would have escaped my notice.’ tribe. Each of these latter, however, the members of its own family. to the whole, or, in musical language, ex- lie endeavored t, • conceal it from his posed to da braccio, “from the shoulder.” ming,” from the effect produced by the When I hear a piece for the third or fourth time, I hear a great deal more violin, the viola and the violoncello (or Several instruments called by other pression to beauty. In his music, friends. In 1801, however, unable to re¬ The accordatura. or tuning system of the constant vibration of its sympathetic in it than I did when / heard it for the first time.”— Percy A. Scholes. the little violone) retained some of the names are supposed to have been varieties emotion is not excluded, it is regulated main silent longer, lie wrote pathetically Viola da Gamba was as follows: strings. Hence the instrument was some¬ •best features of its predecessors although, of the Viola d’amorc. Amongst these was .” Therefore, to know and appre- to his dear friend, Wegcler," .... I lead times called Viola di Bardone or Bordone. ciate this composer, one should live with a miserable life indeed. For the past two in other respects, it exhibited wide depar¬ Ex. 2 the Violetta Marina for which Handel tures from them. Of the treble viols the Its tuning was peculiar, being generally as his music, be able to play and re-play it. years I have completely avoided all society, follows: wrote or which he specified in the score There is no place where this prerogative for I .cannot talk with my u llowmoi. I modifications were few, but from the ori¬ of his opera, “Orlando.” Sometimes the is better exercised than in a recorded am deaf.” This tragic afflict! n depressed ginal tenor and bass viols numerous varie¬ name viola was Anglicized into violet, Ex. 3 «: version of such works as the beautiful and hint greatly and wa ties were evolved. Some of these enjoyed an octave lower than that of the treble and this may account for Mozart’s father Qan You T5ell? » effective Quintette and the eloquently me- in his work. He composed tin- well-known great popularity in their day, but, unfor¬ or discant viol and with the two 4ths alluding to the instrument or a variety of Iodic “Second Symphony.” Both of these Sonata in 1799, the second movement of tunately, all of them seemed destined to at each end of the compass and the 3rd it as the English Violet, which is the more compositions have a cheerful and optimistic which may he said t, > embocb a reflection endure only for an age, not for all time. in the middle, as before. Shakespeare, in strange as the Viola d’amore was never 1. Iri what work did the famous song, Angels Ever Bright and his “Twelfth Night,” alludes to the instru¬ message which is characteristic of Brahms, °f his grief, although the lir-t movement It is celebrated in musical history from made in England at any time whatever. ment as the viol da gamboys, this Angli¬ Fair, appear? jfl their purport they express serious a,,d the Rondo arc surely int'ected with Viola da Braccio having been the favorite instrument of This is a parallel case to that of the cism being similar to that adopted in the 2. What is a Polonaise ? convictions which gradually unfold, like spirit of hopeful gaiety. The excellent Prince Nicholas Esterhazy, the patron of Como Inglese (English Horn), the alto A S THESE varieties and their originals case of the oboe which latter instrument rare flowers, with repetitive auditions. interpretation of this work by Bachaus Haydn, and the type of viola for which oboe, which has no connection whatever 3. Who was Stradivarius ? * both rejoiced in the common or gener¬ was always known in older English as the The Lener String Quartet presents a per¬ should find universal appeal with both Haydn wrote at least one hundred and with that country and no resemblance ic name of viola, it may be best to dis¬ hautboy. As compared with the tone of 4. What are “Variations ?” formance which has great catholicity in student and music-lover. seventy-five compositions, solo and con¬ whatever to a horn. cuss first the two classes of the original the violoncello, that of the Viola da Gam¬ 5. What American composer wrote the familiar music of its appeal as well as emotional satisfac- That charming duct. Bei Mmmern, with certed. The predecessor of the Baryton Bearing the same generic name, but of viols which have been already mentioned, ba was much thinner and less powerful, Damrosch’s reading of the delicate grace, so expressive of Mozart, was the Viola Bastarda, which was really character and construction somewhat dif¬ Nearer, My God, to Thee? namely, the Viola da Braccio and the Viola although somewhat penetrating and, in the Symphony is orthodox rather than dis- was the subject for seven variations for a large-size Viola da Gamba, with, of ferent from the preceding, was the Viola 6. What is Rhythm ? da Gamba. The first of these—the viol hands of a competent performer, always tinctive, but it is nevertheless commendable, cello and piano by Beethoven. It is de- course, the usual sympathetic strings in Pomposa, a large type of violin, or small “from the arm”—was so named on account pleasing. Owing to the nature of the tun¬ 7. 'Who wrote the great Sonata Pathetique? lightfully played addition to six or seven stopped strings. violoncello with an extra string, midway of the way in which it was held—in the ing, broken chords were at once easy and A Touch of Humor Written about the same time as the above This instrument was generally ttmed: in size between the modern viola and the ; 8., What is meant by the Common Chord manner of the modern violin and not ac¬ T E CARNAVAL des Animaux written Sonata’ il Presents a different reflection of effective, as were also almost all diatonic violoncello proper. This instrument, the cording to that of the violoncello. The 9. Who wrote well-known music to Longfellow's “Hiawatha ?’’ by Saint-Saens, reproduced by Georges rn00mood.^- Undoubtedly theil,.. infectiousin charm extended harmonies. Thus the instru¬ invention of J. S. Bach, possessed five Viola da Braccio was really the forerunner ment was. singularly adapted for accom¬ 10. Name the properties of a tone. True, Symphony Orchestra and solo¬ of Mozart’s duet provided a momentary strings tuned thus: of the modern viola or tenor which in ists (Columbia, Nos. 67380 to 67383) is ray of sunshine in his work during those paniments, especially for those of the type some respects it more or less closely re¬ common in the seventeenth and earlier TURN TO PAGE 486 AND CHECK UP YOUR ANSWERS. a suite in which we find a rare thing in unquestionably tragic days. sembled. In common with the other mem¬ music—humor. As a work, it is largely eighteenth centuries. bers of the viol family this instrument pos¬ The bow, it should be noticed, was held afer SEES S3L!*~ in °f T“" EIude Muhc —d. self-explanatory. The composer’s sense of Festivals f°” oC whoU.!fbV°thI sessed six strings, tuned thus: and manipulated much in the manner of the largely after the usual viol manner of 4ths, ™ parTas5 L” SUch NEXT IS Present^ Festh als, No. 2 of present double bass bow. One of the most with a 3rd in the middle. Another name and was probably identical with that ages. Fossils and ’ Pianfsts * Yhe^btY 1 St Jhre?.Nocturnes'” Debussy, played effective writers for and interesting per¬ bestowed upon it was that of Viola di I are the two human speckf whin n by Stokowski and Philadelphia Symphony formers upon the instrument was Christo¬ Fagotto, this probably on account of its termed / ioloncdlo piccolo in Bach’s pher Sympson (seventeenth century) compass largely coinciding with that of scores, the instrument for which the great What is creation? In a simple statement creation is doing something dudes in his me^erie The^ S« ’"i 20?*’ Y .1309)’ Thcre is a whose celebrated work, the Division Viol the fagotto or bassoon. master wrote his 6th 'Cello Sonata. The with intent. Doing something with intent requires a means appropriate for numbers of tenacious beauty in the Y in, '7'-3 -faciIe del,cacJ- and a rhythmic This tuning is similar to that of the (1667), was not only the best of its kind fifth string gave it an advantage in the its fulfillment. Since every act employs the particular vocabulary appro¬ one of which is the nT?® in Rivals, the second of Another and even more important va¬ “The Swan.” melo 'Che Teachers1 Round Table DEPARTMENT IS DE- Department School Music (Conducted by 3HER UPON QUESTIONS Conducted Monthly by Prof. Clarence G. Hamilton, M. A. GEORGE L. LINDSAY PROFESSOR OF PIANOFORTE PLAYING, WELLESLEY COLLEGE TECHNICAL PROBLEMS PER- DIRECTOR OF MUSIC, PHILADELPHIA PUBLICicFVm schools .M JL n THEORY, HISTORY, ETC., ALL OF WHICH PROPERLY BE< LONG TO THE “QUESTIONS AND ANSWERS DEPART- THE PRESIDENT Of a Piano way to start what will prove a sane . Teachers' Association recently and direct path to intelligent piano pi’ Your idea of having a weekly class les- asked me if I would meet their Qldss ‘Piano Instruction in Public And this is quite as it should bef'for"^ excellent one and is fraught with members and tell them v about the Piano will always result in a great economy to great possibilities. You might begin each Class Proposition. She said that they had establish easy and graceful arm and hand lesson by having two or three of the pu¬ heard a great deal about its phenomenal Schools pils at a time play finger exercises or short movements before endeavoring to control (2) Throughout the nineteenth century growth, were considerably alarmed lest it the smaller members. A A famous classic. Grade 5. “NEL COR PITT Tema. SIX VARIATIONS L.van BEETHOVEN Andantino quasi allegretto M. 4 8 3 a. 3^ 4 Vt 2 4 0 U V2-^2 5- a 5 4 \ 2^_i2 - 4 S4k 2 :V 2 1 \ 2 3 2 i," 1 V p P 2 -0- -#■ 6*1 0 00■ 5 2 p « 4 5», • 4 ^ Var.I 3 5 2 4 13 4 i » aL p^pplpP^ 1 *WFi , - V -0-3-1-- ^=pF ■ ,-P f... v B^r Lf-^-L± k _.5 _5 ;> WJ - a JLJi 2 _ 4j | ^t_--ij-p-F | £ i a 4 z''" 0 1 4 -^ cresc. pocorit. pa- •tempo cresc. <7\ •> f-„ . -F^3 : I— MT-#-^r-—p- Y 1 -7= 2 ir 7 1 fr— r 7 * 7 1 6 551 *JBM 5 5 4 5 4& 6._ 2,_ „ 4 i j . 2 3 5 „ 3 5 . ” /’m, 1 Page 455 the etude JUNE 1928 Page 457 THE ETUDE JUNE 1928 Page 456 JUNE 1928 the etude IN THE HAMMOCK A beautiful example of modern LA SIESTE DANS LE HAMAC “atmospheric”barmony. Grade 6. RENE CHANSAREL Molto tranquillo, non giusto ^ CODA A dainty modern French number,with FRILLS AND FANCIES many syncopations. Grade MAURICE YVAIN Allegretto m.m. J=i Copyright 1916 by E. Demets a) Like distant bells. wmm JUNE 1928 Page 459 Page 458 JUNE 1928 TBE ETUDE 0 LAMB OF GOD OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES AGNUS DEI INTERMEZZO A splendid chime piece, Mr.Frysingers latest work. FAR O’ER THE HILLS A fine dramatic number. Grade 4. from“L’ARLESIENNE” Echo. Flute Celeste 8'& Trem. Maestoso m.m. J=84 5W. Flutes 8'& 4'& Trem. t. —ii - Gt. Chimes Ch. Clarinet.Echo or Sw. to Ch. Ped. Bourdon 16'to Echo or Sw. J. FRANK FRYSINGER NOTE: If the organ does not contain chimes and harp, substitute Flutes. * , Chimes Moderato Manuel _ jsg-A- II | .-fc-U— [jvjr> . J 1 ~r ;f " ?}5: • 1 r w-1 r Gy k h J 1- o o m rit. in | ? 11,. Tfiolto TCiH dim. motto P cresc. \ .cresc. y ’ V , y ■» H; If'ffrt'fi —‘S' -s • - v "s rf ^ hnJJ t—prmTiuj— W rj ia J ■■ Tv 3 ' ' r 1 a 3 l a t? Copyright 1928 by Theodore Presser Co. Other Music Sections in this issue on pages 427, 451,487. JUNE 1928 Page 461 tub etude DANCE OF THE TOYS LEONORE LIETH, Op.41, No.l British Copyright secured * From here go back to the beginning and play to A; then play Fine. JUNS 1928 Page 463 fffS STUDS Page 462 JO TUB STUBS MARK HERALD OLD - FASHIONED MOTHER OF MINE RICHARD kountz YOU STUPID, IT’S JUNE! GRACE S. LOVE GEOFFREY O’HARA Capriccioso Copyright 1928 by Theodore Presser Co. British Copyright secured British Copyright secured Copyright 1928 by Theodore Presser Co. JUNE 1928 Page 465 the etude the etude A LITTLE PRAYER fljfi ETUDE JUNE 1928 Page 467 °age 466 JUNE 1928 THE ETUDE A very popular Spanish-Americau melody. BSTRBLLITA T o the bride . . . to the graduate . . . give a Bramhach BRAMBACH Baby Grand Length 4 ft. 10 in. T70R June bride or graduate, what finer gift than the V Brambach —the gift of music that remains un¬ diminished by the years. Scaled to fit conveniently into modern interiors, the Brambach is ample in volume, and has a purity and richness of tone pos¬ sessed only by the true grand. And its rare woods, graceful proportions and lustrous finish make it indeed “the beautiful Brambach,” particularly in its Period and Art Models, authentic and luxurious. Visit the nearest Brambach dealer—see and hear the Brambach today. You can make no more lasting, more appre¬ ciated, more distinguished gift than the Brambach — Page J,GS JUNE 1928 tiie JUNE 1928 Page 469 etu»h the etude * * “And sleep! Equalizing the Uoice LITTLE T5he SINGER’S ETUDE By Eliot H. Eversham Dear child, One successful teacher of singers, wonderful language for song. By prac¬ Edited for June by some of whom won international fame, tice the muscles will relax so that the jaw HANDS how I built their voices mostly on the following may hang loosely and quietly, and the HE ART OF SINGING, so far , Eminent Specialists simple little study which the writer never various vowel sounds be formed by tho T of facial muscles and so swiftn its technical side is concerned. has seen in print. movements of the tongue, lips and pal¬ based upon two essentials: ■ tirst r IS THE AMBITION OF THE ETUDE TO MAKE THIS VOICE DEPARTMENT clearness of enunciation—while th^ 3 did sleep!” ate. Then it is time to begin singing. How will they grow ? a perfect control of the muscles govern- “a VOCALIST’S MAGAZINE, COMPLETE IN ITSELF.” ruption of vocal tone, though clear ™ On a very free, easy stream of tone, mg the breath, directed toward a correct short as possible—practice vowels’ " ■ I was really tired last night. We sing the exercise once, then breath as the attack and a continuous and adequate sup¬ different types of consonants: that i nlaved golf the whole morning and instrument sounds the dominant of the Trained'or Untrained? port of the voice while singing; second, lay, fah. fay. rah, ray. shah, shay Jl oftJrwards we did the Boardwalk new key and be ready to sound its key¬ the looseness and correct position of the lah, lay, kah, hay. y' ah’s from'end to end! But I was refreshed note quite on the pitch. Now repeat the tongue and chin and the flexibility of all enough this morning to start all over operation, gradually ascending through the muscles concerned in consonant enuncia¬ Summarization ■ „ l You can t help resting here. various keys till the comfortable limit of tion Of these two essentials the former This is such a delightful place. They the voice is reached. K itai, is tne more fundamental and should be Foundation Wor\ in Uoice do so many thoughtful things to The study should be begun well down secured in large measure before much make us comfortable—the service is toward the lowest tone of the voice, where attention is given to the latter. mLS.r“pu",’'"'OT little short of perfect. ... And it can be started with the utmost relaxa¬ First, we shall consider the correct use cDevelopment 3. Keep breath column steady and con there’s another thing: we have the tion; and this feeling of relaxation should °t the muscles governing the breath. tinuous during its emission. same table every day. Isn t that a be maintained throughout. For low voices 1. Take an erect position with head up By Dorothy DeBar 4. See that breath current always sirlu nice touch? ^ v it may be begun as low as A, A-flat or and chest high. Fill lungs as full as pos the “K" spot on the palate muscles. “ even G. Just as low as comfort will al¬ sible,’ from.. base to‘o apex, stretching the , :. .. 5. Look out for the at l Further information about Chalfonte- low. The idea is—“To give exercise to 1E Do not per- Haddon Hall is interestingly given in nbs apart and expanding all11 around the tbthe? ,".POmtS. become—. inflameda andllu auuand stiffeningsl the chin muscles. The lit it to be throaty. the voice throughout.” waist. Exhale. Practice expandingcnanrlirm and '■swol,cn w.° en’ resulting m a hoarse snoakim,speaking mouth —...must "be\_ open■ in order ....that the 6. Sing hah not huh. booklet form. We would be glad to When the study has been well mastered, mail you a copy. „,h,Againfflftag, ,T'„rrr'TTd!r?'"i™ra 3?“£ 7. Get more breath. slowly, then the speed should be increased 8. Support tones better. till it can be sung in two keys without ry to expand••**" still more■ *just “• above N tne™ ZlXSZiSS.tSJSS: -. „ . -^ »i»rBuus >» .he tognn, espe. -1 . ° ' ciallvially in sounding the dose,close vowels, a and ie. Playing the Words By Leslie E. Dunkin 73he ORGANIST’S ETUDE Mori: expression can he given to a song Volume may be governed by the^ words, especially a religious hymn or song—if As the song works up to the climax, there Edited, for June by djalph Kinder the pianist will play the words as well as should be an increase in volume—not nec- the notes for the music. In many of the essarily a thundering tone for the highest Eminent Organist and Writer __ -— songs no two verses are exactly alike in point, however. If a certain phrase or Rhythm, meaning measured will notice how clearly defined an i Around the Comer and St. George r. their expression requirements. Also, there word is more important than the rest of motion, presents, from a musical IT IS THE AMBITION OF THE ETUDE TO MAKE THIS ORGAN DEPARTMENT phasized the beat-rhythm will bec"Z These things are significant and worth is a great difference between the way to the words, the pianist can bring it out by noting. They reassure the prospective standpoint, at least two phases of the Since the first note heard by thf play different songs. By playing the words hitting those notes a little harder. Madr¬ many definitions of the word. These are, “AN ORGANIST’S ETUDE, COMPLETE IN ITSELF" ee beyond any doubt. assumes the accent of the beat at , ^ as well as the notes the pianist will make ally the ordinary words, such as “the,” “a,” first, metrical progression, designated by until the rhythm is assured either bvl , the instrument "fairly talk.” and "an,” would not he given special em- the bars and beats and synonymous with note or rest as at “a” or “d,” Exam ; AUSTIN ORGAN CO. I Slight pauses can be inserted ill differ- phasis. accent and its distribution; second, the 165 Woodland St. Hartford, Conn. I the accent can lie conveyed to tho P 6 3‘ ent places without marring the regular The atmosphere of the song can be proportion in the metrical progression only by making a caesura-pause afte?!? (i time for the song and with great improve- brought out by playing the words. A forming the basis of the poetic contents. first tone, which places an attack * ment in the expression. The slight pause spirited song will he played in a semi- If rhythm depends so much on accent second, thus: ,T ™ up0n helps to give emphasis and to interpret the staccato manner, while in a worshipful with its non-limitations in gradation of cRjaythm on the Organ seated at ths Kilgen Console in St.JohnCantiu.. GUILMANT thought of' the words. An important punc- song the notes shpuld be blended together, stressed and unstressed tones, how can Rend is tbe First Organist of St. Peter’s Basilica m tuation in the words can call for a slight The words will tell the pianist what at- Vatican at Rome, and a famous Organist and Com, such a quality exist upon an instrument, ORGAN SCHOOL pause, if there is not a longer-time note mosphere is desired in the music for the such as the organ, which is utterly inca¬ Memberships ' By D. X. Kyrbi not enough The VIOLINIST’S ETUDE In this peculiarly fascinating yet ex- are so limited, and in, which the responsi- ore FREE cessively difficult musical form, Mozart bilities towards each individual solo in- BECAUSE... Edited by produced a lesser number than Haydn, strument are so great, where the handling in the Nevertheless, in intrinsic worth, those of requires to be so delicate and so neatly Robert Braine the Salzburg master quite overshadow the adjusted in | every detail, Mozart’s artistic E GO TO a concert and hear a Mel¬ The wrist assumes a convex shape wh W bowing at the frog and is slightly Yu"611 literary Guild greater product of his older friend. The skill stood him in good stead. The great ba sing The Old Folks at Home, reason for this is made apparent in “The difficulty was in the exact ascertainment a Galli-Curci, The Last Rose of IS; THE AMBITION OF THE ETUDE TO MAKE THIS VIOLIN DEPARTMENT when at the point. Even if the student"? Evolution of the Art of Music” in which of the style of treatment best suited to Summer, a John McCormack, Believe me not taking lessons, he can see th' i “A VIOLINIST'S MAGAZINE, COMPLETE IN ITSELF.’ Sir Hubert Parry writes: the group of four solo instruments. It if All Those Endearing Young Charms. watching good violin players. Stra’ i?’ “Next in importance after his (Mozart’s) was easy to write contrapuntal movements We have heard all these songs a thousand bowing is best acquired by doing a '6lt Symphonies comes his quartets. In this of the old .kind for them, but in the new times. Yet we are astounded at the keen deal of practice on open strings anfeat enjoyment we experience in noting the scales which have been memorized °” form Haydn was again the pioneer; but it harmonic style, and In a form of the fell to Mozart to produce the first really sonata order, it was extremely difficult to immense effect these artists get out of that the eye can be kept on the bow M great and perfect examples. This refined adjust the balance between one instrument such simple ballads. It is said that Jenny out having to watch the printed page k and delicate form of,art had come into and another so that the subordination Wi Lind, the famous Swedish prima donna, practiced faithfully, straight bowing hi prominence rather suddenly. It was cul- would not subside into blank dulness nor would have half her audience in tears, T5 one technic comes automatic, that is, a fixed habit tivated with some success by other com- independence of inner parts become ob- ‘"1* singing the simple ballad, Home, Srveet Hon posers besides Mozart and Haydn, such as trusive. Mozart, among his many S' fts, Boccherini and Dittersdorf. But the quar- had a great sense of fitness, and he adapted Next day we hear the girl next door The Instrument any point. It n he literally “tight Point of Contact tets which Mozart produced in 1782, and himself completely to the necessities of singing the same songs, hut the effect is T T GOES without saying that a fairly A VERY large number of violin stu dedicated to Haydn, are still among the the situation, without adopting a polv- Too many people, thinking they are anything but the same. The chances are ■*- goodPnnH violin is necessarynprpucarv for na guouorwt Tile. boW should havl -good, straight,, , 1 X dents utterly fail in producing ail select few of highest value in existence, phonic manner, and without sacrificing the cafe when teeth are white, suddenly we feel more like putting corks in our tone. Even a great artist can hardly sue- Mastic stick of Pernambuco wood and even passable tone because they habitually Tn a form in which the actual possibilities independence of his instruments.” find themselves victims of Pyorrhea. ears than like drinking in the tones with deed in giving a fine performance of the S°od- fresh ,hair, well rosined. It should And Save You Half the Price bow either too near or too far away from This foe ignores the teeth and at¬ rapt enjoyment. Schubert-Wilhelmj Are Maria on a five- cost not less than ten dollars. In short, all of the Best New Books tacks the gums. It takes high toll the bridge. The great bulk of violin play, At concerts of violin music we hear dollar pawn-shop fiddle. If the student mechanical details should be perfect be- in health from 4 persons out of 5 ing is done messo forte (medium loud) Kreisler play Traumcrei, Heifetz, The can afford a $25,000 Stradivarius or Guar- fore the player can hope to produce - '* THE LITERARY GUILD of¬ Arching the Little Finger after forty and thousands younger. and for this the hair is drawn over the Largo (Handel) or Elman, The Swan— nerius, so much the better. It will help t0I.le- is best t0 depend a skilled re¬ fers readers a unique oppor¬ Don’t fear these odds. See your string midway between the bridge and the dentist at least once every six months all simple melodies which we know by him in his quest for a beautiful tone. pairer to keepkeej the violin and bow in play- By J. M. Park end of the finger-board. In an extremely tunity to join a movement of first and start using Forhan’s for the heart. Yet we are enchanted with the Unfortunately, however, the average *ng condition, Gums today. heavenly beauty with which these great pupil can pay only a moderate price. He soft passage (/-/>/>) the bowing can be done importance to the future of Ameri¬ The fourth finger may be strengthened for the extended joint tends to wobble with good results very close to the end of This dentifrice cleans teeth snowy violinists endow them. A few days later should make from $50 to $100 his mini- Straight Bowing can letters. Tlay-goers of discrim¬ in scale practice, if the violinist rigorously under the pressure. On the other hand, white and protects them against we attend a recital of young violin pupils, mum and pay as much more as he can the fingerboard, with very slight pressure IT WOULD seem hardly necessary to ination have their Theatre Guild, an refuses to allow an open string to be ‘S*ca7wkhst^?tS acids which cause decay. but, alas, how different the effect! We afford. The point is to avoid a violin on the stick of the bow. If pressure is Also, if used regularly and in time, it x say that the first requisite for a good applied at this part of tin string, there re¬ helps to firm gums and keep them healthy. can hardly repress a smile to: hear how with a harsh, rasping, unmusical tone and organization which has raised the *Tt**™L Pyorrhea seldom attacks healthy gums. tone is to bow at right angles to the string, sults a distressing “fuzzy' tone which sets that the little finger" bentTboth Tt! P™; s!nCe ^ ** * tasteless and insipid these same inspired to try to secure one with a smooth, sym- standard of good drama materially Make Forhan’s the daily morning and with the hair of the bow moving parallel the hearer’s teeth on edge. . joints. , If the fourth finger is watched night health habit. Get a tube from your melodies sound the hands °f tangling Pathetic quality, as even as possible in all wj£ £ brid” The^faci'of'the m'a“t^ druggist, today .. . 35c and 60c. beginners. As a louder tone (with pressure) is re¬ in America. Now—through the Bending only the joint near the tip stantly, the lower joint will become positions As a good old violin can hardly is> however, that a vast number of stu- Formula of R. J■ Fortran, D.D.S. Whence comes this miracle Why c quired, the hair approaches closer to the efforts of a group of educational and causes weakness and final helplessness in firm and as supple as the upper one, and can be bought for the above figures, except dents will not take the trouble t0 learn Forhan Company, New York the great artist transport us to -enth through some extraordinary stroke of luck to bow straight but in “ha]f moons" over bridge. Also, in the higher positions, the literary leaders- -you can belong to a the lower joint. Also, if the finger is the power of this smallest member will ^ ' ,/• , brought down on the string so:it be made to equal that of any of the other heaven of delight with the simplest the student will have to content himself the string> like a farm hand mowing bowing is done closer to the bridge and in position, while the unskilled amateur with the best he the very highest positions, the hair must similar society, engaged m selec ing jmBpossible t0 produce an incisive tone, fingers, ' the shape of a around a stump with a scythe. The bores us to tears with the very same piece? new violin. His teacher be drawn extremely close to it. If the the best books from the presses of all Forhaifs Of course many things enter'into a *iper- friend wili'be ‘oTgre^Issistance in ptk- M student at any time attends the opera of publishers and sponsoring those no lative musical performance, but the great- ing one out. ,s . '’* 5 , , ,all°wed to do "Lohengrin” or hears music played from cultured American will care to miss. ‘Bone technic est element is that of tone. We would But no matter how fine the instrument, ginning he never ^turreedrkrf * n ^ '1£" it on the concert stage and will watch the much rather hear a great vocalist sing the it cannot respond properly if it is not in Lao£’ h never succeeds in acquiring a first violinist in the orchestra when the Membership in The Literary Guild (Continued from Page 474) HAKKERT” scales or a supreme violinist play finger good playing condition. The sound-post Wbiie Jcmtv in Wn famous Prelude is being played, he will is absolutely free. You can join to¬ The World’s Finest in Gu l Strings for exercises than a bungling amateur attempt must be correctly set, the bridge of the easilv to .o™ i f °"leS Tre see that the hair of the bow literally “hugs who will supervis ; his t : studies from Violin, Viola, ’Cello. day and begin at once to realize a The Vibrato the most famous and difficult composition: proper height, the strings correctly spaced as sLe acquire gooVhand wrh!ngS more the bridge.” the very beginning. For this is the time This is because so much of the work in considerable saving in actual cash on THE VIBRATO—“life under the fin¬ to lay correct habits in violin playing as “HAKlffiRT" Gut and “JOACHIM" Wound Strings on he bridge. The fingerboard must be easily than others, almost any viohn stu- gers”—as Cesar Thomson has ex¬ this composition lies in the very high posi¬ one of the leading books published in everything else. Many students never A, "Hakkert" 30o; Violin D, “Hakkert" 35c The Light That Guides !!I!!,.lnd..*,e P^S Sm°0thly fitted and ^nt can acquire a fairly straight bowing pressively phrased it, is a wonderful beau- D "Joachim" (aluminum) 75c working well. The strings i_ tions on the E-string. It is like playing succeed later in overcoming crooked bow¬ G, "Joachim" {pure silver) $1.00 be ot by practicing systematically. As the hair is on a toy violin, with very short strings, each month in America. Once in a while we find a . «) no. 'Cello D, “Hakkert" $1.25 A BEAUTIFUL tone, sweet, sympa- fine quality and the correct size, fairly ’’°ve at right angles to the string, this ing and other faults which have become a ■Cello 0. "Joachim" S1.60 and it is a law in string instruments that You can now enjoy the distinction ven one of some distinction thetic and silvery, is like a lovely new (not worn out and kept on the violin be accomplished only by the wrist go- i the s the shorter the string the nearer the bridge of being the first in your community (usually an old man), who has taken a light, an exquisite perfume or a delicious for years) and, above everything,- - not ,nB through a series of curves as the bow The greatest help in acquiring a good false. The viblin r the Ixnving must be done. Pupils who do 8 J ... violent dislike to the vibrato and objects taste. It gives us the keenest pleasure. be unglued at is drawn down and pushed up. to read the books that the nation will me is the doing of much open string and not know this law often complain of the to Its use. iNUllUUKNothing LUUIUcould beuc uwiv,more ab- f We cannot get enough of it. surd Violin playing without the vibrato, slow sea e work, he latter from memory string “squeaking” when it is played in be discussing a few weeks later. Now the average violin student will ad¬ although this can be abused by too fre- so that the pupil does not have the printed the very high positions. The trouble is mit all this readily enough. Why, then, quent use is a very stale and tasteless pages to distract his mind from watching Quartet of Viols they play too far from the bridge. Twelve Books a Year for the is he not willing to do everything in his A affair Note how constantly the greatest his bowing and from concentrating on and Bowing with the hair at the proper point power to improve his tone? For the sim¬ Price of Six! solo violinists of our day employ it. Sieg- listening fixedly to the tone, i have a quaint old picture of costumes ■ of contact, to suit the strength of tone re¬ kTlEWIS & SON ple reason that building up a fine tone en¬ fried Eberhardt has written an excellent tails a great deal of monotonous work, quired and the vibrating length of the Books in the special Guild binding on , , —- - remarkable work on “Violin Vibrato, its Mastery and. even drudgery. We are all naturally lazy, contrast to those of the present-day Flon- string, is of extreme importance. Thou¬ your shelves or tabletop stamp you as a sands of violin players go through life persoii of cultivated taste in literature, a Artistic Use,” and the student will find ‘Bhe cRgunded ‘Bone and the average violin student has more zaley or London quartet attired in'im¬ roKUl .... the vibrato in the little than his share. Most pupils seem to think making a miserable tone most of the time reader actively interested in this movement cellent chapters^ maculate evening dress. The crudity of work, “Violin Teaching and Violin Study,” By Grace Gretta VIOLINS they are wasting their time if. they are the instruments and bows attracts instant because they bow too near or too far away to promote the best in current books. from the bridge to suit the passage. They , vr ■, .n by Eugene Gruenberg. not sawing away on a lot of difficult ex¬ attention, and it seems miraculous that Your satisfaction assured. Mail the had many articles on the tre the most beautiful object is ercises and pieces. never change the point of contact. I have he violins and cellos of Stradivarius, and coupon at once for a detailed description the perfect sphere—a globe without a flaw. seen violin players bow over the end of the The importance of a fine tone in violin the bows of Tourte could have been of the Guild and the many advantages of In music the most beautiful thing is the playing is universally recognized, for it evolved from such grotesque implements fingerboard with strong pressure, for all rounded tone brought into being on the as we see in this picture. sorts of passages and for all the positions, membership to you. Yrour request for in¬ is the most important of all fundamentals. PRACTICE OF swells is a wonderful violin by a single bow-stroke. This tone A violinist may have enough left hand making a miserable tone in consequence. formation does not involve the slightest We also note that, whereas our modern developer of tone, especially when is even (no crescendo, no decrescendo), technic to play Paganini’s Witches’ Dance, concert performers are well shod and go Others bow within a quarter of an inch obligation. practiced with double stops very slowly pure (no scratching, no sliding), smooth THE ONLY EXISTING PICTURE OF but if his right arm has not been educated bare-headed when they play, the good from the bridge practically all the time, like the following: (no hesitation, no acceleration of the arm to the magic of producing a beautiful tone, and with strong pressure, thus giving a the literary guild of orfe^h m th'S PuCtUre have reversed the movement), full (just the right shade of Antonio Stradivari it is of little value. Every author of a order by going barefooted and wearing very striking imitation of a saw filer at AMERICA pressure with the bow and firm left finger) work on violin playing devotes a large elaborate headgear. The concert seems to 55 Fifth Ave., Dept. 32A-E.M. New York City and living (slight evidence of the vibrato). portion of his space to correct tone pro¬ be proceeding in the open air. The man¬ However, the bow arm must be supple All except the last attribute can be gained duction. Helen Timerman has written ner of holding the bows is the “catch E. J. 6s? J. Vrazi, 5o3 5th Ave., New York, N. Y and elastic, with the wrist and other joints pp < =“ by much practice. Blit this—(he living an entire volume on, “How to Produce a as-catch-can”. variety and can hardly be working like a fine, well-oiled piece of The Litzras 55 Fifth Ave. Ulster tone can he realized only through the Beautiful Tone on the Violin,” and it is recommended to the up-to-date studenT machinery, or else the observance of all Happy the student who has : New York Oil 1 and imagination of each individual artist. a very excellent work indeed, with many It has many points of difference for in' the above elements of good bowing will teacher whose tone he can imi Special $1.00 Offer valuable hints on tone production.’ For $1.00 vc will send a sample setc Joadfim.from tHe b°wing be in vain. To attain this result the stu- may send me a copy of WINGS, free and Violin Strings, containing our celebral While the limits of a short article pre¬ ent should do much practice very softly Intuna” E, A and D,Keelck Metal E clude going at length into every detail "What is note positively needed in violin tone is poivcr with quality, in areil” pure silver G. Satis- (as if breathing on the string) on the open order that the concert artist of ability shall do himself justice in the largest needed for perfect tone production, a few ONLY ONEaSET AT TH1SPRICE. ’ strings and in scales, with full bows, of public halls: those old violin makers whose instruments have shown of the principal elements may be noted. Send for “FIDDLESTRINGS” fre. counting 8, 12, 16, 20 or more to each the greatest increase in price during the last thirty years are those whose Let us enumerate. stroke. l hardly suppress a smile ; products possess the required tonal combination.”—Arthur W. Dykes. of art and life. (Continued on Page 479) viiv.s mention THE ETI'DE. It Identities yon ns one in toueli with JUNE 1928. Page 477 Page 476 JUNE 1928 nlE ETUDE ____*BBjTVDt faster Discs VlOLIH QUESTIOHS Ahswered SUMMER (Continued, from Page 446) By Robert Braine 0f it is unforgettable, particularly as soul seemed to expand as though I were SUMMER eS!ro\vski interprets it. looking from a high point upon a large, c ta in 4 Minor by Faure, Opus 13, new world.” Again the opening of the MASTER Thibaud and Cortot (Victor, th>rd act, the familiar “Ride” given in MASTER playea^oy ^ this set with the voices, is magnificent; SCHOOL SCHOOL June 25 to August 4, 1928 (42nd June 25 to August 4 (Six Weeks) JOSEF LHEVINNE MAURICE " ARONSON World Renowned Piano Virtuoso. Repei VIOLA COLE AUDET OSCAR PROF. LEOPOLD AUER SAENGER vitality the Prelude to his f Internationally Famous Master of the Voice. 0| MOISSAYE BOGUSLAWSKI Repertory Classes. nressive with each re-playing. Sicilian tragedy. Next comes William KtSftGraSrtt HENIOT LEVY "rc’sentin-tlu-m .i..r part of the score. The 5139). This is a revitalization of an old EDWARD COLLINS KURT WANIECK P st includes I , ala I .eider and Florence favorite. A third recording is Don Juan Brilliant pianists and eminent instructors. Repertory and Teacher’s Classei C**—**- G"“(. SiegmundLi“bcrs), Royal StomSoreLm'Philharmonic Orchestra r(Columbia, —- PERCY GRAINGER ADOLF WEIDIG U nion), Howard Fry Nos. 67386-67387), La Vahe, Ravel Well known Authority on Theory and Composition. richard” HAGEMAN KARLETON HACKETT Distinguished vocal instructor and critic. Repertory and Teacher’s Classes victorokuzdomiek 1, judicious cuts, ionic Dance No 1, by Joseph Szigei It is a and realistic pro- lumbia. No. 7144 M), Gumsuckcrs EDUOARD SACERDOTE t, by some Eminent Teacher of Voice. lection of the IL..5TSS*: SLtTiui“STcoUbil, no. tm m. JACQUES GORDON scription of these discs, of which the are ALEXANDER *RAAB Famous violin virtuoso and Concert Master Chicago Symphony Orchestra writer would I i l< e t o say much, he will con- “1 HERBERT BUTLER LEON SAMET1NI Eminent teacher of the violin. Faculty of over one hundred artist teachers HERBERT WITHERSPOON Special Summer Courses: e than 200 Artist Tes Public School Music—O. E. Robinson, Director Dramatic Art, Expression—Walton Pyre, Directo Educational Study Notes FREE FELLOWSHIPS Children’s Musical Training-z.o (Continued from Page 467) School for Theatre Orga It’s June! by Frank VanDusen, Diret Lectures by Eminent Educators, Recitals by TEACHERS’ CERTIFICATES and DEGREES FREE SCHOLARSHIPS i^=s3ss=ssssmsmss^= To> talentedlaiemea anaand aeservingdeserving students awarded afterafti- competitive examinatioi Josef Lhevinne will award one scholarship for private and two for reDer tory--j- cjass. lessons.-—...... Oscar Saenger..eager will award one schohscholarship for private lessons and five scholarships in Opera Class.( STUDENT DORMITORIES Apply for application blank. Superior Dormitory Accommodations. Rates of Tuition Moderate CREDITS S?.11, be gilfen for summer courses taken, toward Certificates Diplomas, Degrees—granted by authority of the State of Illinois’ Summer Session prospectus, 'regular catalog and Public School Music mailed free on application. For detailed information address CHICAGO AMERICAN r« MUSICAL CONSERVATORY COLLEGE OF MUSIC 60 EAST VAN BUREN ST. (2SS Si) Chicago, Ill. 571 KIMBALL HALL iMt-aas siST ?etude JUNE 1928 Page J,79 Page J,7S JUNE : TILE El'UDQ Teachers1 Round Table qA Course in the THIRTY-THIRD ANNUAL « SsstaM MMER SCHOOL- June 25• July 28 Class Method SS™—5'" B3tfS®sK alert is to CEI^gl«As | (Summer ©Session of l! S"“. :y or ■such class work are suggested in* the tllin-v nlinutcS different ss June 18 - August 11, 1928 Teaching each day. One < uy vfduu'i uatcneiior and Charles W. Fan- ;„ilt practice the scales of C D-flat, D take up sUS%CSenasdwililS^es a"d E-flat- thc next day’ E' F'’G'flat ^ Piano for Tinv Tote ” G, and the third day the other four. Features: nny lots. 0ther work will consist of a study, a Concentre in -Pract.ee ASS^f^ggg . I .ltm lit You should always have some new and stmctwc perspnadon stains. =srSi=2:S mmsms keeps the mind fully occupied. evaporation. Finally, I advise you to have some defi- More than a million other men and women also nite object in. view. Make up a short pro- use and endorse NONSPI. It keeps their arm- gram of pieces which you are studying, and fng.They u°se°N SPECIAL NOTICES II AND ANNOUNCEMENTS Ifii SHSfSSF Conservatory of Music .C ,8.n So,. Normal C.I1.8. 0, Mufe ^_ y^,. , U™3atrm„- I t.'SZi'gsz?; DETROIT I M&ieiHl CONSERVATORY Y'0lJR RwESTfr a catal°s OF MUSIC SUMMER MASTER 0 Slmflaoi) (Dm School SCHOOL- (FOUNDED 1 8 95 BY WM. H. SHERWOOD) June 25 to FINE ARTS BUILDING 410 S. MICHIGAN AYE., CHICAGO, ILL. JUNE 1028 Pago 481 THE El jgt ETUDE Page 480 JUNE 1028 Cincinnati (fonseroatorjg Peabodyy UonservatoryCc ITHACA CONSERVATORY RUDOLPH Affiliated with the University of Cincinnati BALTIMORE, MD. OF MUSIC Sixty-second Summer Session OTTO ORTMANN, Director J PUBLIC SCHOOL MUSIC (accr,.,l;, „ W. GRANT EGBERT, Musical Director All Departments Open Courses lading ,o dip:o„uS Recognized as the leading endowed musical conservatory of the country Incorporated with collegiate standing and degree conferring privileges under T"M-Bac Sard of Regents of the University of the State of Hew York Master Class in Voice with JOHN A. HOFFMANN LOUIS MOHI.ER Cincinnati is unique in its summer attractions of Grand Opera season Summer Session JZ“ and Stuart Walker Stock Company (Student rates! Aug. 4th SUMMER MASTER SCHOOL of PIANO Ideal dormitories on ten acre wooded campus Send for Summer Bulletin to Deft. £. Staff of eminent European and American Masters including: under the direction of LEON SAMPAIX, master BERTHA BAUR, President and Director Dept. E., Ave-and Oak St. LOUIS ROBERT PASQUALE TALLARICO Burnet C. Tuthill, General Manager_Cincinnati, onto_ AUSTIN* CON RADI ^ H EA ° LUBOV BREIT KEEFER HOWARD R. THATCHER pianist and pedagogue FRANK GITTELSON MABEL THOMAS iSrasr d. C. VAN HULSTEYN SUMMER MASTER SCHOOL of VIOLIN Qlrfolanb Jnstitutr L/ awrenoe Tuition $20 to $35, according to study under the direction of STEFAN SOPKIN, noted con- GANZFAMOUS PIANIST, TEACHER, and Organs Available cert violinist, pupil of Auer, Ysaye, Carl Flesch. Conserva.toTij of Music uf(Qumr Circulars Mailed FREDERICKr R.rv. HUBER,m Manager oApplcton, Wisconsin COMPOSER AND CONDUCTOR SUMMER SCHOOL, June 20—August 1. Arrangements for classes now being made TEN-WEEK TERM SIX-WEEK TERM Private lessons and individual work in all June 4 - August 10 July 2 - August 10 departments. Master Classes in Piano, A Department of Lawrence College AT THE Violin, Voice, Cello under Arthur Losser, Andre de Ribaupierre, Marcel Salzinger, Summer Normal Classes in Asheville SPECIAL COURSE IN COMPOSITION directed by WALLING- Victor de Gomez Piano, Voice, Violin, Cello, Organ, EORD RTEGGER Mus Doc. Winner Paderewski prize in composition, 1923, DAILY OPERA AND REPERTORY CLASSES for Teachers of Pianoforte, July 4 to 18 C?oMge PrS l92S Personally conducted classes in Harmony, Counterpoint PUBLIC SCHOOL MUSIC Band Instruments, Public School Music, and Keyboard Harmony. Send for catalogue and dormitory rates A course of practical value in modern pedagogical Mrs. Frankivn B. Sanders, Director Thruahwood, methods in Asheville’s inspiring mountain atmosphere.. En- All deoartments of the Conservatory of Music will be in session during the 2827 Euclid Avenue Cleveland, Ohio Public School Art, Dramatic Art. • Miss Laxton's dorsed by Cincinnati Conservatory and many prominent nhove terms All courses completed lead to certificates, diplomas, degrees. CHICAGO Cottage Studio ™u>icians. Write for folder. SixTarge^nd handsome, dormitories. Reservations for either summer or fall Orchestral and Choral Training, in Asheville Kate Morton Laxton Studio, Asheville, N. C. should be made NOW. FALL TERM BEGINS SEPTEMBER 20, 1928 ic Festival, Artist Reciuk The Concentrated Experience of Thirty Years Full details and special catalogue sent on request. Address, Registrar iomstrille Construatorp or (ttus'ic as Specialist in Voice Production MUSICAL is in the FREDERIC A COWLES. DIRECTOR SPECIAL SUMMER COURSE for TEACHERS OF SINGING Offered by MUSIC - ART - DRAMATIC ART COLLEGE degrees CONFERRED Arthur L. Manchester at Asheville, H C„ July 18th to August ISth Charles Tamme Dormitories For Syllabus of the Course, Address Fall and Summer Terms 16 Virginia Avenue Norwood Park, Asheville, N. C. TEACHER OF SINGING FALL TERM OPENS SEPTEMBER 10 MILLIKIN CONSERVATORY OF MUSIC DECATUR, ILLINOIS Address Offers thoro training in music. Courses leading to Special Summer Courses for Teachers and Students Bachelor of Music Degree, Diploma, and Certifi- JOHN L. GRUBER, President Mr. and Mrs. Crosby Adams cate in P!ano Voice, Violin, Organ, Public School 726 Brook Street Louisville, Ky. TWENTY-FIFTH Music Methods and Music Kindergarten Methods. annual summer class 2231 Broadway, New York City Send for Details FREE FELLOWSHIPS Bulletin sent free upon request W. ST. CLARE MINTURN, Director. FOR TEACHERS OF PIANO Mr. Ganz has consented to award the following Free Fellow¬ The Von Unschuld University of Music, Inc. August 1st to the 16th, 1928 ships for the season beginning September 10, 1928, to students The National Capital’s icadin.’ institution in the Higher Musical lUm a,ion. 24th year All branches MONTREAT, NORTH CAROLINA who, after an open competitive examination, are found to possess DANA’S MUSICAL INSTITUTE taught by Artists of wide reputation. Courses leading the greatest gift for playing. Contest first week of September. to Degrees. Piano. Teachers Training Course, Concert WARREN, OHIO CONSERVATORY OF MUSIC Application blank on request. Viennese^ianist' 1 h I aroguVand Author Mme. Marie The Only University of Music in the World von Unschuld. M is. Id. Dormitory. Catalogue. OF SHENANDOAH COLLEGE One Private lesson weekly of 60 minutes each for entire 1638-1650 Columbia Rd., Washington, D. C. ton^ FufTcourics in^aulwanches^f Mu’lk^Vupijs dni of year. All branches taught on the daily lesson plan : : Special Music Supervisors Cours Eastman School Music Catalogue on application lo LYNN B. DANA. Pres. Desk E. . „..o Tuning and Pipe Two Repertoire — Interpretation — Teachers’ Class Atlanta Conservatory of Music Ask fo. Catalogue —OF— weekly of two hours each for entire year. SHENANDOAH COLLEGE : DAYTON, VIRGINIA One Bach Piano Class weekly of one hour each for The University of Rochester entire year. COLLEGE of MUSIC of CINCINNAT Adyiotlges Equal lo Those Fo ADOLF HAHN, DIRECTOR HOWARD HANSON, Director One Chamber Music and Two-Piano Playing Class 0neHof,thet earliest endowed Schools in America Collections Every weekly of two hours each for entire year. _ _ _. _ _ H>gnest Approved Standards Maintained Organist An Endowed School Offering Complete Education in Music Five partial Fellowships of one private lesson weekly of «M.V.?A£,..,r,cOPERA - drama 30 minutes each to five students for entire year. y of C'"cinnaM and St. Xavier Collate Dornutoriee Should Know ii—— H Five Partial Fellowships of two Repertoire—Interpreta¬ tion—Teachers’ Class Weekly to five students, of AMERICAN ORGANIST, Price, $2.00 Courses Leading to Degree Master of Music two hours each, for entire year. Compositions by American composers. DUNNING SYSTEM 0,IXds The numbers are chiefly of intermediate Courses Leading to Degree Bachelor of Music The Demand for Dunning Teachers Cannot be Supplied- Why? difficulty and cover practically allatylee. _ _ NORMAI PI ACCCP i n r-~. MRS- CARRE LOUISE DUNNING, — FOLLOWS: Cloth Bound. Courses Leading to Eastman School Certificate STUDENT DORMITORIES it-. New York City. the ORGAN PLAYER, Price, ^.00 Tiffin, Ohio, S Weeks’ Normal Class One of the best pipe organ collections Organ Accompaniment of Motion Pictures Artistic and sumptuous dormitory accommodations for e Reed Barlow, ‘-t 006 A-. Ft.. Worth, T«j—4313 Vi.,. Terrace, Chic, obtainable. There are very few Church men and women in college building. Piano furnished Asheville, N. C. — --a Normals: ,yna—e . Petersburg;' duly—Atlanta, Ga.; organ music rack, upon which this book Operatic Training for Professional Career with each room. Prices reasonable. ur.eeGrace A.a.■ nryant,Bry; 201 10th Mich., duly : has never been placed. Cloth Bound. Mrs. dean Warren Carrick lli'ild ZZi'£"\,uu,u- ORGAN MELODIES, Price, $1.50 Complete Preparation for Professional Orchestra Dora A. Chase, Carne?ie Hall. New York Citv ^ Tit °reP>“-Norn,.l Claaiea. A compilation of 47 organ numbers. Performance Complete Winter or Summer Catalog on Request Each a gem and of the type an organist n—-ii s.w .. qa.D. ~ Band and Or- should have convenient as they are in this chestra Rehearsals—Chorus. Ac¬ flexible cloth'bound collection. S* . Birins^Tce.Ar^T^'.'t^ TL' 7 ! credited in N. Y„ Pa. and other THE STANDARD ORGANIST, Price, 7Sc EARLY REGISTRATION for Fall Term REQUIRED states. Summer School Session JULY" 15 LATEST DATE for receiving credentials Address: CARL D. KINSEY, Manager H.M”'BE,tnb'M.cD'omld-lM34 D.teoitT'’' ,“!lc’ Un,i"L Mich. begins June 4th and July 2nd. An organ collection that is something Catalog. else besides low in price. Contains 43 Dormitories for Women 0 East Van Buren St. CHICAGO, ILL. Mrs. I^te'De’l/Marden^Ol’N^lOth^St^Por^anS^Ore^ on^an^' 0hi,,i 6010 Belm°n' ^ all of good character and wide ITHACA INSTITUTION • PUBLIC SCHOOL ^ MUSIC M ’-_301 DeWitt Park. Ithaca. N. Y. JUNE 1928 Page 488: 0E ETUDE Phrases from a ‘Pianos In military style. Grade 1. YOUTHFUL HERO MARCH Tempo di Marcia m.m.J = 108 ^ ^ WALTER ROLFE rTv L - m I l 5- -- 4- 1 3^2 basso marcato British Copyright secured Copyright 1923 by Theodore PreeeerCo. FLYING ALONG Exemplifying “double notes?’ Grade 2£ CYRUS S. MALLARD Moderato M.M.J-126 strong and weak accents. ' Ludwig van Beethoven. A triad consisting of a major or minor third and a perfect fifth from the root (funda¬ mental tone). in' ?arnue* Coleridge-Taylor. tU. Length, pitch, power and quality. WATCH FOR THESE TESTS OF You*. OF KNOWLEDGE, APPEARING IN EACH ISSUE OF ‘the ETUDE MUSIC MAGAZINE.”. British Copyright secured JS I-tSSW"s« Copyright 1927 by Theodore Presser Co. ,,-q Other Music Sections in this issue on pages 427, 451, 45« Page 488 TES STUPS jgS STUDS JUNS 1928 Page 489 JOHN PAUL JONES Grade 2| MARCH OP THE ACOLYTES THE REVOLUTIONARY WAR DOROTHY GAYNOR BLAKE John Paul Jones was a Captain and a He hunted out the foe in foreign waters Sailor of the Sea. Doing all the mischief he could do! John Paul Jones helped to make this country John Paul Jones was a terror to our Free for you and me. Old time enemy, His vessel was the Bonhomme Richard and But to us he was loyal and a He manned it with a gallant loyal crew. Hero of the sea. Dorothy Cray nor Blake a March tempo 1 % * a rl-fp — * f f f 1 T Fine i—It 4 S 4 4 * i ' 1 5 Copyright 1925 by Theodore Preeser Co. . , . THE WILD HORSEMAN British Copyright secured C ,„C ««.6r.d« a. WILDER REITER Allegro con brio M.M. «Uii6 R. SCHUMANN, Op. 68, N9 8 0E ETUDE JUNE 1928 Page 491 Page 490 JUMP 1928 tseptule GLIDING ALONG hew YORK SCHOOL OF MUSIC AND ARTS CANOE SONG H. D. HEWITT 26th YEAR Ideal2TwrstC86ThPSttene7nCe Ralfe Leech Sterner, Director An attractive rJby thmic study, in tie style of a mazurka. Grade 2& SIX WEEKS SUMMER COURSES for Teachers and Professionals, also Beginners and Advanced students Moderato m. m. J=i26 Starting May 15 pupils may enter any day Rates: $250 and $300 (accordl' 'J! lMSOnd wh‘ch mdude board and r°°m’ tult,°n’ r-g- CELEBRATED FACULTY INCLUDING Arthur Friedheim Ralfe Leech Sterner Eddy Brown Aloys Kremer Frank Stewart Adams Leila Yale One of the world's grratertjUmsts.^ ^ The wdl-know^voice P„-. "Teacher ——• and “"•**Pianist. Motion Picture Organ. Teacher of Public School Organist otof Capitot.ap Theatre. MusicCity in our Schools. New York «J Uil ^afplay wofksrflfl mS. " “ciyrSal Frederick Riesberg rrf f. ijranz Helen Carmichael Robertson / f Liszt, Xaver Scharwenka and Carl Reiner t Paul Stoeving Pianist, Composer and Lecturer. The eminent violin artist, teacher, scholar Alice Davis Alexander Pero AND MANY OTHERS and author. Accompanying, Organ and Harp. Han -l-—5-8-—5-3--f- Free and Partial Free Scholarships Open for Competition in these Courses Our I re Faculty will Remain in New York City and Teach all Summer. [2- -^—i \ Jrtne 5^ \4 3 4 , C \ ^ a N4 1 -Ji 2 V fenHh •4 VIRGIL SCHOOL OF MUSIC COMBS CONSERVATORY Founded by the late A. K. VIRGIL PHILADELPHIA (Originator of the Virgil Method, Inventor of the Virgil Practice Clavier, FORTY-THIRD YEAR ™ • 1 /■'i - _ For Teachers, Players and Earnest A School of Individual Instruction for the Beginner, Special Courses Students of All Grades Ambitious Amateur, and the Professional “ F„, all particulars address: THE A. K. VIRGIL CLAVIER CO., or MRS. A. K. VIRGIL, Director No Entrance Requirements except for Certificate, Diploma and Degree Courses Four-year Courses in Piano, Voice, Violin, Organ, Degrees conferred. Daily reports keep the Director Phone Trafalgar 9349 411 WEST END AVENUE Theory and Public School Music..leading to Degrees. personally informed of your progress—Daily Super- Phone s NQ OTHER ADDRESS NEW YORK irses including supervised prac- _ Two a from elementary to the highest *«?>»’• Symphony Orchestras o hestra and Band Instruments. privilege ot orchestra routine ana is u j-p- Dormitories for Women r *| The American Institute of Applied Music (The Only Conseroatory In the State with Dormitories for Women) ghtful, home-like surroundings in a musicaUindJnspirational atmospher Metropolitan College of Music In addition 212 West Fifty-ninth Street, New York City Katb S. Chittenden, Dean Daily Supervisi t'ice an^'Sy Oassesln Technic.^ n° ° ‘n ^ rit. - - ^ SUMMER SESSION BEGINS JULY SECOND A School of Inspiration Enthut i. Loyalty and Success Illustrated Year Book Free Piano, Theory, Normal Training Courses =■* f —1-1 ri~- 1 1 : -+-■ M=-[-- = |> ■ £ ♦ [ 1 EE Office9, Dormitor\ 3 ' - Catalogue on Request Ethel McIntosh, Managing Director GILBERT RAYNOLDS COMBS, Director TEMPLE UNIVERSITY INSTITUTE OF MUSICAL ART * School of Music — GRANBERRY 1521 LOCUST ST. PHILADELPHIA, PA. of the . Thaddeus Rich, Mus.Doc., Deanj PIANO SCHOOL JUILLIARD SCHOOL OF MUSIC E. F. Ulrich, Associate Dear, 149East 61st St., New York, N. Y. HIGHEST STANDARDS of MUSICAL INSTRUCTION 120 Claremont Ave. New York City For PIANISTS, FRANK DAMROSCH, Dean ACCOMPANISTS and TEACHERS A school for serious students. All branches. Moderate tuition fees. Sight-Touch-Hearing-System SenJfor booklet. SPECIAL ANNOUNCEMENT fotambem will continue to direct the University ,f Georgia Sumner S.bool of Music, June 25th to August 4th, ithens, Ixa. All talented advanced violin students will come under the personal TRAINING FOR OPERA Copyright 1928 by Theodore Presser Co. * Prom here go back to and play to then go observation and instruction of A B; British Copyright secured ITcilENT^EtTrATS—tirrOKTCNITY El back to the beginning and play to Fine. ^Teachers’ Normal Session, July 5to 28, 1928 PROF. LEOPOLD AUER PRINCIPLE PEDAGOGY, A “first” violin piece. On three teach the BEGINNER to “open strings”. The piano part is complete in itself. Grade 1. THE HAPPY DANCERS FREDERIC A. FRANKLIN MRS. BABCOCK Rather fast Zeckwer-Hahn Fine /"OFFERS Teaching Positions, Col- W leges. Conservatories, Schools. Philadelphia Musical Academy Violin Also Church and Concert Engagements ards of Musical Ins true tioi The Courtright CARNEGIE HALL, NEW YORK System of Musical Kindergarten Mr..Lillian Courtright Card, 11 CONWAY Summer Piano Term SAMUEL WILENSKI, Pianist-Teacher :e Symphony Oroheitra. Large Bl June-July Offers Special Summer Courses in Piano and Harmony for Advanced Pianists for II. Six Weeks, Beginning July 6. One Free Scholarship, —mjss QUINJi D.C. JOHN M. > > WILLIAMS -' _ NORMAL CLASSES FOR TEACHERS OF PIANOFORTE 9 EH • r.„r,re( . i tr. lulv 13 i„ NEW YORK CITY from July 16 to July 27 > > in CHICAGO from July ^ w (Guild Hall, Steinway Building, 113 W. 57th Street) >> i City Club, 360 N. Michigan Avenue) nent of John M. Williams, P. O. Box 216 Trinity Station, New York City_ For detailed information apply tc British Copyright secured ention THE ETUDE. It I Page Trip nrirnn THE etude JUNE 1928 Page 493 On Our Street Studies in Musicianship Tunes for Little Folks Soldiers of Christ E Plano Pieces for Beginners Twelve t Select Studies for the Pianoforte i For the Pianoforte Sacred Cantata y Allene K. Bixby Stephen Heller By M. L. Preston By Philip Greely Attractive material for piano beginners Publisher’s Monthly L£tt In Pour Books In first grade teaching the introduction This is a short and brilliant church can¬ • ]ways in great demand as teachers of Edited by Isidor Philipp tata, not difficult to sing but very im¬ is a„riA.iee realize the importance of hav- of little recreation pieces with pleasing The tremendous success of the Selected melodies is almost always advisable, oft pressive. It is suitable for a performance A Bulletin of Interest for All Music Lovers —v 1 ^ fXI> good variety constantly on hand, at any special musical service at any t ime '"f ‘ :s6a work, based on some novel and Czerny Studies,<, edited by Emil Liebline,Liebling, times quite necessary. That teachers real- 1 demand for a similar series me this is proved by tlie fact that tlie de- in tlie year. It introduces very effectively ■ teresting ideas, that we believe will in the climax, “Onward, Christian Sol¬ eet with much favor. It consists of from the works of Stephen Heller. Tlie mand for tills material exceeds the sup- contributions of these two prolific writers plv. This may also be occasioned soine- diers.” We can recommend this number ® very easy numbers in characteristic to any organist or choirmaster as a nov¬ tW-n each of which is introduced by ex¬ to the literature of pianoforte educational "’hat because not every composer can material are of much value, as every ex- write attractive first grade music. Mrs. elty for any special performance. This planatory text as to its use, written in perienced teacher knows, but not all of Preston, however, has proved her ability work will come off the press during the leasing conversational style, sure to at- coming summer, in plenty of time for early Home Music Study Through Wt the student's attention. Each num¬ their studies are of equal value, and to had this book will contain many of her Order Music Early for select from the Heller works those studies recent successes. Tlie pieces start out in fall rehearsals. Summer Reading ber serves to assist in mastering some par¬ Tlie special introductory price in ad¬ Summer or Fall Work most suitable for modern needs the Theo- the five-finger position and build up to a ticular point in elementary technic but it dnre Presser Co. engaged the services of point where the pupil plays melodies with vance of publication is 20 cents per copy, Perhaps you have longed to go to a is all presented so cleverly that the pupil postpaid. Music Summer School; a Master Class, in At least 90 per cent, of the 400 members of the Theodore Presser Co. Just now when the major activities of M. Philipp, Professor of Pianoforte at the simple harmonies and accompaniments. most music teachers are drawing to a close cannot help but “take to it.” In advance Paris Conservatory, the foremost living The book may be used as a supplement to, New York, Chicago, Philadelphia, Los organization of today, many times in years past heard the founder of this of publication teachers may place orders and there is before one the pleasing pros¬ pupil of Heller. In making this selection or in connection with, any instruction The Shepherd Angeles, San Francisco, Kansas City, or business urge that every effort he put forth at all times to give music far this book at the special low price of perhaps London, Paris or Vienna. Funds teachers immediate, accurate and helpful service. Our founder urged this, pect of from two to three months of re¬ M. Philipp has not confined himself to hook. The advance of publication cash Musical Play for Children laxation, it is altogether natural and al¬ 30 cents a copy, postpaid. the popular Opus numbers, 45-46-47, but price is 35 cents a copy, postpaid, were lacking. That is no excuse for wast¬ because he had been a music teacher and knew how much it meant to be able By Mathilde Bllbro ing the summer; there are scores of books most excusable to ignore the question of also has brought to light many excellent to get the right kind of material and to get it in time for the lessons for Most of our piano teacher patrons are that almost seem to have been made just which it was needed. preparedness for another season’s work studies, hitherto little known in this coun- PaRT SONGS FOR SOPRANO, AlTO Yet, of course, every teacher does take Album of Gross'Hand Pieces familiar with this composer’s remarkable to help you get ahead. 1 lore is a list made This sympathy for the music teachers’ needs still pervades our organiza¬ try. To mention that this forthcoming rj 1 „ thought for the morrow and certainly no For the Pianoforte edition will be carefully arranged and AND DASS VOICES gift of melody and her facility in pro¬ by our expert hook man who knows what tion, because, in addition to the spirit of service imbued by the founder, the serious educator enters the summer vaca¬ This new volume is very nearly ready fingered seems almost superfluous and we The teacher in Junior High School, and ducing tuneful music that presents prac¬ ' live been buying for this pur- present President of our company, as well as many other members of our po tion without thinking of the responsibili¬ but tbe special introductory offer will be are sure that every teacher who subscribes sometimes even in the upper Grammar tically no technical difficulties. Her recent staff, have had practical and successful experience in the profession of music ties and opportunities associated with the continued during Die current month. Tbe to any or all tlie volumes in this series in Grades, who has brought the class past set of first grade pieces, “Priscilla’s Home teaching. The practical use of teaching experiences at our command is felt beginning of another year’s endeavors. playing of cross-hand pieces is of great advance- of publication, will be more than the elementary stages of unison and two- Week,” is a genuine “hit.” Here she offers Ilmsowman. , K. M. Mas r Lea: not only in our service, but is reflected in the many successful educational The music teacher in particular, ought benefit in tlie securing of freedom in satisfied when the copies of the first edition part song, has much occasion to use' num- a new departure, a most interesting little Pianoforte Playing. Letters materials we publish. to leave nothing undone that might make pianoforte playing. It brings about a cer¬ are delivered. These now may be obtained bers sucli as these. Especially is this thc play for juveniles, in three acts, but re¬ from a Musician to his Nephew. $1.50 Teachers need only ask us to send for examination our suggestions as for success at the beginning of the next tain desirable knowledge of what may be at tlie special introductory price of 60 case where there are larger boys in the quiring only about an hour and a half Brandt, Mrs. Noah. Science in Mod¬ to teaching material in any grade or for any specific purpose, to decide the season's teaching period. Many years of termed “keyboard geography.” This is cents a copy for each volume, or $2.40 for class. These boys present a real problem, for production. The libretto is based upon ern Pianoforte Playing. 1.00 Value of what sympathy for the teachers’ needs really means. close contact with the activities of the one of tlie" strong features of modern all four volumes. for. the teacher : ' ' ' two of ,7-'.sop’s Fables and the music is in Brower, Harriette. What to Play - ■ music teaching profession have made us piano work. Our new volume begins at Miss Bilbro’s best vein. There are many What to Teach. 2.00 familiar with the fact that an enormously about the third grade and progresses within their vocal range. opportunities for the introduction of Christian!, A. F. Principles of ex¬ large number of teachers, whatever else gradually. All of the pieces are ex¬ Little Study Pieces in the Therefore, the numbers selected for this dances, but these, of course, are optional, and we heartily recommend this play to pression in Pianoforte Playing.. 2.50 they may do to perfection, do not make tremely interesting and melodious. They Classic Forms hook are largely those where the Bass car¬ Cooke, Janies Francis. Great Pian¬ any move toward getting their music sup¬ are chiefly by modern und contemporary ries tlie melody, the upper voices serving tlie attention of everyone who has anything By Fannie Reed Hammond to do with children’s classes or clubs. The ists on Piano Playing. 2.25 Advance of Publication Offers—June, 1928 plies in hand until the music class is act¬ mainly to fill in the harmonies, or to work Great Men and Famous Musi¬ ually waiting for studio material. Then The special introductory price in ad¬ The composer, like every experienced independently, as the ease may be. play is not difficult or expensive to pro¬ cians on the Art of Music. 2.25 Paragraphs on These Forthcoming Publications will be found under These Notes. there are rush orders, telegrams and all vance of publication is 30 ce'nts per copy, teacher, realizes thc vital importance of We have exceptional facilities for se¬ duce. A sample copy may he obtained at Hofmann, Josef. Piano Playing These Works are in the course of Preparation and Ordered Copies will be sorts of excitement which would not be so postpaid. tlie classics in tlie education of the pianist. lecting this material and have no doubt the advance of publication price, 35 cents, with Piano Questions An¬ delivered when ready had if they were only a few, hut there are To serve as an introduction to the mas¬ that this book will meet with the approval postpaid. swered . 2.00 crowds of them, all wishing to he waited ters’ inspired, works, she has written this of teachers and supervisors. Llievinne, Josef. Basic Principles of Gross-Hand Pieces—Piano.30c. On Our Street—Piano—Bixbi ,30c. upon at once. Every year we try to rem- Stories to Sing to interesting book of easy pieces in thc In advance of publication this book may in Pianoforte Playing.60 it Orchestra Folio—Parts, Each... 15c. Part Songs for Soprano, Al 1 edy this condition by making it worth classic forms, each accompanied by a de- be^ ordered at the. special price, 30 cents a Advance of Publication Same—Piano Accompaniment.30c. Voices . An Easy, Kiteittvf. and Interesting McArthur, Alex. Pianoforte Study. while for teachers to place their music seription of the form. This is a work with copy, postpaid, Offers W ithdrawn Hints on Piano Playing... 1.50 ..35c. Piano Volunta supply orders with us so earlv that the Method of Developing the Sense of which every teacher should be familiar The following works have been deliv¬ Perry, Edward B. Descriptive An¬ goods may be delivered without fail just Pitch in Young Children and an opportunity to become acquainted Concert Orchestra Folio ered to us by the printers and binders and alyses of Piano Works. 2.00 a little in advance of the time when'the By Gladys Taylor with its merits at small cost is offered by Stories of Standard Teaching music will be needed. the special advance of publication cash Our last Orchestra book was known as are now placed on the market at the Every teacher who has had experience prices mentioned. Any of them may be Pieces . 2.00 It is nil very simple and a very large price, 35 cents a copy, postpaid. tlie Senior Orchestra Book. The new col¬ with tiny tots knows that the most effec¬ had for examination subject to the usual Silber, Sidney. Reflections for Mu¬ number of teachers take advantage of our lection, now in preparation, is along simi¬ sic Students. 1.00 tive means of securing and holding their professional discounts. offer to save the customer one-half of the attention, and impressing facts upon their lar lines but slightly more advanced. Tlie Wilkinson, Chas. W. Well-Known pieces are chiefly of brilliant character Keyboard Adventures, by A. Louis transportation charges on all orders of minds, is by “telling a story.” Here are Eclectic Piano Studies Piano Solos and How to Plav suitable for concert or exhibition purposes, Scarinolin. A unique volume for early this kind received before August 1 pro¬ two glories in which tlie class joins, The, mpiled by Louis G. Heij 2.00 - ‘ . 1 out aiat theme same timenine theynicy arearc notuul toolow dif-un- second grade piano work with young n.35c vided tlie order mentions this Offer. This, Rainbow Cat and Ding Vang, each de¬ Hambourg, Mark. How to Play the There is always a place for a book ot flcu,t to be handled by the average good children. The little “adventures” are of course, refers to a supply of teaching signed to present to the youngsters in a material for piano, voice, violin or organ. this kind in the piano teacher s library, ,imateur, The instrumentation is the same never made to appear like tasks and the Brower, Harriette. Self-Help in most attractive manner different degrees It is understood that such an order wili and those who have used Mr. Heinzes as ;n our other orchestra books. It is for student is always encouraged to further Piano Study . of pitch. Teachers of ' Kindergarten previously published compilations ot se- practica]ly a full orchestra with the ad¬ Greene, Harry Plunkett. Interpre¬ I>e charged On Sale without obligation to practice. Price, 60 cents. A Night in Palestine classes will greatly appreciate this book. jected piano studies will surely want to djti0n of extra violin parts, a.third cornet tation in Song . make returns or settlement until the close The advance of publication cash price Piano Dialogs, by Helen L. Cramm. include this work. While the titles of his an(, alto and tenor saxophones. The or- Little four-hand numbers for two juvenile Lindo, Algernon H. Pedalling in Jones, Dora Duty. The Technique of the usual teaching season in 1929. A fbr a copy is 20 cents, postpaid. of Speech. ; teacher may send us a letter outlining carlier works are somewhat descriptive ot c]iesbrfltions are so arranged that they can performers in which each is given some¬ Pianoforte Music .. 5.25 By Jacob Weinberg the contents. The Piano Beginner and The j)e piayed with almost any combination of Hamilton, Clarence G. Piano Music, Emil-Behnke, Kate. Singers’ Diffi¬ This is the composition that won first whatSal„ is needed, or may- . use one of our On thing to do. They may be used as teacher Sale order forms such as will be sent Progressing Piano Player, it may be well ;nstruments provided the first violin and and pupil duets but they are primarily in¬ Its Composers and Characteris- culties. How to Overcome Them : 2.00 Pnze for opera at the Sesqui-Centennial nromnHv L ’u T’ Piano Voluntaries to explain that this new book is intended piano parts be used as a foundation. All tended to furnish first work in ensemble Rogers, Clara Kathleen. Your Voice Exposition in Philadelphia. It is the P ^J?,tly on aPPbcation. for students about to enter third grade <)m, orchestra books have been wonder¬ and You. What a remarkable response there is to playing. Price, 75 cents. .75 work of an inspired writer who, educated „ ,Ie welcorae °n Sale orders all the announcement of something new in work. . . fully successful. This new one is likely Taylor, David Clark. The Psychol¬ in tlie celebrated schools of Russia, later , i round we are particularly glad to Twenty-Five Primary Pieces for the publications of this nature! Even the While Eclectic Piano Studies is being t() prpVe one of the best of au ogy of Singing. 2 00 founded tlie first musical conservatory in 3S "lany as Possi,)le during tlie sum- prepared for publication the price at While the Concert Orchestra Folio is Pianoforte, by N. Louise Wright. A book larger churches that have excellent pipe of easy little numbers that might readily Palestine and so became well acquainted Per,,mj>nths’ at ,which time they can be organs use the piano for some services •hich copies may be ordered is 35 cents, preparationr__r_ : booking orders for with the spirit of the people working there andled so mueIi more efficiently than be used to follow the author’s most suc¬ Home History Study and, of course, for tlie Sunday School and postpaid. copies deliverable when published at the The Second Year at the Piano cessful Very First Pieces Played on the Cooke, James Francis. Standard The publisher of a work of this nature school TL?™ necessaril>’ so r»shed after Lodge pianist a book of sacred piano num¬ special low advance of publication price History of Music. 1.50 By Johjt M. Ilhams Can hardly hope for material reward but SCh°0' b<*lns' Keyboard. Price, 75 cents. bers is indispensable. Our Sunday Piano Concertinos No. 1 and No. of 15 cents per copy for the various parts Music Masters Old and New. ] 25 The verv ,.„r,,„,.L. m „ as a valuable Contribution to art we be- Music, $1.00; Reverie, Album, $1.00, and and 30 cents for the piano accompaniment. Moods from Nature, Four Sketches for Matthews, W. S. B. The Masters eery remarkable success of Mr. heve this exceptional work should be Violin and Piano the Pianoforte by Gordon Balch Nevin. Williams hirst Year at the. Piano has made available to the public. Therefore New Musict, for Summer Tranquil Honrs. $1.25, have all enjoyed and Their Music . 2 00 immense sales and now we find hundreds By F. Seitz An art volume of artistic compositions by brought about an insistent demand for a "'e have undertaken the publication of TEACHING Preparatory Exercises in a celebrated composer. The pieces are in of orders pouring in for this book at the After the violin pupil has been study¬ &S ifTL^^ 0f225 -onTvo=.second volume w;"h:;;We have now in prepara- thc opera upon a subscription basis, guar- Music teachers who continue their work Double Stopping for modern style but the composer never loses Lon Mr. Williams Second Year at the anteemg the first edition. ’ P during the summer mOTths are eur" Pre-publication price, 50 cents a copy. ing for some time, it becomes necessary Great Composers . This volume will contain a number of ex¬ sight of the fact that melody is essen¬ Piano, which will prove a worthy successor . To those °[. our patrons who are desir- "ivited to avail themselves of our plan for him to take up the larger forms of the Violin Morse, Constance. Music and Music cellent Voluntaries, such as Preludes, tial. This book should be in every good Makers . to the first volume. This new work carries lous ,of assisting m the publication of a to send On Sale a small assortment musical composition, such as the r0™ccr'"' By q. Sevchc—Opus-9 l ostludes and Offertories, and will prove annata etc As an introduction to this pianist’s library. Price, $1.25. Bauer and Peyser. How Music the student right along through most in- SZnffylto °Lb? 'h'' fare°fferinff the 0lbo»' a dozen pieces) each month from larger’musical form, no better material The Opus 9 studies by Sevc.k are some teresting material. This material most serviceable to anyone ever having terestmg material. This ..11 PP J to subscribe for this opera at Jane to August. Music of all grades for can be found than these two concertinos of the most widely used of the many ex- tne rate ot $5.00 for first edition copies, Plan° o- —-1 -■ ■ ■ ...... occasion to play for religious services. Stock up on Summer Reading Parry, C. Hubert. The Evolution fresh and...... muc. much 01of it is original. There is each of whieiTwiliT TV CU‘Y011 copies, or vocal music, or both, will he bv Frederick Seitz which we are about to rel ent studies by this master technician of the Art of Music. dry number in the book. Ample compZ^ZNim nrwn .■ aub^ra-1--—Pbed A.... tlie.... supplied... .. under . our..UI liberalmierai Onun Salesale plan at Money Saving Prices s sunnl pH ..,1 _lcomposer,°inposer, orc $10.00 for the DeLnve subject to _ ..., * add to the Presser Collection, the Con- of the violin. For that reason we have se- Bekker, Paul. The Story of Music. pplied for the second year of . leather1" D^'“e Edb ifcl to tbe return of unused copies eertino No 1 in D, opus 15, and the Con- lected lit as a very important and valuable The inside back cover of this number study. “ n m (fold. when thc summer’s work is finished or, by cert no «o. , f Tbese com- add tion to our steadily growing Presser shows every desired magazine clubbed Tlie special introductory price eertmo No 2 m G,ColUction, This work is a very effective Home Voice Study 4. ss p.n=s,rs,,!‘jsss. r. with The Etude. Any member of the vanee of publication is 50' An excellent hook to introduce to yoi Students’ Concertos. The No. 2 Concerto method for securing that much sought family will find the magazine wanted Cooke, James Francis. Great Sing¬ postpaid. students after the rudiments have been will be sent to anyone interested. may be Played all in First Position, while after asset m violin playing-absolute pur- clubbed with The Etude at a substantial ers on the Art of Singing. 2.25 Just a postal card request saving 0 Plained. It starts with Middle C 1 Z No 1 Concerto is chiefly in the Third ity of tone in double stopping. Many of reduction. Place your orders quickly to Tetrazzini, Luisa. How to Sing.. . . 2.00 Summer New Music” is w.-nteA will f Rradually enters both clefs. The lii ter ai Position When well played they make the studies of Sevc.k have become almost insure prompt delivery. Buzzi-Peccia, A. How to Succeed Pr°Sress nicely bringing in r verv attractive and showy numbers for indispensable and these Studies m Vou- in Singing . 1.50 rnythms and notes. All are quite attr yirfyot,,dpnf Recital The editing of these hie Stopping surely belong to that group, Myer, Edmund J. A Revelation to ive and will serve, not only to hold the Student Recital ine B same The editing will be done by Otto Meyer. Changes of Address the Vocal World. 60 A Correction P pu s attention but to stimulate a 1 tW° falmPnnner which Las been a feature who has edited a number of the other well- Those who desire The Etude sent to Proschowsky, Frantz. Beginner’s Culture is ci study of perfection 99 11 ,resJ: 'n study. Another feature, ■ of^the^recemt 'additions to the Presser known Sevcik works published in the summer addresses will kindly notify us Voice Book . 3 00 p„"PflrOU?b a clerical error the price of at always appeals to tiny tots, is ” jj Presser Collection. immediately, giving both the old and new —Matthew Arnold Wronski, Thaddeus. The Singer and eginners Book for the Saxophone by les of pen drawings illustrating The special introductory price for either The special introductory price in ad- addresses. We should have at least four His Art . 300 Henton les and texts of the various pieces. r Concerto is 35 cents per copy or 60 cents vanee of publication is 35 cents a copy, weeks’ notice in advance of a change to >ssue as $1.00. The correct price an« of publication price is 30 cent prevent copies going astray. is $1.25. c°l>y, postpaid. for both, postpaid. postpaid. Advertisement THE ETUDE Page m JUNE 1928 THE ETUDE JUNE : Musical Education in the Home A Chance to Get Acquainted (Continued from Page 423) SUMMY’S CORNER Simple Scale Drill with the VERY BEST NEW MUSIC is afforded by the Theodore Presser Co.’s offer to send for examina^ tion any of the compositions in this list of interesting recent publications, presenting the inspirations of the sSi! foremost contemporary American and European com-' posers. Music Teachers especially are invited to avail vast s themselves of this privilege as an excellent means of keep-" ing their supply of teaching material fresh and up'tO'date. ^J&Srfronr the world. PI_ANQ SOLOS Cat. No. Gr. Pr. THREE LITTLE SKETCHES .030 KMRAS:.H:.H-.4A-$0.50 ByMGARdrePfLDI 24115 . 3* ,0 CONSTRUCTIVE HARMONY AND IMPROVISATION 24111 » «S (FNRotNCIS This has'been gWen h,^addition to attack muscles^ofTer handfand^rmfespedaHy "" : 2 L.USkd?EN,S. , .» sjsj&ai - - as S",‘ de’Saion) To 1 vmjl 24003 3 .50 ELEMENTS OF HARMONY 1 . n the She is still very young. If she plays the 24058 ?r»fmDeAfva.se). 4 TJ°iSS£f. thes^cwnposiUons" with -5 S&bTSfS £ the teacher has done her part. I do not years. Your duty now should be to see ■>*» KSTIfuS™"! CLAYTON F. SUMMY CO., Publishers PIANO DUETS BEETHOVEN, L. VAN PIPE ORGAN KLIR1MANSFIELD3 • ZSSSSF: .ERNEST ?• striking results are exhibited in the play- it is o{ten a successful spur to lagging songs ing of children, it is found that the work interest. Bui let me urge that you do not continued -cries" oMessons and with no sonUnpItience^remembwing the motto of as WEST a “shopping about” from one studio to Adelina Patti, “He who goes slow, goes another. sure, and he who goes sure, goes far.” ».«**»*nii i World of Music - W“L~ m Page 421) T3he Counting Bugbear ANTHEMS By Hazel- Hawkins-Davidson The child, instinctively, it seems, thinks signature, %, % % %, %. Have the pupil an eighth note, a higher figure, must surely fill each measure with the correct number be larger than a quarter note. An apple of these groups. The second phrase starts cut into parts illustrates time values very with the same unit as the first: 24014 Memories'of Schubert.. 2 .35 ssm■ ■ ” is« to -understandM time from the start! It KRENTZLIN. RICHARD is well to start the drill with four-quarter SB BTctSi'KStaiS :iS SHSS® EB New Musical Works Reviewed The Effects of Music » «F£S ■S3 oWf02S“SeP5at1' time 5ng'a“n!ed1Wai,S »«. s.rsrM.ssoN w more “ulequate^’Sn „ thafarepeJttnSt?1 This *Well done!” This ™il1 not ^htly said^ for the more we are able we have to do the more we see there is to be done. And when we think of it, what, a wise dispensation of Providence this is. Never be conceited; on THEODORE PRESSER CO. chesS st. PHILA., PA. what constitutes expres- account belittle the gifts you have been endowed with; that is insincerity lepend on pitch and h™w in one. of its most offensive aspects, and is nothing more or less than an « insult 1" ^e Creator.” e C. Porter, Organist of Lichfield Cathedral. THE etude Page 496 JUNE 1928 Your Favorite Magazines Are Here Combined with The ETUDE At Special Money-Saving Prices Take advantage of this unusual opportunity to order your favorite magazines, including THE ETUDE, at LAY STRONG FOUNDATIONS NOW FOR actual savings of 10% to 25%. YOUR MUSICAL SUCCESS NEXT FALL Don’t delay! Order your Summer Reading NOW!! mIcadlI-s us' ':'. ‘.^oo | In c_All "Professions and fallings the Readers "Plan the Future Months e_Ahead ^DAVrH%CMEMACGC^AN Ei0N'.'.^ $2.75 JMusic "Play for Every Day First Folk Songs for Violin AH WOMAN’S H0M E COM PAN ION * * 100 $3.35 Save 65c ;L”IH Both . ETUDE MUSIC MAGAZINE.. ...$2.00') Both MODERN PRISCILLA . -Jf? $3.25 Regular price. . ..$4.00j Save 75c ETUDE MUSIC MAGAZINE...... $2.00 All MODERN PRISCILLA . ... 2.00 \ $3.85 Regular price. Save $1.15 ETUDE MUSIC MAGAZINE... Both YOUTH’S COMPANION .. $3.50 Regular pr'ce. Save 50c ETUDE MUSIC MAGAZINE. .. ..$2.00 T I All YOUTH’S COMPANION . ... 2.00 $4.25 ..$5.00 J Save 75c ETUDE MUSIC MAGAZINE. .. Both FARM AND'FIRESIDE.'.' •• -25 i $2.10 Regular price.$2.25 J Save 15c PRICES DO NOT INCLUDE CANADIAN OR FOREIGN POSTAGE .. _ ...LADIES HOME JOURNAL or 1 year.SATURDAY EVENING POST ( v ictfo ADD ir 3 years.COUNTRY GENTLEMAN I U131E.U Send Orders With Remittance Direct to tohe ETUDE MUSIC MAGAZINE, Write to us for prices on a magazines not listed. 1712 CHESTNUT ST., PHILA., PA. SOUND PLANS AND HARD WORK IN JUNE AND JULY MAKE SUCCESS CERTAIN IN SEPTEMBER AND OCTOBER cWhat Worlds She’ll uer. 1 OUR little girl . . . for her you the opportunity to develop this inborn desire through the have dreamed and planned as you piano, the natural, logical musical instrument. watched her unfoldY, ' you are giving every op- Of all the accomplishments that enhance the loveliness portunity that lies in your power to give. of womanhood the ability to play the piano is perhaps the In every child . . . boy or girl . . there runs an in¬ finest. Give your daughter the means stinctive urge to musical self-expression. Give your child plishment. What worlds she’ll A GOOD PIANO, like every other product of Write For These Wonderful quality, is subject to the inroads of time and use. Proper tuning two to three times a year will Twelve Look-and-Play Piano prolong the musical life of your piano. If your Young People: The simplest piano piano is too old, you should consider exchang¬ book ever published. Makes learning ing it for a new instrument. Don’t expect your piano amazingly easy. Send 50c. child to get the most out of music on an antiquated piano. Everybody’s Look-and-Play PianoBook: For FREE to Parents Who Have No Piano in Their those who can’t play, but wish they could. Home: A four-octave keyboard on heavy paper. Anybody can play the piano with this book. A wonderful help to beginners. 50c postpaid. National Piano Manufacturers Association 247 Park Avenue New York City THE BASIC MUSICAL PIANO INSTRUMENT ’ »“ -- , ing. These may be classified under various ..ind interpret Appeal may meanwhile be made to the When my fourth finger strikes, the assistance is needed. By dividing such a discovering things, if only results are ade- presented m waJ's which appeal to them. !*enT,"®mf_‘b.c,r own and ,nt^ headings, such as exercises for contracting child’s imagination, in order to give more middle finger jerks above and them. For instance, a little piece called towards it. Thus the fourth finger class into two groups, the first, third and quate from their standpoint. They are or expanding the fingers, exercises for le¬ picturesqueness to this routine work Let Hopping, Skipping, essentially a technical ’— --- '— any individuality at low the first line of the permanent fifth rows constituting “Group 1,” and the much interested to learn that mistakes gato or those for staccato. They may also him, for instance, think of a bell pealing, all but _ _s though it v- - Physical Motion before Emotion study for acquiring facility in playing kind of push button “of the third base staff is, therefore, an F space, second, fourth and sixth rows constituting are avoided by thinking before acting. be supplemented from time to time by new very slowly in whole notes, somewhat named simply first space below, not finger. In slow practice I do man¬ "first added space below the bass “Group 2,” and then having one group 'rl'— — J-,: exercises that are found efficient. faster in half notes, and still faster in quar¬ age to lessen the above effect to a •***-«.«* ft ?.* ~« limited degree. Also, the fifth finger . ’ — t clumsy mis- stand and act as teachers for the other ^zrjurss mmSs Yes, it is easier to rely on some instruc¬ ter notes. For this purpose he counts and statement.—\V B. Kixnear. ^ repeating ceed • then> b followingThem’Tu on ,hc ^ke.Thc Dashing of",he IVau., straightens out when the fourth fin¬ group, the problem is solved in a quite “You may make a tion book; but your keenness as a teacher plays as follows: ger strikes the key. A. L. H. ideal way. It gives the children a change, choose so long as oLseasyou surely interest them. That phTsicaTactu Vi ?°'"y Fi°Ur‘- J Stormy m will increase the more you think out such and we all know that it is easier to see a —, ——_especially if v ’ [l aj’cd two octaves lower than written), (1) Yes, in general, finger, scale and problems for yourself. 12 3- 3 4 12 3 4 fault in others than in ourselves. If there It interests them to rhythmic , T'” " taking f0/ arpeggio exercises are rendered much more An Infantile (Pupil is any difficulty the “teacher” raises her lriaLno aC 10n’ /Vp-V and ten other titles from one puPd- efficient if they are transposed into every realize how quiet U J J J J I I would like to know if it is pos- hand and I “assist.” The “teacher” idea they can be. anneal thl gre.2tjr 1,hesc titles arc most interesting and often ether key, in chromatic order. Sometimes iible to teach a three-year-old child, the change from one key to the next may ind, if so, what would be the first I use constantly. For instance, the pupil ffifre ran T Y T the kce"cst imagination, ‘Materials for the Early Grades Proceeding then to 1 be effected by simple, modulating chords. look used and what method? awaiting her turn at the piano acts as Teaching Technic doubt Ti- u-,1,1.0 f. ^ bcn a title has liecn selected, as Cradle may deal with each ii I have been teaching piano for teacher for the one who is playing the I have a class of ti Thus the following formula furnishes a ight years. My son will soon be HEN ONCE first att C C ,l d s t,lc children arc asked whether it plest to the more complex. Let the ptipil ■ piano. She sees that her “pupil1’ sits prop- W good basis for practice On chords of the hree and I am anxious to know we fully ap¬ press hTm u eX' Sh?W bc lnud or soft- ^ or s,ow ues for Tiny Tots.” play with one hand on a single note (C) xh.im i can begin his music work. erlyi uses her arms and hands gracefully iVhat book shall I seventh: preciate the fact ffie nian' n .at "'*h °r without decided accents, as well re finished this? I several measures of 4/4 meter in even practice each and easily, gets the correct fingering and day I think I could" ___ that a child will v a Ha K i W1, ln" aS otber (luestions which mav occur. The beats. Continuing this process he may then a little knowledge of plays the right notes. In dictation exer¬ the become intensely in¬ movin* m be by answers to these questions arc practically add a simple rhythmic pattern an octave Mrs. C. B. cises the same procedure is carried out. .J the class. terested in a block grace full "S anilS "'|e hundred per cent, perfect. The puP1' ^ another pupil, nine above, with the other hand, thus: The point of interesting the pupils is a i old, who ...... „ I advise you to begin by spending a few of wood, if the rhvthmie ii and Vy,OSC title has been selected then goes to hms and Tunes ’for Little most important one. ‘‘How do you inter¬ teacher but have tJ y over ,be Piano and plays a few measures as its,” by H. C. (Tamm. Please minutes each day in awaking his sense of tell me what to teach h rhythm and melody. Let him clap his est pupils when so many are working on the genius properly then ;yS hi ere, an example for tempo and character, a L. S. These chords may be treated in various hands in time to simple pieces which you a ‘dummy’?” they ask. There are liter¬ to present the sub¬ of 1, 3 ,S?lution br,ef word is given concerning the baby ally dozens of ways to interest them if figures, such as the following: play to him. Pick out themes from stand¬ ject, tracing it back to r a.S f.'n.g *° slecP and perhaps dreaming o (1) For the next book try Engelmann’s the teacher has imagination enough to dis¬ ard works, such as Beethoven’s “Fifth through the saw-' cal sMa c Pbysi' !?'r'cs and the entire class interprets Students’ Selected Primary Studies,” cover them. To begin with, they are in¬ cal side of Pian0 Cradle Song. Symphony” or Schubert’s “Unfinished Sym- mill to the forest Book 1. Or, if this seems too easy, you terested in the keyboard itself—how to and then to the ginyiHerSh?U'd be‘ Whi'e cannot hear the playing nf i —— i Phony,” and teach him to recognize them. 1 might use the second book of the same '3 JT J j j j A clever young woman of my acquaintance ural a Cj1S a naf" a,'y' excePt the child at the piano, all are series. i*TT. "d SImp,e (Continued on Page 473) (Continued on Page 479) THE ETUDh: Par/e J,r JUNE 192f> ,0 THE ETUDE JUNE 1928 Page 451 less third above, E, will have one-fourth more How to Add Variety to Toung teaching the Qhild to Play a11 these intervals than sixteen, or twenty If this L ha Fol\’s ‘Recitals S CLASSIC, MODERN AND CONTEMPORARY MASTER WORKS Legato explain how this happens. Take twenty vibrations, the Gt a ove mu », for example: one-fourth of twenty (or five) plus the By Lotta A. Belden --- By Stella Whitson-Holmes twenty.>ty- Wevve then™ have twenty-five foAb songs illustrated rhythmically often add In teaching legato in which one hand our Gt. Call the G# an Ab. li t varjety and interest to pupils’ recitals. In plays as a single voice, the child may be has twenty-five vibrations a secon presenting a six-year-old pianist, the duet DANCE OF THE WATER-WITCHES shown the difference between a good legato above must have one-fourth of 7 book, “Just We Two,” by Spaulding wa« From a set of “Three Sketches”, “By the Silver Pool’’. Modern and poetic. Grade 3|. MONTAGUE EWING and the marcato (portamento staccato) five (six and a fourth) plus twenty-hv . ^ed wjth thg pr{mo use(j as a VQCaj i octave. From the Moderato e grazioso M. M. J = 108 performance simply by singing the notes v iu jll is ai iiidjurmajor third.Liuru. Fromnuiu llE Thist mo gives us thirty-one ^and, a and the secondo as an accompaniment. under the slur. She will immediately see to Gt is another major third. Call the vibrations for upper C. Thus it Fairy Bells was effectively played by how really funny it would sound if a 2 4 1 Ab. From Ab i still another that by measuring the si tw° one small pupil and sung by several others 2 1 5->n - singer should sing such notes marcato major third. I use this I 3 show that three different ways we get 1 ot who kept time to the music by swinging 0 I ft instead of legato. In this way a correct same distance as three-fourths of a vibration. sweet-toned bells at the half-note beats conception of how legato should sound is major thirds equal the in every measure except the last, when the instilled. bells were sounded but once for the whole In the case of teaching double notes, ~=== A the problem involved is more complicated. l P It is wise at first to select a piece with Grandma made an attractive song, only rs f\ double notes, a piece in which one of the the title was changed to Lullaby ’ and voices repeats itself again and again, thus in place of the words “knitting” on the leaving only one voice to be played in second line, "rocking” was substituted, ’--^» strict legato touch. For instance, the first and, on the third line, “mother” was sub¬ two measures of Brown’s Pixies on the stituted for “grandma." On the last line, A IVater is marked with one slur. In the “rock her to sleep" was used instead of fS | 1_„ £■ * , 1 —£ following illustration “knitting for her pride.” This was sung f Jr if* n ^ by little girls holding dolls and rocking Ex.l them to and fro to the rhythm of music, two motions for each measure. ' Y ^ ' The Cuckoo Clock was sung and illus¬ trated by swinging of arms to represent 1 f 4 -- the pendulum. we see that, while both notes of the beat Sleep was sung with < yes closed and ax-e ideally and theoretically legato notes, heads swaying to music. the upper ones can hardly he made legato. The Clioo-Choo Cars wa ■ played in duet It is very simple, then, to have the child form. For Prime part ; Pupil with a play the melody notes (in the second good sense of rhythm was -elected. This voice) separately, with the correct finger¬ can be illustrated by ha mg the pupils ing, until they sound like a song. Then, first line up. After the ii "ductory meas- when the upper ones are struck with them, s the pupils should he eady for count she may simply listen for the former effect. 1 with right foot and march off at When undertaking the teaching of this passage: the rhythm j;j; continuing this way Ex. 2 until the close. The rhythm should first be practiced without the niii-ic. One child may sing the words. These ducts, if used in this manner, will create a great deal of interest with young pupil- it becomes no more difficult than the music of the first illustration, if the first has been previously threshed out. Each voice should be played separately in strict legato style, Summer Pianists “Dailies” the pupil endeavoring to retain both the By W. D. Galich i er sound and the. feel of it in the hand. Legato playing will not be found difficult No. 1. Fifteen minutes finger work, stretch¬ once the proper conception of it has been ing exercises. formed in this way. Forming and playing major scales C, G, D. A, E, B. Forming and playing major scales C, F, B-flat E-flat and so forth. Piano tuning—How Perfect? No. 2. Fifteen minutes on some work (piece) studied in the past and By Thomas A. Hendricks j—- r4t- r—- -Cf tJr jf hr more or less forgotten (takes the When a violinist tunes his instrument place of sight-reading). he tunes by a system of perfect fifths. JEUNE FEMME A LA HARPE No. 3. Fifteen minutes on arpeggios,major Many other string instruments, such as (young woman at the harp) and minor. Chords. Modula¬ ^ v f the ’cello or viola, are tuned by using the A reproduction of the exquisite painting by h. cosson, tion of chords. Chromatic scales j , f- u'- krt ft # r iff • ,• \ ^ ^ » ifp ■ . interval of a perfect major fifth. Like¬ IN THE PARIS SALON in 8th, 3rds, 6ths, lOths, contrary wise your piano tuner in tuning your directions. piano goes by fifths, fourths, thirds, sixths No. 4. Fifteen minutes on last pieces and octaves, but the only intervals that the octave. But let us investigate and see Thus, in order to make three major studied, playing for artistry and he tunes “perfectly” are the unisons and memorizing. octaves. This may sound strange to some, if it really does. thirds equal an octave, each one must be An octave to lie perfect must have twice “stretched” slightly, Body and hand positions must be but such is the case. Your piano is never absolutely correct. The order of as many vibrations in its upper note as Of course our "middle-C” gives out in “perfect” tune, even after the most ex¬ arrangement of these “dailies" in the lower note. In other words, if “A” 517.3 vibrations a second, but for con- j ^ vJ * ^ pert tuner has just gone over it. You will may be varied from time to time. on the second space of the treble clef has venience of figuring we assume it gives probably say, “What is the use, then, . Fifteen minutes of honest, concen¬ tempo 435 vibrations a second, the “A” one ad- s'xteen- getting a piano tuned?” trated effort done four times a > In tuning a organ \ye make ded Iine above the staff must have 870 We flnd ‘here is, always this little dif- day will give an hour towards the f- hpf- of a system known as “tempering.” a second. This makes a ratio of 1 :2. In cJ.cace comma' as it is scientifically development of piano technic. * This system had as its first champion a major third the upper note must have called- J he old Greek philosopher, Pytha- Johann Sebastian Bach, who wrote the one-fourth more vibrations a second than s°rus’ discovered this “comma” hundreds L-.,ri 1.. .,4 wonderful work “The Well Tempered the lower one. If the lower note has four Iy ®rs, aR0 ,and *t Clavichord” in order to exploit it. vibrations the upper must have five, or the J“Pythagori5'™gonanan CoULr~ ”>metim's caIled Acrostic of Appreciation Previous to this time all keyed instru- if the lower note has sixteen, the upper tributeWhat this*the srrMlpiano0 tuner does is to dis T T c ments were tuned by the old “mean tone” must have twenty, Here w“ have a ••-.“e this small amount of extra tone F r " ' J' ScHUMAKER system, but ,by this method only a few of of 4 does not offend our ears in playing E~Excellent features mark The Etude, the different keys could be used in playing. Aftyone wishing to delve into this sub- T Tcxts that are finest its pages include, Bach showed that by employing the new assume that “middle-C” gives "ouTsixteen * ^interesting study. ^-Unchanging value its readers all find, tempered system all keys could be used. vibrations a second. Doubling the amount his woTt “Q ^ n’etr° BIaserna in ^-Dearly loved magazine, best of its kmd, Unisons and octaves are tuned perfect, for the “C” in the third space gives us Sdln ^n “■ lts_Relation Music,” E~Ell,e of m«sxc, true, noble refined, but fifths are tuned just a “shade” flat, thirty-two a second. ‘ nf Mn ■ Gro,'l,'c’s “Dictionary fourths a little sharp and major thirds Starting again at “middle-C” as giving T^USIC,an?.”. as wefT, ' for music, we mighty quite a bit sharp. All through the scale sixteen vibrations a second, the SKmajor William Braid White8 JX*days say the beautiful is dead. Copyright, 1923, by Keith, Prowse & Co., Ltd. Disraeli. Other Music Sections in this issue on pages 427, 459, 487 PSP PTUd$ Page 452 JUNE 1928