May 1945) James Francis Cooke

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

5-1-1945 Volume 63, Number 05 (May 1945) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 63, Number 05 (May 1945)." , (1945). https://digitalcommons.gardner-webb.edu/etude/206

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THE FOURTH OF THE WURLITZER SERIES ON "MUSIC PROM THE HEART OF AMERICA"

The last lurking Jap has been cleaned out

of the jungle. G. I. Joe can relax in the

tropic night. All is quiet. Overhead blaze

myriads of shimmering stars. War seems a million miles away. A soft, sentimental mood steals over him. Homesick? Sure

but he’d never admit it! He starts hum-

ming an old, familiar tune . . . beautiful,

unforgettable Star Dust. . . . "Gosh, that was her favorite,” he sighs, "mine, too!”

Helping speed the day when he can return to his loved ones are the Wurlitzer factories, now producing war materials. Music teachers will be glad to hear that manufacture of the famed Wurlitzer Spinette Piano will be resumed soon after

Victory. And, more than ever before, it will be a piano distinguished for modern styling, beauty of tone and lightness of

action at extremely moderate price . . . an instrument teachers can heartily recommend because it offers fine quality without placing a financial burden on the families of their students.

The Rudolph Wurlitzer Company

Executive Offices • 105 West Adams • Chicago

Awarded with Star, Do Kalb Division Awarded with Stars, No. Tonawanda Division " “ »rd, 1 „ Milchell Parish

Wurlitzer is Ameri- ca’s largest manufac- Wurlitzer is America’s larg- turer ofjuke boxes WurlTTzer est manufacturer ofpianos all i, Am,,, produced under one name tea’s largest manufac-

THE NAME THAT MEANS /Mi&uc TO MILLIONS r

COUPERIN’S “QUI REGIS ISRAEL, IN- TENDE,” which was presented for the first time in 1705, received its first Amer- ican performance when it was given on March 26 by the Bach Circle of New York. The long delay in having the work heard in this country is said to be due to the fact that parts were not available for performance, since the first modern edition for voices was not published until 1933.

THE MUSIC EDUCATORS NATIONAL CONFERENCE, in compliance with the recent request of the Office of Defense Transportation, has cancelled the six division conferences which had been scheduled in various sections of the country this spring. In their place a series of War Emergency Councils were held during March and April, at which many important problems were discussed. A RECENT CHILDREN’S CONCERT of The ARTUR RODZINSKI has been reengaged Philadelphia Orchestra included on the for his third successive season as musi- permanent conductor of CINCINNATI program the first presentation in Phila- cal director and THE Symphony SYMPHONY ORCHES- delphia of “Jack and the Beanstalk,” bj the New York Philharmonic There will also be three guest TRA, Eugene Goossens, Reuven Kosakoff, young Connecticut Society. of great church and folk music to which Robert Grooters as nar- conductors for the season: Bruno Wal- conductor, at its con- composer, with they were introduced last summer by ter, who will conduct four weeks; George certs on March 23 and rator. the Trapp Family. They plan to attend Szell, who will take over for three weeks; 24, gave the first per- the “Sing, Week’’ at the Trapp Family and Igor Stravinsky, one week. formance of an unusual SERGE PROKOFIEFF’S Eighth Piano Music Camp this summer, which opens work; this being a set of Sonata was performed on March 20, on June 25. photographer, variations on a theme for the first time in this country, when NICHOLAS JOHNSTON, E at Francisco, is the organizer of a supplied by Mi'. Goos- ™ it was played by Vladimir Horowitz of San G0 S in that city, to be known sens to ten well-known A NEW VIOLIN CONCERTO by Harl a reception given by the Soviet Con- new orchestra American composers: Ernest Bloch, McDonald, Manager of The Philadelphia sulate General in New York. This was as the People’s Symphony of San Fran- Aaron Copland, Paul Creston, Anis Fu- Orchestra, was given its world premiere at the personal invitation of the com- cisco. Mr. Johnston believes that there priced symphony leihan, Howard Hanson, Roy Harris, by that organization on Friday after- poser. is need for a popular Walter Piston, Bernard Rogers, William noon, March 16, and repeated at the con- and to that end has engaged Sir Thomas Schuman, and Deems Taylor. Mr. Goos- cert of Saturday evening, March 17. The ARVED KURTZ, musicologist and violin- Beecham to conduct the first fifty-cent also concertmaster of the orchestra, Alexan- priced concert, to be given in May. sens, in supplying the theme, had ist, and a brother of Efrem Kurtz, musi- given suggestions as to key relationships der Hilsberg, was the soloist, with Eu- cal director of the Kansas City Sym- and other necessary details, so that when gene Ormandy conducting. The new phony Orchestra, has been appointed THE PHILADELPHIA reception, the different variations were assembled, work had a most enthusiastic director of the New York College of CHAMBER STRING SIM- being they would form a homogeneous unit. both the soloist and the composer Music, to succeed the late Carl Hein. FONIETTA conducted by recalled many times. Fabien Sevitzky marked twentieth anniver- ROBERT DOELLNER’S Quartet No. 1, its April with winner of the thousand dollar RCA prize CHARLES GUY HOOVER, founder and sary on 15, ompetiliond concert given in the for the best string quartet by an Ameri- president of the Educational Music L a Ho- can composer, received its first New York Bureau, widely known in the School Bellevue-Stratford tel, Philadelphia. Abram performance when it was played on Music field, died on March 5 in Chicago. Dr. Fabien EDGAR M. LEVENTR1TT pianist, was 19 at a concert by the Chamber He was founder and editor of the Edu- THE Chasins, Sevitzky March has announced the 1940-41 FOUNDATION, INC., the soloist, playing a Music Guild. Also on the program was cational Music Magazine, and in young musi- sixth annual competition for Concerto in A major for piano, by Mo- String Quartet No. 2, by Comarg.o was president of the National Associa- the cians. This year’s contest is open to pian- by a similar prize for of Sheet Music Dealers. zart. Among the numbers performed Guarnieri, which won tion ists and violinists between the ages of the Simfonietta were Arthur Foote’s the best work from Latin America. seventeen and twenty-five who are resi- the Award “Aria and Fugue” and Ernest Bloch’s GIOVANNI B. FONTANA, composer, dents of the United States, and with the New York Concerto Grosse. The Simfonietta was JAY WHARTON FAY, Associate Pro- teacher, and organist for the past forty- is an appearance DR. Philharmonic-Symphony Orchestra. Ap- founded by Dr. Sevitzky in 1925, and it fessor of Music at New Jersey College one years of the Roman Catholic Church plications must be submitted by June 15, has given premiere performances of Women, died on March 1, at New of Our Lady of Pompeii, in New York for and full information may be secured by many important American works. Dr. Brunswick, New Jersey. Dr. Fay had City, died on March 9 at the age of at 30 Broad addressing the Foundation Sevitzky is also the conductor of the connected with the New Jersey seventy-two. Mr. Fontana was born in been Street, New York City. Indianapolis Symphony Orchestra. College for Women since 1933; prior to Italy and before coming to the United was head of the Instrumental States he had been director of the Pon- $25,000. is the that he A FIRST PRIZE of THE ESSEX COUNTY (NEW JERSEY) of the Rochester Public chielli Institute of Music at Cremona, composition contest sponsored Department award in a SYMPHONY SOCIETY, Mrs. Parker O. member of the faculty of Italy. by Henry H. Reichhold, industrialist and Schools, and a hold its Detroit Symphony Or- Griffith, president, will annual the Eastman School of Music. He was president of the Composers of the twenty-one Spring Opera Festival beginning May 10, author of several books on music as COLUMBIA UNIVER- chestra. the Pan-American republics are invited to in Newark, New Jersey. Operas to be as works for band and orchestra. SITY will be the scene well submit manuscripts. A second and third performed are “Carmen.” "The Barber had served also as director of on May 12-14 of the first Dr Fay prize of $5,000. and $2,500. respectively, of Seville," “Martha” (in English), "La the Plainfield, New Jersey annual festival of con- music in are included in the awards. The winning Traviata,” and “Madaina Butterfly.” the schools, head of the band school of temporary American compositions will be played by the New York College of Music, and music sponsored by the Detroit Symphony in the Pan-American Ithaca. THE FONTAINEBLEAU ALUMNI ASSO- conductor of the New Brunswick (New Alice M. Ditson Fund. Arts Building in Washington. CIATION in America, in appreciation of Jersey) Little Symphony Orchestra. The purpose of the fes- AN AWARD OF $1,000 to encourage the magnificent gesture of the French tival is to give encour- “the writing of American operas in gen- establishing, after the previous develop- people in in last summer’s ex- agement to the is PARTICIPANTS eral, and of short operas in particular,” war, a school for American students of • by ment of American com- perimental “Sing Weeks,’’ instituted announced by the Alice M. Ditson Fund splendid Palace of year music and art in the Family at their music camp position by the performance each of Columbia University and the Metro- the Trapp Francois I at Fontainebleau, have sent banded to- of a representative group of serious politan Opera Association. The opera must in Stowe, Vermont, have appeal through Dr. Walter Damrosch minutes in length an organize a year-round pro- works from present day composers. In- be not over seventy-five gether to American for the relief of the good people of Fon- first of these annual events and by a native or naturalized of choral singing in four leading cluded in the gram citizen. The closing date is September 1, tainebleau who are now suffering from York, Boston, Washington, are Howard Hanson’s Fourth Symphony, cities; New 1945 and full details may be secured from the results of World War II. Contribu- groups have and the new American chamber opera, and ’Rochester. These Eric T. Clarke, Metropolitan Opera Asso- tions may be sent to Charles DuBose, “Stowe Sing- •‘The Scarecrow,” by Normand Lock- adopted the name of the ciation, Inc., New York, 18, New York. Treasurer, Room 214, 51 East 42nd Street, together wood, which had been commissioned by ’’ have been meeting ers and New York 17, New York. the Ditson Fund. once a month to review the repertoire "FORWARD MARCH WITH MUSIC" 241 1945 MAY, ' —

FAVORITE F0A^3@ FOLIOS=

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Cfontenti EITTEE CLASSICS for ulj., 1945 by Leopold W. Rovenger A splendid collection of easy arrangements of famous standard classics. VOLUME LXIII, No. 5 PRICE 25 CENTS Price, 50 cents. THE WORLD OF MUSIC NUTCRACKER SUITE, Tscliaikowsky 241 Arranged by Leopold W. Rovenger EDITORIAL This charming and ever-popular work is here intelligently brought to the level Music and World Unity of young players. The pianistic difficulties which have confined this number to advanced performers arc cleverly circumvented. Edited, fingered and MUSIC AND CULTURE phrased so well that the student can move easily through the entire group of Mexico's Famous Folk Orchestra pieces. Price, 50 cents. What is Musical Interpretation?. James Francis Cooke 244 T 1 ov Tour of !'!? y the Radio City AmeV t f Music ' Hall SACRED REFLECTIONS for PIANO SOLO Mental Projection in Singing Myles Fellowes 247 by Leopold W. Rovenger C°"n" 249 A choice collection of forty-one of the world’s most beloved religious selections. MUSIC IN THE HOME Carefully edited and fingered for players with limited technic. Price, 75 cents. Rare Classical Interpretations on Records The Etude Music Lover's Bookshelf. Peter Hugh . . Reed 250 C“‘™“ 251 738 So. Campbell Ave. MUSIC AND STUDY Chicago 12, Illinois The Teacher's Round Table The Music Teacher and • r>r the Post-War Period - GuV Maier 252 Putting Over a a Song Ruth Teeple Reid 253 How to Spell in Writing Music Clara Barrett 255 Variety the is Spice of Organ Playing. Arthur E. Heacox 256 Eyes to See' Irving D. Bartley 257 LEARN MUSIC The Challenge ol the High Eiijat, e«. "SWING" jiMiWIhljyW School and' ' A. H. Green 258 Quick MmBmHege Band Vto the;; s, choruses, obbligatos, American Composer embellishmi ° Pianists—Send for free booklet show- Mute Practice William ing how you may greatly improve your D. Revelli 259 M 6 DERN ' DANCE A RRANGING technic, accuracy, memorizing, sight- Questions and Answers Harold Duets, trios. Quartettes and ensembles — special choruses Berkley 261 reading and playing thru mental —modulating to other keys— suspensions—anticipations . Music for the Mentally Disturbed Karl W. muscular co-ordination. Quick results. Practice effort Gelirkens 262 —organ points—color effects—swingy backgrounds America and Good Music ' Sylvia Write today. minimized. Used by famous pianists, teachers and Walden 263 ELMER B. FUCHS students. No obligation. Howard Barlow 264 335 East 19th St. Brooklyn 26, N. Y. Broidwcll Studios, Depl. 65-E Covina. Calilornia MUS|C Classic and Contemporary Selections A Day in May Fragrant Blossoms ‘ Milo Stevens 265 the pUuio! The* Harmonious Biacksmm;.V.\;.\V;;;. Xoclz Out the Deep , Alvina- of (from “Chapel Musings") F Handel 268 Spirit of Liberty B. Macklin 270

Goodbye to Vienna Francesco — B. DeLeone 274 call you Invention No. 1 in C Major (Two Part) Lewis Brown 275 ploy M not have him . friends , s0 why , uner SebaS1“" B“'-S*co„d forg.t >° the remember- Piano P„rt easy to let him da „„ R > It's so then focal and Instrumental Compositions Vene 276 yearly results! a will the I Need Thee. Lord Ask for u _a „d so (Sacred Song—Med. Voice) economy wi Morning Reverie (Organ) Rena Webb ing. The Craftsman. Velma 278 (e[ Little Laddie. Little Lassie (Violin and Piano)...... A. Russell 283 on an A.h.r.i-' Insist ^ Suter 281 Delightful Pieces for Young Players I Heard a Bluebird EES Purple Pansy Louise E. Stairs 28’ 1 Louise The AMERICAN SOCIETY of PIANO TUNER-TECHNICIANS, Inc. One Lovely Day in May Dittenhaver 282 Renee Sioux Avenue. Chicago, III. Miles 283 Address correspondence to 6747 N. THE JUNIOR ETUDE Elizabeth Gest 296 MISCELLANEOUS New Keys to Practice It HANDS you the Music you want One Hour of Practice •••Julie Matson 248 A Tragic Memorial Hyman Goldstein 254 TONKabinet has special Musical Progress in San Salvador. drawer-trays that file sheet 254 254 music easily; keep it neat, or- A Memorable Anniversary Every derly, clean, findable. “Putting the Words Over" 260 accessible, ' sheet is so quickly Voice Questions Answered • • • En id C. Tubbs it almost hands you the one 260 Organ and Choir Dr - s, or Questions Answered. . Nicholas you want. At your dealer . . . ’’’’’ Doutv 287 postwar shop- Violin Questions Answered Dr. Henry put it on your s. Fry 289 ping list. Tonk Mfg. Co. Harold Berkley 291

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242 FORWARD MARCH WITH MUSIC : : :

Editorial

nuiic cmJ World Unity

So many requests have been received for material dealing in a general- way with “Music and W orld Unity” that the Editor of The Etude feels justified at this time in presenting, instead of the usual editorial, an address (ivith some few additions) prepared in consonance with the Inter- understand- faith Brotherhood Movement designed to promote unity and readers may use ing in our land. This is done with the thought that our in club this as a basis for preparing similar addresses for discussion groups. The address was given at the Simon Gralz High School, Philadelphia, as melodies, part of a program of religious music in which early Hebreiv Negro music of the Catholic Church, music of the Protestant Church, and Spirituals were presented. This address and the program accompanying it were recorded and reproduced in the other public schools of Philadelphia. Etude has been During the course of its more than sixty years, The and in- conducted upon a strictly international, intersocial, interracial, have never terdenominational basis. Race, color, nationality, and religion The address entered into the selection of a manuscript for publication. follows. Quotations may be made without permission.

T GIVES ME very great pleasure to return to this beautiful excellent school music auditorium where I have heard so many late Dr. Geoige L. I festivals supervised by my dear friend, the under the super- DR. MALCOLM SARGENT Lindsay, and where I expect to hear many more Education of the London Philharmonic Orchestra vision of the new and able Director of Music Conductor of the of Philadelphia, Mr. Louis G. Wersen. Your stand- School District worn, exhausted, shocked as I remember understanding. The peoples of all lands, ards of musical excellence have always been high, with the wickedness of war, are beginning to realize one of my own compositions with your and disgusted from the time I conducted on land that the real, final battlefields which lead to peace are not orchestra. in the minds sub- or in the skies not on the seas or under the seas, but Dr. Hoffman asked me to speak today, he gave me a ; When who stop long enoug.i realized that I was hke and hearts of right thinking men and women ject which is alarmingly comprehensive. I sym- that this peace is to be found only in understanding, tavern in Minnesota and said : Ay to realize the Swede who went into a can- pathy, and brotherly love among the peoples of the earth. It bane yust vant a dreenk of skvirl veeskee.” “Never heard of squir- in political factories or in academic halls. It give is ‘Old Crow . not be manufactured rel whiskey,” said the waiter. “All we can you vant can come only through enlightenment, through music, through replied the Swede. “Ay don’t vant to fly; Ay yust bane “No,” the great Service or- can do in a ten-minute good literature, through religion, through to yump around a little.” About all anyone ganizations, through honest industry and commerce employing the to “yump around a little.” talk is spiritual recognition of I heard him fruits of science, and most of all, through The late Victor Herbert had a favorite story which Irish farmer who was the principle of the Golden Rule. tell many times. It had to do with an old from the philosophy of the great minds quarreling with his wife. Once, the priest intervened and Down through the ages, forever Listen to the Chi- always fighting? Can’t you of the nations has come this indomitable truth. said, “Dominick, why are you and Nora nese sage, Confucius: of the same mind?” “Shure, we are of the same mind, Your ever be to others.” going to “What you do not want done to yourself, do not do Reverence,” replied Dominick. “She thinks that she’s not gave me this morn- Hear the logical Greek, Aristotle a penny of the forty shillings the master get friends as we would wish friends to “Well,” said the priest, “it’s better to “We should behave toward ing, and I think so too.” behave toward us.” agree to disagree than not to agree at all.” has been Mark the wise Roman, Seneca Much of the so-called peace we have had in the world “Treat your inferiors as you would be treated by your betters. an agreement to disagree. The military heads, the states- based on Biblical scholar, who in and so on, Give thought to Hillel, the great Jewish men, the professors, the economists, the industrialists, wrote gathered around the table to draw up terms for peace which, 30 B. C., have that men should not do to thee, do rarely settle anything what- “Whatsoever thou would’st as in the case of the Versailles Treaty, law. The rest is only ex- of hate, anger, not do that to them. This is the whole ever, but, on the other hand, cultivate the seeds planation.” cruelty, revenge and intolerance, which in succeeding years fear, You young men and young women who have ambitions to behave grown into wars and more wars. However, there is now a lawyers, please note HillePs concluding words : “This is the world awakening, a rich revival of faith in a new light of come great (Continued on Page 294) 243 MAY, 1945 f

Music and Culture Mexico’s Famous Folk Orchestra

A Conference with

OTW,0 PMo Wurtn. Well-Known Composer Conductor of the Drquesta Tipica

SECURED EXPRESSLY FOR THE ETUDE BY JAMES FRANCIS COOKE

The holy festival of Christmas begins in Mexico on December fifteenth and continues for ten days ceaseless series of imposing ceremonies and joyous events. The City of Philadelphia Penn-iulvnnlr.' L r t December had a wonderful Christmas present from the City of Mexico, which, ' as a gesture of t tional courtesy, sent its famous Orquesta Tipica to the Quaker City in the Advent Season The Phila' delphia appearance came about in this way. Early in 1944 a delegation represent',no9 Philadelphia and headed by Edgar S. McKaig, President of the Philadelphia Commercial Museum, visited Mexico guests of honor of the nation in an extensive tour which comprised the capital city of the country d many of the large and small towns in the states of Puebla, Vera Cruz, Queretaro, Guanajuato Aauas calientes, San Luis Potosi. Jalisco, and Michoacan. They were thrilled with , the vasf business and com mercial opportunities of the city, the opulent beauty of the land, and the charm of the people in the City of Philadelphia As a consequence October, extended invitations to the President of 'Me ic° to send a personal representative to attend the tercentenary of the birth of William Penn Th M*' Javier Rojo Gomez, was thus of Mexico City, Lie. appointed by President Manuel Avila Camacho wZZ wise and sincere activities in connection with education, art, and the social welfare of his pe \ h brought him wide fame. Such was an atmosphere of friendship established between Philnd^llhLP ZZ Mexico that later on Mayor Gomez, as a gesture of appreciation for attentions ° MANUEL AVILA CAMACHO shown 0" j visit of the Orquesta Tipica in Philadelphia, 9^ for a week-long so that the music of Mexico miaht? President of Mexico people. The visiting better known to American group consisted of one hundred end rv of Social Activities in the cabinet the Mayor of the City of Mexico, Lie. Arturo Gatin'?ormenti. “TTTT’HEN HERNANDO CORTEZ arrived at the headed it as representative of the government of Mexico. The orchestra, which visited Philadelphia for the first time, is wholly \i\i great empire of Moctezumna (Montezuma) unlike anv other n^U * u many thousands of people in the city and the * ® in 1519, he was received by the Mexicans played to Consul of Mexico, Sehor Gusatvo Orth H has lived in Philadelphia for six years, explained in English with feelings admiration, but never- who to the audiences the mixed of fear and nature a,1 num ~ bers on the program. theless as a true guest. They thought that the adven- The remarkable conductor of the Orquesta Tipica is Maestro Pablo Marin, who turers were the legendary white gods. The conquista- astonished Ph'l''adelphia4 musicians by his fine conducting and his musicianly arrangements. He was dores, however, anything but angels. They born in the t proved State of Chiapas, in 1900. His orchestra is distinctly a folk "" orchestra. It is totally by force diff' ff' rom overcame a courageous and hospitable people Orchestra, which is the Mexican National Symphony on order of the . other arent , Spaniards who re- ^ mP °n/es the of superior arms. However, those world.arid. The Mexican National Symphony was organized in 1928 bv thr*e W--:.. r ,"' d Mexican composer, turned home amazed the population by incredible Chavez. The Etude has secured from Maestro Mi ',’f? f r°'? Carlas 90=d neighbor ,o tales of the extraordinary civilization of the people South which are unique and vividly picturesque. His conference follows. Z — Editor's Note.

‘•‘The descendants of these ®ndless surprises, remarkable races nf’ j-hIa .

and the Toltecs, the Ma ans - have intermarried with the Snaniora k?' y millions of people in Latin America 6 are sti11 who are deflniWv a “T original races, with no admixture descendants oi the of blood just a th bers of pure are aome num - Spanish ancestry. All live peacefully* races there has developed but trom a11 an artistic life and cidtcm distinctive, but extremely beautiful, h 18 n0t °nly romantic and colortm° An Inborn Love ol Music "Mexican musicians take a keen pride in knowim. • before the landing ty' tour years of the austere Pilgrims at Plymouth ei tory of music was established in a ccmserva- Mexico city The Piio- at music, but the Spaniards and the ed askance Indians' loyed it ,7°^ forget that 5 never music has been peculiarly close to the MexSaifSS”Ple Chose, keen, sensitive, romantic nature places a value on the tm 't' 35 natural possession, rather than something grafted unnn th„„ a the Indian tribes have instinctive musical impulses whiclFm-e as^mFtm as the sun in the heavens above them. ai “I was born in the state of Chiapas, which in many wavs is °one °of „ prettiest spots in the world. It has f 4 27,200 square miles and „ of over 500,000. It is the most southerly state of Mexico ft! quite tropical. ™d ls thereforE In fact there is a story that when one of , and went to Hades, his first request was 'Please give 7“ people have a wonderful me awblanket.'"t These communal spirit When „ married, y ung cou the whole town 1 Ple is to be takes ‘time off to build furnish it. Everyone, even a new home anc little children brines and the whole snm !n- town turns the occasion nB f0r the house into a fesZ i “The men of Chiapas, ' as all the Mexicans 1 tremely sensitive Very to affronts. Like the haughty and ex- woe be Vaon£ Yn are to him who offends them flerce fighters, anc Their mm o’ i melancholy found in laCks other parts of MexSo' the "mantle S ’ 14 1S| and haunting themes h°wever, marked b’ PICTURESQUE COSTUMES OF THE ORQUESTA TIPICA GROUP The men, and particularly the women ’ aree noted f,or „ "FORWARD MARCH WITH MUSIC their beauty. Thi THE ETUDE men are vigorous and famed for their courage. They interest in the folk music of all Mexico. He could play Music and Culture have marvelous grey-green eyes and skin of copper all the instruments of the modern orchestra and all color. The inhabitants of Chiapas are mostly Indians the native instruments as well. He also was my first who not only cling to their own ancient customs but teacher. Later I was graduated from the National have little contact with other people. -The climate of Conservatory in Mexico City. Most of the professors Chiapas is damp and the soil is very rich. The flowers, were trained in European conservatories. All members fruits, and vegetables are extraordinary. The forests of the Orquesta Tipica are professional musicians and are filled with beautiful birds and butterflies of every graduates of the National Conservatory. imaginable color, making, it a glimpse of Paradise. ‘ The Orquesta' Tipica was formed by Miguel Lerdo The people are joyous and kindly. Once a year they de Tejada more than twenty-five years ago, with the have a festival of giving, in which neighbors exchange definite purpose of preserving the marvelous and gifts of all descriptions with each other with a free- greatly varied folk music of Mexico and of doing so dom and good will that are hard to describe. by a highly trained group of native musicians. I have been with the orchestra for many years and have been A Marimba Legend its conductor for twelve of them. I have traversed the “The state is a great producer of rubber, cocoa, entire country of Mexico, collecting melodies and ar- chicle, and coffee. It is also famed for its forests of ranging them for the orchestra. It is a delightful tropical trees, which have produced many of the calling. One pounces upon a new theme with the same world’s finest woods. These precious woods are respon- enthusiasm that the naturalist captures a new gor- sible for the marimba, which originated here. The geous butterfly or a precious orchid. legend runs that a native went into the jungle at “Tourists and moving picture lovers have become dawn and heard all the trees singing. Overcome by acquainted with what is known as the Mariachi or- the rare aroma of the flowers, he sat awhile dreaming, chestras. These are composed of players who came then took his axe and cut down a tree. With every originally from the state of Jalisco in the western part blow there was a musical note. He col- lected the chips and arranged them in a scale. The woods have a sonorous quality unlike anything else in the world and when played upon, produce effects which give the Orquesta Tipica a wholly distinctive character. The marimba has spread to parts of Central and South America and is beloved by all the people. It is especially popular Guatemala. While it is in all proba- in PABLO MARIN bility the evolution of some primitive instrument of the xylophone type, the Conductor of the Orquesta Tipica with the popular American marimba, as we know it, is adapted to comedian, Danny Kaye. the modern musical scale and a highly trained technic is required to secure the best results. of Mexico. There is nothing in all the world quite “The Mexican marimba is composed like the picturesque and colorful Mariachis in modern of many rare woods. It is often inlaid times, unless it be the now more conventional gypsy with lace-like designs. It is not unusual orchestras of Hungary, Russia, and Spain. Many of to find an orchestra of from six to them are illiterate peasants. One may also say that fourteen marimbas, each instrument none of them can read music. Many of the groups are played by three performers. Some like the iviprovisitori of olden-time Italy. That is, the marimbas are made of as many as one group makes up a song (words and music) as it sings. thousand pieces of wood. Often, many new and surprisingly beautiful rhythms “My father was a professional mu- and harmonies come into spontaneous existence. The sician and teacher and took a scholar’s THREE MEXICAN TROUBADOURS Mariachis have quick ears and remember these themes, so that they are soon woven into the folk song literature of the country.

Itinerant Orchestras “The Mariachis may be hired for fiestas or banauets, or they may be engaged by some patron who wishes to regale himself with music. They have a chameleon-like way of entering into the spirit of the occasion, and they enjoy the event as much as their patrons and guests. Their instrumentation is extraordinary. It must oe remembered that the instruments are primarily designed for accompanying, as the groups are composed of singers. The instruments are invented by the players, who make them for their own use. “One instrument is a great guitar which sounds something like a bass viol. To this is added several smaller instruments of the guitar type, some of which have three and some four strings. They also have a special kind of harp. Some play violins. The group depends in number upon what players can be assembled. It may run from four to fourteen. “The Mariachis are concerned only with melody and harmony and do not attempt counterpoint. Many of the rhythms, however, are complicated to an extreme degree. In fact, their effects are so in- tricate that they have puzzled famous musicians of all nations, who have heard them. It is probably the most interesting folk music to be heard in the world today, as the players improvise most of their music as they go along. Those who cannot go to Mexico can procure excellent records of this type of music, played by the Orquesta Tipica. The now famous song, Las Negras is a typical number. The Orquesta Tipica has made a great many records and Las Negras is one of the most popular. “It was to capture and preserve the music of such groups that the Orquesta Tipica was formed. To encompass this, it is obvious that a very flexible orchestra had to be formed which would represent the wide variety of musical instruments which were employed. The instrumentation of the Orquesta Tipica is as follows: 12 First Violins, 4 Violoncellos, 3 Basses, 1 Flute, 1 Oboe, 1 Bassoon, 2 Trumpets. THE ORQUESTA TIPICA ON THE STAGE OF THE ACADEMY OF MUSIC. PHILADELPHIA 2 Trombones, 4 Bajo Sextas (this distinctive plectoral instrument has two sets of six strings, after the ( Continued on Page 293) The instruments on the front row are Psalters, mentioned in the Bible. " WITH MUSIC 24 5 MAY, 1944 "FORWARD MARCH , '

Music and Culture individually, there would be much improvement in the interpretation. It is an art to play even a waltz bass correctly with the right touch for proper accent and color. To find real beauty in simple progressions and melodic outline in basses, one should study the compositions of Schubert. His bass melodies are clearly notated. They will be as clearly audible, if played as What is Musical they are written. The Impromptu Interpretation? in A-fiat major, Op. 142, No. 2, is an example which shows a bass that has the effect of the lower voices of a string orchestra. A11 h® Schubert basses are J independent and melodious pa tbat muSt fit in with otber melodious parts. The2^f Bercexise lij Allien by Chopin shows at a glance that the bass is a subordinate part with a heavy responsibility. With two exceptions the harmony of the seventy meas- hm te two chords 1° > namely the i ? dominant a“d ^s tonic. The rhythmical T HAS critics well tura. “ figure with the BEEN REMARKED by music as An example of this is found in this excerpt from " D flafc f°r its bass as laymen that the interpretations solo ^1°° note is the same of our Mozart’s Rondo in D-major ^the composition. This simple I artists are so similar that, except for a trick of form is a Ex.l 1 1 f°r the m°st fanciful creations that tone color now and then, the playing of one artist e Vp? LmS ? * cradle son e- It requires distinctive cannot be distinguished from that of another • artist. As written execution to give this bass dignity and purpose Each Especially is this true of the radio performances of measure should be held strictly to our violinists. Recordings also show this to be true. the beaSd rhyth- b mds Should This i be s° independent that stresses two facts: first, that there are definite the ! he ‘ sine-s°ng of the rocking principles on which all musicians base their readings; As played ment °h „ move- dlStUrbed by the second, that a true artist will not allow his personality ri£t Land Pianistic feats for the to dominate the music he has set himself to interpret. Such writing stresses the fact that the strong note Aragonaise Rather, he brings his personality the bv Massenet shows a to conform to is dissonant to the harmony of the accompanying, part. charactertetirM^t tQ a c music. This distinguishing °lorful dance rhythm, notation is used by all the earlier To exeS aSS there must be strict adherence The , . rules for a correct reading are few and simple. composers, particularly Mozart and Haydn, and should to the nropritc fn They are based primarily on the metrical division of be meticulously observed. Beethoven used it noticeably the music, the pulse, and the strong and weak beats in his compositions for the strings. Each of the many of the measure. rules There are relating to the value inflections had its origin in exigencies or a desire to of notes as well as the place these notes may occupy beautify plain forms. Among them are the mordent, in the measure. °* tbe dance movement. The greater the value of a note the the inverted mordent, the long trill and trill with these nnmtc rff. u When or °”SerVed the greater will be its accent; the less the value of a note without a turn. Study shows the precision Part will provide an necessary imeresf The £ USt the less its accent. However, strong ^dependent since the the and the weak in the playing of these forms. It also lays the founda- Sythmlc^ motion % in ? beats in the metrical 6 **** h£md different from structure of the composition tion for the preciseness of execution and phrasing that of the left carry hand. the life-giving quality of the music. Though with the subtlety of nuance and the impact of accent. these beats may not always be heard, they should Training in finer discernment will help to catch the always be felt. These beats are ably explained in correct phrasing of a melody like the opening, one of Christiani’s “Principles of Expression in Pianoforte Beethoven’s Sonata in F major for violin and piano. Playing,” which every student should read. This composition is known as the “Spring” Sonata, so The rhythmical flow of music found in melodies is light and ethereal is the flow of the melody. The in- The bass of the an important Waltz iv a at,* factor. While complying with rules for terpretation requires only the application of the first is an ma’°r y ErahmS unusuai one for awlltz meter and note-value accents, it may move with or simple rules for phrasing. But accents The PPer here are felt not two chords of each notes °J tbe against the pulse. Here, the source of the tones measS y an too, heard. Where form predominates the accents mner Toice - This are is clearly indicated bv tlf f or their tonality, will assert an influence according to stronger. Where thB haI" mony for the two chords the importance of their position in the scale. It is *is^he™S same changed the position of * Brahms has then left to the phrasing to make this rhythmical flow The slight n the third beat given thej^cf°d'M° of tones give out intelligent and coherent musical per h ds brings out the notes clearly as an innpp . up- thought and feeling. Phrasing will add beauty through =B Wlth movement. This a “ght swaying breath-like musical thought. interpretation f divisions of the turns a «’ * correctly rendered, plain little waltz into Music, like classic Greek, is so highly and definitely 5 value worthy its famous “ ° f artistlc inflected that it does not call for “reading between compose™ the lines.” If the interpretation of a master-work by one artist soloist or conductor is more outstanding than that by other artists, it is probably because he The effect of accents in the playing of rapid pas- has given the composition more careful study. With sages is well understood by musicians. Accents can, such study there will be that keener insight which is however, fool the most seasoned music critics. They Parts with melodic akin to genius. The true artist will attribute any outline whieh w. have been known to throw these gentlemen entirely among other parts, In ™d c superiority in interpretation to study and musicianship. may well te a, l?T: off in their judgment of tempi. This was demonstrated Here again Schubert Ued lnner voic In performance no work can be beautiful without with hi, , once in the comparison of the playing of two pianists, makes lavish use of h of melod technic. fluency of technic ttem^ adequate Mere and finger of clearly V°loes each whom was making his first appearance before set forth and ' They E agility are not enough. Adequate technic includes that they shorn,?Uld beb a New York audience. Each had chosen to place on all their beauty. Examni-. made to sing control of touch that will give tone-color and accent ay bb his program the Rondo from Sonata in C major Minnetto in ” found in 1 wherever it needed. by in any degree may be It requires, Weber. This major. movement is known as Perpetual Motion. Both Schumann in B -f‘ too, total independence of the hands. The study of the La ™ One performance easily surpassed the other. All melodies with their “mbined inr polyphonic forms of Bach, Scarlatti and Handel will but principal Ihm critic •' Sctm one agreed that the brilliant playing was so closely interwoven mann li go a long way toward building up a technic adequate due many of hi? to a faster tempo. The dissenting critic proved they are not easy ' ™ices tb for the interpretation of music of any period. Since by his to trace TWs m l stop watch that such was not the case. The tempo more difficult. His lnterpreta«i this music has a direct appeal to the intellect, there Arabesque is a was even slower. we m? The transcendental playing was then find at the beginning 516 ' ln will be no intervention of emotional content. There two i4er toL?*™ rightly attributed to decisive attacks and sharp ac- and agamst the bass ™g Wi are many little pieces and quaint dances by Bach and and the upper me, a cents. In this composition position d - the tempo can easily be is all that its y This C01 children and there are . Handel for the young the two- name implies ?,?!°f gauged by the little palpitating of ’ at ls theme in eighth notes a pattern. > a weavi and three-voice Inventions by Bach for the more ad- Rachmaninoff like which fills the first five measures for the left Posers, often ”y modern vanced students. The two-voice Invention in F-major hand. throws out a C01 the stroL SIn midst of a swiftly ng me>°d is especially good for the independence of the hands. moVi y panying ™L which$ The C-minor, also two voices, will teach independence a soulful upper ?™e is acc“ sing confidently, h a therae of the fingers. All this music is enjoyable if practiced even defiantly' sh°l Pre ude in TheTh? second accurately in detail and with the proper accent. q minor ls an part of 1 It earlier is in is not The music of the masters some ways unusual to find in .? note singled more highly inflected than our modern music. Though out for an accent Passage, o Such a Wh the interpretation is thus more clearly indicated there note bears a ever it appea with special Lm f are details to be observed. The long appoggiatura, the composition which will more Ex 7 va taken Lw?6 unlike the short grace note, takes half the value of the Basses too often are treated as from the Polonaise oontinuation inconsequential parts Here in a « ‘l’ note with a strong accent on the appoggia- of music. If these the note by following same basses were read correctly and c, the dominant^ Chop note of this “tnor . the ke transitoryy (Coiith,continued 246 "FORWARD MARCH WITH MUSIC" on Page 21 ,

Music and Culture

THE ROCKETTES IN THE MARCH OF THE WOODEN SOLDIERS AS SEEN FROM ALOFT THE RADIO CITY MUSIC HALL CORPS DE BALLET

A Tell-How Tour tif the Radio City Music Hall

NE OF THE GREATEST and most frequently recurring problems in music pedagogy is the O matter of infusing new interest, vitality and charm into studio and school performances that have W„L 3,ellowed to be given in any event and that can turn out dis- if appointing if they are not “special.” In order to find but how the “special” element may be supplied, The CONDUCTED ESPECIALLY FOR READERS OF THE ETUDE Etude proposes to take you to Radio City Music Hall, in New York City, where you may see the nation’s greatest showmen building the performances that hold entranced 25,000 people a day, every day. Certainly, doors, the Music Hall staff has found inspiration for orchestral numbers by the Music Hall Symphony Or- the spectacular facilities of the Music Hall cannot be its production ideas in music. In fact, music in many chestra, and choral selections by the Glee Club and duplicated in schools and studios; but facilities alone respects is the foundation upon which most of the mixed Choral Ensemble. Each of these groups offers have never yet built a moving performance. Music theater’s famed spectacles are built. These swift, imag- divergent features; each number—dance, choral or Hall shows grow out of ideas, and it is ideas which inative stage extravaganzas include precision dancing orchestral—depends on music, with all scenes blended can inspire even the smallest scale presentations. by the Music Hall Rockettes, interpretative dancing into one integral whole that provides the great audi- Leon Leonidoff, the Music Hall senior producer, by the Corps de Ballet (which, incidentally, is the only ences with both variety and unity. In this, the prob- states that from the first opening of the theater’s great permanent, resident ballet group in the United States) lems of the various Music Hall production departments

LEON LEONIDOFF FLORENCE ROGGE RUSSELL MARKERT Stage production genius of Radio City Music Hall Director of the Music Hall Corps de Ballet Director of the Rockettes MAY, 194$ " FORWARD MARCH WITH MUSIC” a ^

Music and Culture home, apply a bit of burnt cork to faces and hands, Elise, and work its way through minuets, contradances, and let them represent old time darkies at a revival and the earlier sonatas to the “Moonlight” or the meeting; arrange an interesting medley of spiritual “Pathetique.” chorals link them by solo numbers. and This sort of Those inimitable dance precisionists, the Music Hall thing requires ingenuity, but it is precisely this that Rockettes, are not dissimilar to those confronting, any imaginative might have only the least connection with teacher organizing a studio show. will make the program come to life.” the average music studio program, yet the troupe's The first question is to decide the kind of Florence Rogge suggests that new program-interest director, Russell how upon Markert, follows Miss Rogge's sug- music to be used in the production for maximum effec- might be obtained by having music students and dance gestion of combining music with the dance—in this tiveness. According to Erno Rapee, the music director, students combine their talents in a single, well-planned mstance with tap or march precision, wherever student “never play down to your audience.” recital. Miss Rogge knows whereof she speaks. She facilities permit of such combination. started out herself in a small dancing class in Detroit, The Kind of Music and made her first appearance, at the age of six, as a “Make it your business to examine all the music you Whirling Snowball. And since we have just mentioned be scart ;*"y by the idea that precision can get hold of,” Mr. Rapee explains, “and then choose ingenuity, this might be the moment to show where C “ g eS the ,“ Q kmd °f music ‘bat might not the most attractive, most refreshing representatives of the cultivation of that virtue can lead. For Miss fl r r a . s ”lous muslc taboo! program,” cau- all types. We give our audiences ‘hit’ music and popular Rogge’s Snowball debut, her sister Hattie devised a tS.ons Mr. Markert.i ^ , Of course, we do use elaborate set- tunes; we also give them Chopin, Debussy, Tchaikov- costume on which she lavished much thought and an a”d swing—but not , exclusively! Marches sky, Ravel, Shostakovich, Rimsky-Korsakoff, folk mu- amazing quantity of eiderdown. Indeed, the eiderdown are a goodaLd basish for dance routines. At the Music Hall, sic, opera music, and Johann Strauss. We have devoted overbalanced the dress and threw the tiny dancer. I remember we once ran into an interesting thing. eight revues to the music of Gershwin, Kern, Victor After that, Hattie Rogge studied the physics of stage BaUe W3S assigned Strauss - waltzes Herbert, Rodgers and Hart, and Irving Berlin. The costume—weights of materials, angles of applying S secret of a good show, however, at least from a musical trimmings, and so on. The results of her self-imposed m discussing the waUzeT M^lapeTsugêTedTnu^ point of view, is never to throw your musical numbers discipline in costume research are, first, that she made together haphazardly. There must be selection in com- all the costumes her distinguished sister ever wore as ’ zo tap and precision danc- bining music of varying types according to some kind a solo ballerina; and, secondly, that Hattie Rogge inp- fnr H-m GS ' ave a ^ so used such pieces of plan for the production.” today heads the department where all the costumes as the Trhflikn b- ^ des Mirl'tons and The Music Hall shows may be roughly divided into two used in the Music Hall are executed. Parade 0/oT flm w00J ““ tr °Upe ' °U kinds: shows that grow out of music, and shows that Took tr enough you ” y More Studio Cooperation °f grow out of ideas which suggest the music to be used. standard music that Pês can be Sed t The former involves the selection of music that can, “Studios of ballet and interpretative dancing exist aspirants to precision ^ dSicfng AndAnc1 of ’ of ™c°urse, mgenu- so to speak, stand on its own feet in conveying mean- in nearly all our major towns,” observes Florence itv will oner> im oil o T rtS f channels for ing to an audience. Here appear the revues built Rogge, “and the tiling that surprises me is that there music and nrerisin ^ -° combining dancmg for students. once around one composer; productions built on Romantic, isn’t more program-cooperation between them and the had a verv We Classic, French, Oriental or American music; spectacles music studios. Why not try it out? An alert selection °er ' the words Save reasons like the “Scheherazade” production at the Music Hall, of numbers should yield many works that can be whv first nrtp onri fv, which visually danced without special musical adaptations, just as dancers ° f the ' thirty‘ six interpreted the Rimsky-Korsakoff music wanted fa? the^h*W~°ne had Cold on the great stage. The unity of the complete produc- the pieces were written. Strauss waltzes, Sousa marches, one got lazy, a ’ one wanted tn^H,?°tudy tion is fostered ballet excerpts from the operas, individual numbers so - one fel1 in love, and by the music itself; the variety and forth. Then when th* f contrasts, by the way individual selections are adapted like the Chinese Dance, the Reed Flutes Dance and all the absentee SU denly troubles wereôlved n to the various stage ensembles and soloists. The shows the Va2.se des Fleurs from the ‘Nutcracker Suite,’ lend the dancers Tlf''and °ne by one returned. It was themselves ready-made to dance-plus-music programs. something like Haydn’s that grow out of ideas are built the other way around. “Surprise” Symnhonv in ro, entertainment would provide 56 ' 1 °ffer that example Russell Markert, Music Hall producer and director of Such a combined added only as a means^f showing h? s ple the audience, and, also, it would give the ™ ’ diverting ideas the Rockettes, or Florence Rogge, associate producer interest for can be used as the basisKm‘ S for a and director of the Music Hall Corps de Ballet, may participants valuable experience in ensemble stage plot'." Phasing little dance plan an idea that will serve as the “plot” or unifying work. The introduction of pageants into Christmas and Easter programs would do much to give zest and StUd*' program thread of the entire performance. The Music Hall has ten’ to the natton^grate^ho™! ° ' believability to the singing of carols and hymns. 1 forf “ presented old and modern New York shows, an all- You spiration. Look to your in music as the ],b Western revue, a Chinese show, seasonal shows empha- may have no elaborate costumes, lighting or settings, plan either aSls of the Proeram; a group of seWr^ . sizing winter. In such but the animating idea of a performance, carried t0gether spring, summer, autumn and their origin or their mood- by through with an eye to both unity of appeal and or^Mnf Ut cases music is sought that will reinforce the central can be bulwarked by ° idea that music ’ t idea, regardless of whether the numbers selected have variety in projecting that appeal, will over-ride lacks gether with w° 6 y0Ur threads to_ unity of nlm t* themselves. Part in handsome properties.” of P Jected through “school” or “period” unity amongst individual selection ’ variety Of course, studio and school recitals cannot always ri of Miss Rogge’s office equipment is a portable phono- making the whole inBmuity in listening be approached in terms of “shows.” What IZlto m? T1 graph, on which she spends much time to about Miss Rogge ^ ' accordmg to and Messrs Ranee straight piano programs; the programs of solo instru- ' Leon13011 new or unusual music, new arrangements of old num- of the Radio city and Markert Music Hnu , ments orchestras? Mr. Rapee says that - bers, symphonies, suites, tone poems, in her quest for or the Music nings of a program haVe the besir> Hall has occasionally presented grouped soloists 5 mUSirT ideas for Music Hall Ballets. And Mr. Rapee’s astound- — audience appeal. 8™5 a”d ViSUal You may feel that '. ingly wide knowledge of all sorts and varieties of term that seems to defy its own definitions, but which your wagon * y U re hltchin to a star but *11 win °, e music is ever on tap for the producers. has produced interesting performance results. One a “tip” from ““ these famous Music All of the Music Hall department heads state that time Mr. Rapee directed, with the Music Hall orches- Ha,"“showmen. the methods they employ in entertaining 25,000 people tra, twelve talented girls, attractively dressed, in a a day might well be applied on a miniature scale in performance of the First Movement of the Piano Con- music schools. certo, by Tchaikovsky at twelve grand pianos. At the Music Hall, the orchestra was moved up onto the stage Music the Inspiration proper aboard its great, electrically powered “band- New Keys to “Shows have greater zest and greater variety,” wagon,” and the twelve pianists, seated at their instru- Practice Maestro Rapee explains, “if you look to music as the ments, rose slowly before the footlights on the huge than as mere elevator that normally serves to bring the inspiration of attractive theater rather orchestra $u(ie Wlaleon accompaniment. Perhaps music school teachers do not up from the pit. In a studio, there would be no spec- wish to pay the music royalties involved, say, in an all- tacle of traveling bandwagon or pit elevator; there Gershwin or an all-Kern show. But how about putting might not even be twelve grand pianos. But there IV on an all-Stephen Foster revue? Foster affords enough might be enough pianos of some description to make rhythmic and melodic variety for an interesting little possible either an interesting solo number played in roundings'Tteast yo^ZsfbTataf student revue. Possibly even a sketchy little thread of ensemble fashion, or an original work played in all wmeiTyoul plot might be invented to weave the numbers together its parts by a piano ensemble. It would take ingenuity goes to the and work to arrange the parts —you know, a boy bids Susannah goodbye, (of a Schubert Trio, ness of your audience lntel as you nlav with . Oamptown Races, dreams of his Old Kentucky Home, a Beethoven Sonata for Violin and Piano, or a con- arrives only certo) but returns by way of the Swanee River, and , a number would result that could provide point interesting to find Massa in the Cold Ground, at which he entertainment at the same time it gave bids the Ladies to Weep No More. You may smile, but added participative interest and added stage experi- that point.” ence to a number of serious students. at least it illustrates the Other experi- technical S16ge 01 practice after those he! A program of spirituals also has possibilities. Leoni- ments in the combination of other solo months°nths instruments instrument. First away from child in the might also offer because vm, i doff, who produced his first shows as a a clue to program interest. And, of aVe Of your Angers through recovered oont home, using a sheet for a cur- course, the instrumental the , garden of his Russian program lends itself espe- that sort mechan “Instead of cially develops accuracy- ical w tain and charging pins for admission, says. well to those series of selections that follow some second V? more smoothly bacause good tone merely standing up and singing the spirituals, drama- special type, or “school,” or composer. An produced after e interesting third, 0118 scene. Dress up your participants all-Beethoven program, because tone-Sktag wo tize them into a little for instance, might begin “"‘t™ can be found in any with the to it after practicing in return of old things that studio’s littlest aspirant raniriKo , in the kind interpreting Fur demand Chnical less intent lfstemng Passages, wii 248 "FORWARD MARCH WITH MUSIC " , —

Nadine Conner is a native of California, where her ancestors Music and Culture came as pioneer settlers before the Gold Rush. Her great- grandmother's grave is still a shrine of worship in the court- yard of the olfl San Juan Mission. Both of Miss Conner's parents had been on the stage, and their six children all were naturally gifted in music. Miss Conner cannot recall a single day in her childhood without singing and playing, somewhere in the house. Although Nadine was a healthy child, she showed two symptoms that worried her mother; she was too thin, and she had a delicate stomach. Accordingly, when an older brother began Mental Projection in Singing taking singing lessons, the girl followed his studies, spending a full year on breath control and the development of abdominal support. Not dreaming that she had a great voice, she regarded these studies purely as physical exercise. At the end of the A Conference wifh year, however, she was amazed to find, not only that her symptoms had entirely disappeared, but that she could sing. She enrolled at the University of Southern California, where her outstanding work won her the Euterpe Opera Scholarship. While still a student, Miss Conner was engaged by a local radio ^tjculine C^o- onner station, where she was soon "spotted" for national programs, Brilliant including the Bing Crosby hour, and the Nelson Eddy, the American Soprano Coca-Cola, and the Cresta Blanca shows. In 1939, she married A Lending Artist of the Metropolitan Opera Association the distinguished surgeon, Dr. Lawrence Heacock, and retired from her career in order to devote herself to home-making. It was her husband who suggested that she try her powers in opera, just for the fun of it, and Miss Conner joined a local SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLDUT opera company in California. Then, while visiting Eleanor Remick Warren, the composer, she met two members of the Metropolitan Opera; Florence Easton, and Earl Lewis of the managerial staff. Both advised her to make herself heard by to someone else for the “lift” that a good performance perience that urge, you have taken the first step along Metropolitan executives, and arranged an audition with Bruno must give! The other bit of help came from an arduous the road of mental projection. And then that first step Walter. The following autumn, another audi- Miss Conner sang but stimulating, course of study I had. My teacher and must be followed by months—years—a whole life—of tion from the Metropolitan stage, and within twenty-four hours I went into a room that had nothing in it but one trying, of working, of self-questioning, of striving for was given a contract for leading roles. She made her debut as chair. Then, for two hours, I was told to express vari- a perfection which does not exist but the quest of Pamma in "The Magic Flute," and has gone on to steadily allowed to use which gives strength. greater acclaim as Micaela ("Carmen"), Sophia ("Rosen- ous situations and emotions. I was not kavalier" Zerlina my voice either for speaking or for singing; I had no ) ("Don Giovanni" ) , and Marguerite So Much to Learn ("Faust"). Miss Conner's performances are hailed, not only for properties to help me out. Anything I conveyed, any- their vocal purity, but for the wonderful expressiveness with thing I could make my teacher feel, had to come out Perhaps the chief quality needed is a sincere sense which convey they the essence of characterization. In the fol- of me! Now, the important thing is—where did it come of humility! I shall never forget a last-of-the-season lowing conference, Miss Conner gives her views on the qualities from? performance I sang with the great Bruno Walter. that make for excellence of performance. — Editor's Note. The answer—which, I believe, opens the way to the Vacation was just ahead, and everybody had plans. solution of singing and interpretative problems—is Some were going to rest, some were going to have fun, were going to glamorous engagements. T SEEMS TO ME that the average young singer that my “effects” during this study resulted from the some on One of projection the group asked Dr. Walter what he was going sets to work with a somewhat distorted sense of mental projection of an idea. This mental to do. important prerequisites. First, “I always study and research, when I have the time,” I values. He is inclined to believe that mere vocal involves two immensely absolutely certain of the effect she he replied. “By going back and studying the great technique is the wedge that opens the door of success. the singer must be Secondly, she must delve deeply into works over and over again, I ( Continued on Page 286) Now, no one can deny that vocal mastery is an essen- wishes to convey. tial of a vocal career! But it is not the only essential her own emotional re- The best way to prove my point is to ask you to test sources to find the means out your own reactions. Listen to Lily Pons singing of lifting her conception some florid coloratura cadenza. Certainly, she does out of her own mind and “hit the high notes,” and she does execute the florituri infusing it into the minds If either —but is that what you think of when you hear her? of her audience. Are you not conscious, rather, of being moved by element in that important something that reaches you through the singing? Now combination is weak, the listen to some inexperienced young student singing the effect is correspondingly same music. She, too, will encompass the notes and weak. In other words, if get through the technical passages without too much you don’t know exactly express, difficulty. But the effect is hardly the same. You are what you want to it! And conscious of hearing pleasing sounds—you are not you can’t express transported. That difference of effect is the basis for if you don’t know what my own approach to singing. I believe that vocal to do to make others feel leave security is necessary as the starting point of one’s what you do, you work, never as the final goal. That goal must always them cold! To accomplish must be the transporting of the hearer into the atmosphere, both these ends, you the very truth, of the song or aria one sings. That is think; you must do a why the young singer does herself an actual disservice great deal more than when she says, “I can sing the same notes that Lily merely to produce correct Pons does!” By all means, sing the “same notes”—but tones. of ask yourself how you sing them! Try the experiment making another person Profitable Experiences feel what you want him for instruction to feel, without using your I wish that our splendid opportunities course, included more emphasis on the development of indi- voice. At first, of self-conscious. vidual expressiveness. The help that the young singer you will be gestures gains from watching and imitating others is limited, You’ll resort to it brings possibly too overemphatic at best. A performance is moving only when expression. You will to light a well-planned, well-constructed personal inter- facial face of your pretation. Copying the externals of another s personal search the sign of interpretation, and grafting them on your own work, “audience” for a responsiveness that as a sort of finishing touch, defeats true expressive- that whether you ness. Interpretative training should bring out the con- will show you ceptions of the individual singer, regardless of what have conveyed something. suddenly, you someone else does. I remember two incidents of my And then, own training that mean more and more to me, as my will find yourself forge work advances. One was a bit of advice given me by ting your hands and your an experienced Russian actress. She said that each eye-brows; you will feel performer holds in his hand a thread of interest, the only a tremendous, urgent moment he appears on a stage. It is his task to carry desire to put your feeling that thread, unbroken and unsnarled, till the final into that other person’s curtain falls. If the thread snaps, the audience looks mind. When once you ex- NADINE CONNER AS VIOLETTA

MAY, 1945 "FORWARD MARCH WITH MUSIC’ 249 Music in the Home wen io investigate this record; both tone poems have an expressive felicity and charm of their own, although of no great weight. EETHOVEN: Symphony No. 7 in A Beethoven: Quartet in C minor, Opus 18, major, Opus 92; The Philadelphia Or- No. 4; played by the Budapest String Quartet. B chestra, direction of Eugene Ormandy. Columbia set 556. Most Columbia set 557. Rare Classical writers are in agreement that the C Tchaikovsky: Symphony No. 6 in B minor, minor Quartet is the best of Opus 18. It is a Opus 74 (Pathetique); The Philharmonic- strong work, written in a key for which Symphony Orchestra of New York, direction Beethoven had a particular fondness—a key of Artur Rodzinski. Columbia set 558. which has brought about considerable discussion These are the first symphony sets to be Interpretations among his biographers as to its implica- made by Columbia since the lifting of the tions for him. Mozart had his D minor, recording ban. There is a noticeable improve- Beethoven his C minor, and both composers ment in orchestral recording in both sets. In seemed to have chosen these keys when, the the case of the Philharmonic, the tonal natu- implications of their thoughts implied a sub- Records jective ralness is especially praiseworthy. In both On motivation we and expressive depth. find a wider dynamic range than previously There are those who feel that an analogy employed and a better balance of the instru- exists between this work and the celebrated mental sections. An unfamiliar stridency in Pathetique Sonata (in C for minor) , Opus 13, piano. the string tone of the Philadelphia Orchestra The interested reader can make his own comparisons. on records, however, mars an otherwise clear by j-êter Indeed One writer, J. W. N. Sulli- van, states and tonally veracious reproduction. that “the Beethoven of the C It might be observed by some that we were minor (Fifth) Symphony finds the meaning of life hardly in need of new performances of these in achievement in spite The of suffering.” symphonies. But it is our belief that all lead- same may be said of the piano sonata ing conductors of each generation should be and this quartet, although the implications are not as permitted to perpetuate their performances imposing or as strong, for the C natural sound of the orchestra in the minor of the standard repertoire. Examination of Columbia’s cause of the Symphony came in a later maturity. The open- Rodzinski is not given to the excesses of ing movement is catalog shows that it needed up-to-date recordings of recording. the big one, the principal theme re- Stokowski in this music, nor, for that matter, to the calls the initial both these works. The Weingartner performance of one of the. Pathetique Sonata, but the it reserve of Gaubert. If he fails to make the second and mood is less melancholic, Beethoven’s Seventh dates back seven years, and more assured. There is a' third movements as impressionable experiences as dramatic strength was never fully satisfactory as a recording owing to here which inevitably thrills the' Furtwangler did, he does not make the mistake of listener par its over-resonance which is almost an echo at times. ticuiariy when it is played with the mastery in The Gaubert performance of the Pathetique, on the dragging out the first and last movements the which the present foursome brings to it. No other manner of the noted German conductor. reC dS has brou6hfc out the poignancy of For this reason his playing of the opening SSL™ , °L utterance with such searching musical movement seems to us far more persuasive. incicriif mf Which follows is deceiving be- But Furtwangler proves to be the more sen- ^ ^ Wlth lively good homor; some writers of the two men, and f t If sitive and imaginative êthoven was deftly 'l hiding his sorrow in a it is understandable why his performance ™°°SnJd °f tlVe ?? brightness. The Minuet has a sub- of this work has been so widely endorsed. n ’ the characteristic sforzando of the The most compelling performance of this Z Ch eS the lT aspecfcs of tliis writer was one given h i"' 18th-century symphony heard by the e ™ -Tno curiously ?“ ’. suggests Schubert. The by Toscanini, and it is to be hoped that he d a Haydnes(iue joviality, as though will record it at some time in the early fu- the enmnnc ^ t0 Send his hsteners away with ture. Those who like a straightforward, un- an n °f complete elation. But the memory pretentious reading of Tchaikovsky, one in retaS?thp ? r S n °f the hînuing of this work, which there is no undue exploitation of sen- Ind^nVfpPlld f s that^ ! !l°the message the composer put forth timentality but rather an honest unswerving ^ f! eeper nnplications than the music, will do well to t>° j finale conveys. unfoldment of the Thp trlng Uartet gives investigate this set. Its tonal naturalness is pJSLfe nSnf ? us the most ap- e,°f this Work to date on records; one definite asset in its favor. ?t nprfn,^ °h is enduring because has Liadoff: Kikimora, Opus 63; The Halle power dehcn^ hT it d virtuosity. Moreover, has Orchestra, direction of Sir Adrian Boult. been snlendfdiv it Victor disc 11-8729. Here is a smooth example of modern English recording. Made in 1942, this realis- tic but not exaggerated reproduction of a symphony orchestra shows what the British ~ sm

“Thesaurus of the Arts.” By Albert E. Wier. Pages, 690. Price, $5.00. Publishers, G. P. Putnam's Sons.

A dictionary of biographies of painters, sculptors, actors, writers, radio performers, ballet dancers, mu- The Etude sicians, movie stars, and terms related to all of these callings can hardly be comprehended in 690 pages without serious omissions. The author, whose extensive work has largely been concerned with music, has made an ambitious essay to cover as much ground Music Lover’s Bookshelf as possible, but with a range from Kate Smith to Beethoven, from A. L. Erlanger to John Erskine, from lapis lazuli to Mother Goose, from Charlie Chaplin to Paderewski, and from John Field to W. C. Fields, there was no knowing where to stop. Even then, it was Any book here necessary to leave out many very important figures. reviewed may be secured from There are many who will find this collection very THE ETUDE MUSIC useful in securing information about curious person- MAGAZINE at the price given plus alities and facts which are not ordinarily, found in postage. the usual encyclopediae. These include Lady Godiva, Glyndebourne Opera, Igrouchka, idee fixe, the Los Angeles County Museum, McIntyre and Heath, Niblo’s Gardens, Newstead Abbey, Petrarch, and perspective. It will thus supplement the volumes in the average library, especially in the cases of more recent per- sonalities. hj. ^YFJereclitL C^acln

A Remarkable English Musical kissing a pretty girl and watching someone else kiss (3) not to go out walking alone—and preferably Development her.” not to go out walking at all, Dr. Erskine, who has spent the better part of his life (4) to feel absolutely assured of my love. Up to “Music in the Five Towns 1840-1914.” By R. Nettel. in education, apart from the time he has devoted to the present I have not written a single letter to Pages, 120. Price, $2.50. Publishers, Oxford University writing novels and to music, has put down the answers you without placing your dear portrait before me. Press. to the hundreds of questions which those who have (5) I beg you in your conduct not only to be not been trained in music are continually asking about careful of your honor and mine, but also to con- In these days of flying infernal machines it is pe- this, the most intriguing, of arts. Doubtless many who sider appearances. Do not be angry with me for culiarly English to witness the appearance of a new read the book will be inspired to take up the study of asking this. You ought to love me even more for book from the Oxford University Press dealing with the art, particularly as Dr. Erskine is an “amateur” thus valuing your honor, the music that has evolved from the district now in- musician himself, having taken up piano study seri- (6) and lastly I beg you to send me more details cluded in what is known as the County Borough of ously when past forty and later playing with major in your letters. I should very much like to know Stoke-on-Trent. There, are located the Five Towns symphony orchestras. The chapter on the teacher is whether our brother-in-law Hofer came to see us which Arnold Bennett has immortalized in his novels especially valuable to musical educators, inasmuch as the day after my departure? Whether he comes of that district (“Clayhanger,” “Old Wives’ Tales”). Dr. Erskine, after his years at Columbia University as very often, as he promised me he would? Whether There, workers in the far spread collieries were led to a teacher of English, served for ten years as President the Langes come sometimes? Whether progress develop an interest in choral singing under conditions of the Juilliard School of Music in New York. is being made with the portrait? What sort of life so native that music became cemented with the social organization of the people to an extent rarely found A Personalized Mozart elsewhere in the world. This led to a musical growth on basis more productive of high artistic aim than a “Mozart, His Character, His Work.” By Alfred Ein- anything in English musical history since the days stein. Pages, 492. Price, $5.00. Publishers, Oxford Uni- of Gibbon and Purcell. versity Press. Just how the work of Miss Ann Glover and John Curwen, through the tonic Sol-fa system, as well as This is by no means a rewarming of old material enabled under- the efforts of Marie Holst Reymond, an about the most gracious of composers, but rather a illiterate people training privileged and often to get a keen and fervid appreciation of Mozart as a very real choral music that led to great festivals and the in human being and as an inspired craftsman. In his of masterly music, is a notable contribu- production scant thirty-six years, the amazing genius of Mozart history time. This biography tion to the musical of the worked with such force and intensity that he turned people struggling to express itself in song should of a out in this miraculously short time more compositions itself to all lovers of choral music. commend of importance than almost any other master. Only Wagner can be compared with him in this respect, and Wagner lived almost twice as many years. A Musical Prologue Mozart’s life was beset with maddening difficulties and jealous intrigue, yet despite all this, he was gen- Erskine. Pages, 212. Price, “What is Music?” By John erally a most genial and joyous individual. Dr. Ein- J. B. Lippincott Company. $2.75. Publishers, stein, who is Professor of Music at Smith College, devotes one of his most entertaining chapters to “Mozart Elizabethan As the speaker of the prologue in drama and the Eternal Feminine,” pointing out that Mozart after he had given the used to pull aside the curtains was “small, delicate, unprepossessing, and poor,” and were about to audience an intimation of what they that “his" relations with women formed a chain of in- book that will behold, so Dr. John Erskine has made a adequacies, and in them we have further evidence that of people who serve as a prologue for the thousands he was not fitted to deal with the actualities of life.” only a vague are interested in music but who have Dr. Einstein quotes an odd and affectionate letter been many idea of what it is all about. There have which Mozart wrote to his wife (Constanza Weber) J. Hen- books aimed at the same target, of which W. in 1789: (1898) was one of derson’s “What is Good Music?” “Dear little wife, I have a number of requests A RARE MOZART PORTRAIT in recognition the most used prototypes. Gradually, to make. I beg you This portrait was drawn from a "silver crayon" picture of study in what is of the need, there grew courses (1) not to be melancholy, made by Doris Stock in Dresden in 1789, two years after with a library of Mozart's death. now called “musical appreciation,” (2) to take care of your health and to beware through music, books designed to lead the music lover of the spring breezes, you are leading? All these things are naturally of without learning to play an instrument. Such books me.” have unquestionably expanded the circulation of mu- great interest to The author's account of Mozart’s Catholicism and sical information, although the nimble witted, epi- grammatic James G. Huneker once said that “the Freemasonry makes a curiously interesting picture. Part II of the book is given over to an illuminating difference between musical participation and musical BOOKS discussion of the principal works of the composer. appreciation is the same as the difference between 251 MAY, 1945 'FORWARD MARCH WITH MUSIC” , ” ,

Music and Study

Log of a Coast Guard Reservist

. . . Patrol boat . . . early morning standing radio watch ... at first, like hearing Esquimaux, Choctaw and Ha- Teacher’s Round Table waiian all at once . . . can only make The out something like “Nannanokeoke, nan-

. . . nanokeoke” . . . completely befuddled soon begin to make sense out of signals

. . . the brain . . . tough on Conducted by for the teacher are scattered through the Brass polishing, dish washing and gen- ups and downs of adolescence. One of clean-up next (more in my line) eral them comes when found a sand- Jane, having . . . later, detailed to scrape and pianistic passage difficult to master, sud- patrol boat . . . hard job paper side of denly asks , you, “How shall I go about perched on seat of dory, . . . precariously CtlGr W. practicing this passage?" When that must scrape with one hand while other Q-t happens you give an inner whoop of joy, clings to patrol boat for dear life ... all MllS. Doc. for Jane is now well on the way to think- forces of nature conspire—tide currents, *n about music. . . . ,, , n. . 9 You must first find sudden swells, teetering dory, contrary IMOIGQ rianiSl out how she has been practicing the boat . . . Whoosh! dip and roll of patrol passage ’ then Produce your own methods release of grip . . . inri MilQir FHnrntnr . . . big wave forces ana music taucator and props But be sure to present them let go just in time to avoid ducking . . . as intelligently and stimulatingly as . . . . close call . . ugh . . . cold water possible. (Holding on with one arm and sand- papering with other, bad for finger tech- On nic but good for arm and shoulder) . . . Curiosity Later, "chow” and more galley duty. Speaking of young people I am con- guard stantly Afternoon detail . . . standing, shocked by their lack of curiosity. in compelling discipline. Explain to the . feel important on long ocean pier . . What most of them don’t know about the parents that piano study requires intense “38” strapped to side . . . piece they with revolver are learning . . . concentration, whole-hearted and whole- is appalling. watch," later We, first to “tide-water teachers, are . assigned . . minded application. ... In other words, to blame for this. to “sea-watch” (lovely names to set to Here’s an example which I shamefully IMPORTANT! it is one of the most complexly disci- report . . . sun, confess. music) . . . not much to An intelligent lad had paper restrictions, allail plined activities we know And there- of sixteen, surf thundering Owing to extreme wartime been sky, sea . . . mountainous this department musT nor studying the first Nocturne (B-flat inquiries addressed to j a salubriOUS influence on the . in length. * slip by . . “Black one hundred words . minor) of ashore . . . sleek seals exceed , Chopin for three during youth or girl. weeks Widows” (planes, not spiders) darting which time I didn’t tell about Also, assure the parents that the length him much “Blimp" slipping the piece, across sky . . . silent except how to — of the youngster’s daily practice is. of far play it When, sunset, swiftly ex- finally I along . . . glowing questioned him, he less consequence than the kind of prac- I found that tinguished by blue cloak of darkness . . . did not know he does If he will practice as you (1) the key of the Noc- through soft the young people, the compli- tice end of watch . . . ashore forced on turne; (2) the key have shown him, excellent results can be of the middle section; rated curriculum; the extra-curricular the starlight . . . little as thirty ^ meaning of sotto voce, poco the part time jobs, achieved with as minutes . . . Coast activities, and also s Another duty day done etto> smorzando, a But for this you your- and so on; (4) any- busi- y d ^ Guard excellent antidote for artist, «*»•*»* beautiful moduiatfons; away s“ mu3t be sure to “be eJbS/and . sweeps ness man or professional . . of sy p y, ^ 5 ) the tempo scientific in your “concentrated practice” sign at the beginning. . renews clears perspective . . la ,ust cobwebs . . . student. Make certain “ trying for weeks to solve rJ.ho‘ is’is. MakeMaxe^inethe directions to the J* . . . fine treatmentlT pinrescribeesciibe . of lot of good The a mathematical zest . . does heck assignment is SQ clearly ex _ problem without under- these ^ and Reserves, young pe ^ ® andmg bunch of Regulars P written down in his notebook aome of the important steps , j lesson once plained and Coast Guarders . . . Sn to the San an that the usual excuses for not practicing solution; or like present- ££ nr nnJ ?n two ^^eeks a peech by will be of no avail. For, as we all know memory without knowing Thoughts informal musical evening once a month it the J , More On-Duty meaning of many of the or groups with a words; hours, for young high school rymg to put a machine During the long pier-pacing refreshments ^ ~’crawiing T ofSU- together when “sings,” ensemble music, = you do not serious and light, know the function Round Table thoughts, duets and ments than a high school boy or girl. of certain . . Assign and even dancing! . parts. run along with the rhythmic roll of the pieces “teaming” the students the problem of the two piano Always insist—-not once, . there is ,. but . First, many sea. . popular radio “hits” More Thoughts on Adolescents with us al- carefully. . . . Teach times—on questioning which we have . each pupil as to adolescent . ... — . student. . . . Play to the insoluble and Boogie. . Advise the parents not to worry much the key, composer, ways—more insistent and more not opus number and Assign much material to be read and even the suddenest, strangest “craze” tempo mark during these times than ever before. over of his pieces; underscore any studied. ... At lessons, occa- ’teen aged asked the question, thoroughly manifested by their progeny, obscure musical direction Many teachers have for a few or meaning sionally force concentration because nine out of ten times it is just with red to do with the young boy crayon, and catechise frennentlv “What are we lighten up on the disci- intelli- minutes, then another passing phase. . . . Better let it concerning such or girl, twelve to sixteen, who has items; make him for- ‘blah pline. _ _ wear itself and not them, out! If. some ever aware of just goes . the chief rhviVimirai 0 gence and talent, but who frankly how nH Explain to the boy or girl Qf them despair because their adored harmonic bases on us?” of the niece the mnrinin- harder it is to concentrate on Dick or Jane prefers such, and have re- much fifteen-year-old to tions, the form, and the emotional rrml Yes, I know many any school subject— piano study than on out Boogie-Woogie rather than tent . of the “breed,” who poun1 d cently taught several . .AmnlinntQfl IP Oil f Cl I ... . of the many complicated mental they must put Show them how to because the Moonlight Sonata, up Let us not forget during this resist all treatment. processes required. Give difficult and out and physical with it gracefully. Dick will “find” him- period that it is our practice, how to study, week in humorous, duty to keep the praise wherever possible. Be all the sooner and all the surer if adolescent result is nil. There is no self on as even a keel as possible. —and the net imaginative. of sit- forbearing, they let the B.W. .run its course After Just now it is as actual active opposition, just a sort important a “defense” living life to sheer inertia All ordi- . all, who is Dick or Jane’s any- job guard the characters, balance down strike of The Parents and . . . Certainly not the parents. . . . development . . . Teacher way? of these nary remedies are ineffective. youngsters as it is know what to try next. sympathetic relations with So they must be humorously patient to make planes or is at wit’s end to Establish munitions to fight patient, and try find that about such sorely trying phases. And Germans or Let’s examine the the parents. You'll probably Japs, pesky case . . . too, are deeply concerned. Their golly! We all know how trying they can to diagnose the they, daughter or son used to be on the honor be . . . On Playinq for High "Negativism" in Adolescents roll, but now has slumped badly in school. Do not demand too much finish and School

. . . from adolescents, caused (1) They are worried sick about it. If you perfection unless they Students Negativism in -teen agers is tell them that you occasionally “crack themselves want it . . . which sometimes mental state

OU ARE a busy teacher these days, and have Music and Study more pupils than you want—you are working Ylong teaching hours; you have more pupils than you have ever had before; you, who had a terrific struggle lasting out the depression, are making, more money than you have ever made before, teaching music—but, have you given any thought to what might happen to you, your teaching, and your pupils after The Music Teacher and the war is over, and money stops flowing in a silver stream into your bank account? During these hectic times .here are people who will buy anything they can find for sale. People who never thought of music lessons five years ago are studying; The Post-War Period the price for lessons is no object if they find the teacher they want, sometimes even when they do not. Money is easy to get, therefore it slips easily through the fingers. But—what about the days to come, when war workers are no longer in “the big money” and pupils drop out because there isn’t the money to pay for lessons, as in the golden days of 1942, 1943, and 1944? What will you do then? Drop the music teaching The gigantic pressure at the past four years, with their unspeakable human sacrifices and material destruc- business, as so many good teachers did in 1932, 1933, tion, has had one other effect which few realize. In the chemical laboratories and in the great industries and 1934? Or are you willing to take stock of yourself the pressure has speeded up invention and discovery so that1 in this field we have made a jump ahead now, your training, your your value equipment, and of probably fifty years over normal times. This has created new methods, devices, and inventions which teacher as a music to your future pupils? are likely to be of indescribable advantage to modern living. All of this means that vast sums will be spent for these materials, which will require the employment millions Stock Taking Begins of of men. The condition should insure long prosperity in filling the needs of the post-war world. — Editor's Note. The teachers who do take stock of themselves and pull up the weak links, will be the teachers who will be most likely to succeed in the end. Those who do not, your studio with the eyes of a stranger. Sit down, and washed with soap, water and a brush. If you have will mourn just as before, that “pupils do not seem to then and there go over the general appearance with window shades, are they adjusted to the same level? have as much talent as they formerly had,” “Parents yourself. Are the windows clean? They are the eyes of your - are not as interested in then children’s cultural edu- Is it clean? Has it been dusted? Why do some artists studio cation as they were.” “Boys and girls are lazy these refuse to see the dust and the litter of music and Do the chairs and sofas show excessive wear? New days” and so forth. You have doubtless been “getting papers with which most music studio furnishings are upholstering is hard to get these days, but you can buy chintz by the yard. Stitch two lengths together and throw it over the sofa, or the chair. Bright gay material does not cost any more than the gloomy stuff seen so often in middle class hotels, and it will give your studio a real face lifting; or perhaps you have an Indian Print in a trunk in the store-room? It will give your studio a nice artistic touch. Do you have a good light at each piano? Are your pianos always in time? Do you keep current magazines, music magazines, and a good book or two on a table in the pupil’s wait- ing room or do you have just the funny magazines and “Little Lulu”? Do you provide ash trays and matches for the smokers? Is your studio a pleasant work shop? Is it light? Airy? Cheerful? Are those pictures on the walls real works of art, copies or prints though they may be? For a modest sum you can buy plaster plaques, wood block prints, and copies of famous oil paintings of composers which will be a real addition to the walls of any studio.

Personality in the Studio Is the atmosphere of your studio that of a studio, or is it your living room first, and your studio at odd times? Does it reflect you? Is the approach to it from the outside attractive so that your pupils can point to it with pride, or is the yard strewn with papers, cigar wrappers, dirt, and general litter? Does the front entrance have an “inviting” look about it or is it bare and unfriendly with dust in the corners? A grass rug on the floor of the entrance, be it small or a full sized porch; a weather-proofed chair, and a gay flower pot or two will give it cheer which carries with it success. Do not ever feel that your love for music and a college or conservatory degree make up for the natural com- forts of life. To the average parent or pupil in search of a teacher, the outside appearance of the studio

Fostor Parents Plan Jor War Children, Inc. makes a lasting impression. It is up to you to make it INTO A NEW WORLD AFTER THE WAR a good one. Only when you reach the place where your price has risen to ten dollars These little mites are foster children of the Wcr. They are refugees far from the roar of explosives, per lesson, or more, being led into a new life through beauty by means of the Foster Parents Plan for War Children, Inc., can you afford to be independent about this. On the sponsored in England and America by a large group of representative people. Further information other hand, do not think that lack of teaching ability may be obtained through Miss Edna Blue, Executive Chairman, 55 West 42nd Street, New York, N. Y. can be glossed over by rugs, flower pots, and other gadgets; but do be modern! Show your artistic ability! Be twentieth century! by” these affluent days, but the day of reckoning will covered? It does not take much money to make an How about the Studio itself? Is it attractive? come. attractive work room but it does take personal inter- “But flowers cost so much unless you raise them What about your studio?—Does it attract or does it est and now and then a can of paint, or a broom and yourself,” you say. True enough; ljut you don’t have not? mop. to have cut flowers; nor is it necessary to resort to You do not know? Well then, stop this minute, go Are the straps of the Venetian blinds torn? They paper flowers. No! Not even diu-ing the winter in the outside; walk around the block and come back into can be mended easily. Are they soiled? They can be frozen north and east. A fern, a bowl of water plants

MAY, 1945 "FORWARD iMARCH WITH MUSIC 253 charge per record, will cover the expense and you will Music and Study * soon be famous for your generosity. It does not harm ne Hour of Practice the machine to use it, but the manufacturers warn Lij. ^Jdijinan purchasers against moving it around. It is a very deli- Cjoidstein moving it across the room might cate instrument, and ROM TIME TO TIME fiddlers neglect their or a pot of ivy is possible and easy to find. Did you cause damage. daily practice chores. A rendezvous with the ever try planting a few grapefruit, lemon, or orange Be the first music teacher in your community to own F army, with a strenuous job, with a series of dis- seeds in a flower pot? The waxy green of the leaves earn a reputation for modern, a recording machine and tractions, may prevent practice for days, weeks, even and later the fragrant blooms are an addition to any teaching methods. If up-to-date equipment as well as months. The following program of practice has served studio. take care of the Post-War planning now, you will you to unlimber stiff bow arms, loosen fingers, and rebuild Now, as never before, radio and television are mak- be well taken care of during that period. a basically sound technique. ing it increasingly necessary that music teachers mod- It may seem a large order to condense into one hour ernize their teaching equipment. It might have been the fruit of many hours of continuous practice. How- all right for a good teacher to use a battered upright ever, it is advanced here with no' reservations. In fact, piano during the “good old days” twenty-five or thirty A Tragic Memorial this program may serve to revitalize the regular prac- years ago, but that era is gone and nearly forgotten. tice period of which it seems sometimes that more than At least one grand piano is absolutely necessary in LARENCE LUCAS, Canadian-born composer, ed- eighty per cent is pure waste motion. the studios of the competent, progressive music teacher itor, and contributor to The Etude, now seventy- The first requirement is concentrated and long a resident of London and the attention. who expects to make music teaching a business. Look- C eight Practice, supplemented by rambles mental visions of the ball ing successful is the other half of being successful. continent, reports that on one of his recent game around the corner, or the new party dress of the There are, of course, exceptions this axiom, but you through the devastated English capital he came across to girl next door, is ineffective. Daydreams evidently a former farmhouse must be parked had better let the other person be the exception. an ancient building, outside of the music room. Critical listening is de- swallowed up in the advance of the city. It was merely pendent on continuous attention. The Job of Holding Pupils houses damaged or destroyed by No practice period one of the 300,000 has any merit unless walls it is exclusively focused on the Music teaching is a fickle and uncertain business, bombs. The windows were blown out and the important element: the work to cracked, but on the walls was an uninjured tablet be done. and holding pupils is not easy. The first attraction is were The bow arm is naturally clumsy after a period of enough. is for with the inscription: not Good teaching not enough most e ess s °w eig ' ht or ? . sixteen-beat down-bow and pupils. Pupils must be able to point to their teacher, Mozart )up-bow, using the Wolfgang Amadeus tones of the G major scale, will serve the studio and the equipment with pride; else they are 1756-1791 n a fe essential muscles. variety in not long hunting teacher merits their pride. . Some up a who his first symphony nr*Sf an be \obfcamed composed here even on these long tones. One A business man knows this, but so few music teachers vnriaH s concerned 1764 with volume control. tones do. Ir? I Four ay Very 0ftly: f0Ur his amazing family to London are played at maximum A recording machine is to a music teacher what an Leopold Mozart took ™ „m p Th en ,! ’ aUernately one and remained in England for fifteen months. - tQne in a hushed pla- X-Ray machine is to a doctor or surgeon. Do you have in 1764 rciSm 7£ neXtf virtuoso son, the composer, m a strong fortissimo. changes a recording machine as part of your equipment? His little eight-year-old in voinm Then, 0ne t0ne: begklnin displayed his phenomenal gifts and received wonder- g softly, crescendo to Recording, machines are not expensive. They begin jorte,forte fadingfTriinTfto George III, who was pianissimo. as low as twenty dollars, you can get one, and ful attention everywhere. King when 8 may be it upon himself to examine varied to other a very fine one costs about one-hundred fifty dollars interested in music, took AmaTor^nH^n keys, D major, tried the °n is we11 to faculty for sight reading. He boy ’ avoid minor keys and and up. Your radio man can give you good advice as Mozart’s . anv additional c°mplications^ to out with pieces by Handel, Bach, and Abel and was - The important elements which one will give you the best service and results in this series °f precocity. While in Lon- f b°W GXerCises in your community. Altitudes, mountains or lack of dumbfounded by the child’s Station include transition, tone, for harpsichord, them, climatic conditions, humidity and so forth all don- Mozart wrote several sonatas and performed over and 0 have to be taken into consideration. Be sure the agency for violin. His first symphony was tmnsiUc 1 "FORWARD MARCH WITH MUSIC" onTafe 254 the etude —

Many months must be spent in practicing Music and Stud'j breath control, before tho voice responds to the will of the singer. There must be abso- until you are developed to the point where they lute control in order to produce shadings of mean something to you. Above all the music must come from tone, and evenly sustained notes. All too few the heart. Until you have lived, you cannot really put are the singers who spend enough time in over the feelings of the more dramatic songs, but the development of their voices, most singers by assiduously practicing them, the emotions will be being much too anxious to tackle a song, developed to the point where you can understand long before their voices are ready. them. Strong Muscles Needed Possibly one of the reasons for the popularity of the A singer needs a good physique. He should crooners and blues singers, is that their words are eat well, for in order to achieve a climax to always clearly enunciated. It might be well to study a song, there must be plently of strength the style of these singers, not with the idea of imitat- behind the voice. Even to control the voice ing them, but with the thought of incorporating in the in soft singing, there should be strong better type music whatever is best of their method. muscles to hold the breath. The muscles of While it is better to sing a simple song well, rather the chest and abdomen must be firm, so than a difficult song badly, at the same time, some of that the tone may be well supported. The the old favorites, such as the Stephen Foster songs, writer has found that gardening, with its the old Scottish and Irish songs, and folk songs of constant stooping and bending, is one of many other countries, need a fine singer to interpret the best exercises to strengthen the muscles them. There is no possibility of hiding mistakes or that support the voice. Not only the chest bad voice production. and abdominal muscles are thus strength- One thing necessary to putting over a song, especially ened, but those of the back, shoulders and one displaying a feeling of sadness or love, is genuine legs as well. tenderness on the part of the singer. A singer should A singer should not be tired before a per- learn to know and like people. Too many singers look formance. He should get proper rest and on people in general as their enemies, and never sleep, and plenty of fresh air. He cannot acquire that genuine affection and sympathy so neces- have control of his voice, if his mind and sary in putting over their songs. body are tired. In singing foreign songs, it is well to study the lan- The voice must be capable of many colors, guages carefully. You should become the nationality if he is to do a song really well. This is of your song, so that you almost think in the language especially so in modern music, where so in which you sing. To aid in developing the voice, it is often the singer must paint a picture in well to practice a good deal in foreign languages. For sound. instance, Italian helps to make the voice flexible, Ger- In choqging songs, one should be most man helps to develop volume and power, while French careful to select those that are suitable for gives it feeling and dramatic style. All these languages A DIVA REHEARSES the voice, and that will display its best are a great help to singing in English, which is a difficult art in itself. Gladys Swarthout, noted operatic and screen singer, in a char- qualities to advantage. If one is beginning The voice should acteristic pose, rehearsing with her accompanist, Lester Hodges. a career, it is perhaps wisest to stick to the be smooth and well under control, as well as evenly developed. It is best in the earlier stages of study to practice softly, increasing the tone as the breath is more easily held and the lip muscles become firm and strong. Climaxes should never be forced, but always come easy with a full, round tone. Putting Over a Song While it is desirable to produce as lovely a tone as possible, there are times when a song calls for a decidedly ugly tone, almost nasal in quality, and a good singer will not hesitate to sacrifice beautiful tones in order to achieve this effect. There are many examples lij Cffara d3arrett of this type of singing in opera and in character songs. The ugly tones, instead of being annoying, in reality show up the beauty of the voice when singing the more refined tones. HERE ARE MANY PEOPLE who have beautiful better known classics, as these are beautiful in them- There is always the question of how to overcome voices; there are many who sing with correct selves, and depend for the most part on melodic line nervousness. The writer has been asked many times, technique fine few who and musical excellence, rather than on tone shading, T and tone; but there are if one ever really overcomes it. Some may, but few can really put over a song. That is, there are few who or individual interpretation. Also, these songs aid in ever do. In fact, without a certain amount of tempera- can sing a song so that it leaves absolutely no doubt developing the beauty of the voice, and they are so fine ment and nervousness, you would not be sensitive in the minds of the listeners, as to its meaning and that even bad singing cannot entirely ruin them. enough to be a good singer. This condition, however, the feeling it is supposed to express. Study the songs well; learn as much as possible should be controlled until it becomes an asset, rather If people say your voice is good, that is a great com- about the composer, and the circumstances under than a hindrance. It is well to try your songs first on a pliment; if they say you sing well, that is better still; which the songs were written. Analyse the songs, pay- few familiar friends, if possible in your own home. but if they say, “That was a lovely song; it did things ing especial attention to words, time, rhythm, notes, Then increase the audience until you are ready to face that to us; it really made us feel,” that is the best of all, for expression signs, phrasing, and anything else will a large crowd. Try to belong to a music club, or a you have truly put over your song and made it live. help in good interpretation. Learn the sound of the rehearsal society; the experience gained in these Like anyone else in business, a singer is a salesman. accompaniment and practice with your accompanist, groups is of enormous benefit. so piece will more of duet for piano It is his duty to make people like songs, and especially that the be a As you face your audience relax; take time to get so when they are those written by living composers, and voice. the feel of it, and look it squarely in the face as if you whose songs can become known only through fine meant business. Never let those in the audience think Let the Song "Ripen" interpretation by capable artists. If you can make an you are afraid. Do not sing down to them; if you are unfamiliar song pleasing to an audience that only likes It is a good plan to keep a song a few months before singing a common song, make it sound like a fine one. have done a fine piece presenting it to the public, learning it so thoroughly what it knows, then indeed you Be humble and approach your music with reverence. of work. Without great singers, fine new songs would that it actually becomes part of you. No one can really You are not on the platform to display your voice, nor never become known, and old favorites would die. So put over a song he does not know well. Proper tone your personality—too often personality is allowed to you can readily see what a responsibility rests on the values should be given for each word, and the voice so take the place of sound musicianship and training performer. well supported on the breath and so correctly placed you are not there to receive applause or congratula- If a violinist wishes to play a fine composition, ,he that every note, and every word from the loudest tions, nor yet to astound a gathering with your amaz- like first of all procures a good violin. In manner one fortissimo to the softest pianissimo can be heard in ing technique or vocal ability. Your chief purpose i s to who would perform a song well, must make sure he every part of the auditorium. put over your songs, to make people like them, to help has a fine voice. Now, there are not many who have Choose songs to suit your emotional capacity. Never people forget their troubles, to take the tiredness out really beautiful voices to begin with. There may be a sing songs you do not feel or understand; keep them of the minds of those who toil, to relieve the monotony few good notes in a voice, or a light pleasing quality; of everyday existence, and to do your own little bit in but most singers have to spend many hours in culti- helping make this old world a finer and more beautiful vating their voices, to bring them to that stage of place to live in, at the same time trying to give a perfection, where they can play on their voices, mak- glimpse of a better world beyond. If you do this even ing them do as they will, just as violinists, or players VOICE in a small way, you will have more than justified your of other instruments, make them respond to their wills. claim to being a fine singer.

MAY, 1945 "FORWARD MARCH WITH MUSIC” 25 5 — °

Music and Study In this four-tone chord notice that the four notes are equally spaced, each a minor third (three half- steps) from its neighbor and that the notes are written on successive lines. When so written you may be sure that the root is the bottom note, in this case G- sharp. Stick to this spelling and the notes may be arranged at will in any order desired with any note How to Spell in Writing Music at the bottom. The identity of the chord remains fixed, its notes are found in the scale of A-minor. Its root is the seventh degree of the scale (called leading tone) a half-step, or minor second, below the keynote. It is the diminished seventh chord of the key of A-minor. Before we Ilf drtilnir £JAecicox leave this chord notice particularly that to spell it correctly and identify its key, you must know its root and reckon its three minor thirds from this root. Now let us next examine Mr. Heacox has provided us with the following autobiographi- Ex. 2 (b) . Play it. You are striking the cal notes which we print in lieu of our customary introduction. same notes as before. It certainly sounds the same but its "As a pioneer boy on a western Iowa farm I received my first meaning is changed. It is not now "at music lessons on a reed organ from our country school teacher, home”—in A-minor. Place the A-flat at the top and Mr. A. A. Beane, A.B. Bowdoin College. I was hungry you an from identify the root as B. The chord now appears for a wider horizon in music. Getting hold of a list of music at home" in the key of C-minor. The A-flat now publications I sent a subscription for The Etude, which I had makes sense where a G-sharp would be incorrect spell- never seen. If came to our country post office. I was delighted, the other two and devoured its contents. Among its advertisements was a forms of the chord at (c) and (d) by finding the small picture of Warner Hall, the beautiful (then new) build- root and the keynote. If you can do this you are ready ing of Oberlin Conservatory of Music. From that day, with a for the next problem; see Ex. 3. boy's keen hunger for a music education, I nursed the hope Ex. 3 that I might study in Oberlin. In due time, after teaching country school, teaching singing schools then popular, and keeping an eye constantly on my goal, I reached Oberlin with

a small trunk, my piano, and my 'high wheel' bicycle in 1887, a b r. a bashful boy, a total stranger. I have always said The Etude I a> |h‘ c.

gave me the 'lucky strike.' I studied in Oberlin Conservatory and College six years, and taught there forty-two years, except the years of leave for study in Europe. mi "The second ' ed S6Venth chords book I wrote, one on Ear Training, was accepted board wh on the piano key- in y U reaCh a personal letter from Theodore Presser, that friend to thou- ,° the fourth chord (a) l It is the r sands of struggling students. I met him later at M.T.N.A. similarly every fourth chord as meetings and came to admire him personally, as did all who you ascend ‘VC ^°“atlc scale is but a repetition, see knew him. I have been led to write these intimate lines as a h lrthe •’ rnore each of these chords tribute to Theodore Presser and The Etude, whose help when a mav be pnharmn ®'J 5 omcally written fellow needed a friend has never been forgotten ." Editor's Note. as is shown with chord (a) in E, a se£ at)ove ’ without using double nr h \ , L any shams flatS ' Thus Ex - 3 spelled so to be >K) can be i ur fourmthers “ different Ws. and in O YOU KNOW when a chord makes sense w" a i° and 8 douWe sha chord can be located fP or flat each when it does not? Have you sometimes won- hf more mln° r key. fifteen in all. The Chord is d dered why a composer writes a chord, say, V T D ' ai01 0“* * other story best ^ ^ G-sharp B D F in one place and in another writes the omme°dhe” ARTHUR E. HEACOX S S same sound A-flat B D F? If you already know the th be8i g 0, t lis articIe the fUnC tlon ' ( me“tag) . way of such spellings, this little article is not for you. 0f a w“ . ! ; .® d 15 determined what it 1. spelling does. For . by Don’t read it. to study it under two heads: chord tones, 2. examnip if her be as a But to many a music student in his early theory les- spelling non-chord tones. of toe chorMaLll ? “““ and behavior tl1 ltS SPellin8 sons, and to many a young composer this matter of should” nuiy ?° Spelling Chord Tones But in mnriiiir>n , as such, spelling is puzzling annoying,. There is a not only but l ° is often * ne key to another a chord oest way to write even a chromatic scale. And the In simple music requiring no sharps or flats except used in a* f naturally relationship, reached quite function (meaning) of a chord is determined by what those in the signature, there is rarely any problem in in the finl t but left the spelling unless you wish to alter the harmonic color second key In * as a mamber of it does, the sense it makes in the musical sentence. h a fSe case, first ’ ^ spelled correctly in the is enough; its place in the key is de- of a triad for variety. In such a if you depend key it is not vf Mere sound not m, clrJ, sound, you easily the second. ecl necessary to respell it in termined by its spelling. To make sense to the mu- solely on the may make a slip in In other your spelling. Here is an example from a very good in the .*”„**“ Sake ° f simplicity sician, both its sound and its spelling are important. notation one correS' composer, an excellent singer, was Two 1 pellm e is enough, It must make sense in the musical sentence. song. The either examples of thi. vf the BiVen la> careless or uncertain of his spelling; see Ex. 1 (a). diminished ln Ex ' *' At Compare this problem with an obvious parallel in seventh C1ch" the d ln A“minor behaves like the choice and spelling of words in our language. You Ex.l diminished sevpnt| ? raised rii 011 are teaching a young foreigner to use English. He fourth deerep nft?' the chromatically G-sharp key of B-minor (E-sharp writes for you, “I gave the man cede for his garden.” B D) and wJ, .” the latter beautifully into cadence in You correct him, ‘‘No, you should write seed, see d key The hrn a intended below is ‘‘But why,” he replies, “it sounds the same, why can't to indicate Si, the chord at (a) black elation to that it sounds note the keys - The I spell it c e d e?” You must admit the To the musician it is clear that the composer should E-sharp is rm+ two as a necessary. merely same, but you explain that as he wrote it in that sen- have written the correct spelling shown at (b). True, hint of what thp We give it meaning. 6 F has tence it does not make sense. For the same reason in (a) and

MAY, 1945 "FOR WARD MARCH WITH MUSIC 257 we as teachers, have to persuade him to use his eyes Music and Study elsewhere. With many children, if we immediately introduce the staff and notes, they will not want to put their eyes on the music because they are not familiar with the notes and they do not wish to struggle with all these unfamiliar symbols. Therefore we first get the eyes to working away from the instru- “Eyes to See” ment, by the use of some such device as this: Suppose we wish to teach the little tune Twinkle, Twinkle, Little Star. We write on the blackboard not a staff but these simple letters and numbers of which the child already knows the significance: reen SluaU. -A. Ji. Q. D D A A 1 1 A L D 3 3 2 2 1 1 D

have therefore begun to learn to read the He interprets HE PROBLEM of teaching any child to read, school (and these by playing on his instrument we need not concern ourselves with the as follows: open D, open D, finger whether it be language or music, is a problem language) open A, open A, one of reading readiness that the first-grade on A, one finger line which should be approached with real under- same type on A, open A. By placing a T it would seem that our seek. Therefore, underneath we standing and intelligence on the part of the teacher. teacher may the last A in the first row of letters, readiness cue, for stringed instruments, would teach the child the In the modern school this phase of academic in- reading to hold that note longer than affirmative answer to this question: “Can the others. In the struction has been given almost an infinite amount be an second row of letters we place the D handle the instrument correctly, with some above the fingering goes of study by up-to-date educators and much of the student 3 to show that that finger regards bowing, finger-placing, tone and on the recent outstanding research in the field of education fluency as D string. If the D' were on the same line or intonation?” In other words, can he play correctly and level as the has dealt with the teaching of this basic skill. fingering, the child would interpret it as little tunes which he has learned by an The modern educator-teacher approaches reading accurately some open D to be played. ear or by rote, keeping his hands in acceptable A goodly number of by making it functional for the child. Instead of an tunes may be taught this way. position on the instrument; Iris tone and intonation The children isolated alphabet which must first be mastered, fol- will love to “read” in this manner and being such that his audience does not squirm during they are learning lowed by the grouping of these letters into small two- the first reading step; that is, the his rendition? If the answer is in the affirmative, use of the instrument and three-letter words or syllables and finally into while the eyes are not watching it is probably quite safe for the teacher to it but are short phrases and sentences, the modern trend is to then looking at symbols to be interpreted. The begin the teaching of note-reading. children are start with the little sentences oft-repeated. Instead thus taught to “read” without the superimposition of the old-fashioned reader, the child uses the modern of a lot of unfamiliar symbols (that The Correct Beginning is, the work-book wherein he finds fascinating pictures. The lines, spaces and notes). other hand, the teacher begins to teach When facility little sentences underneath tell him to “mark an X” If, on the is gained in this manner of reading, reading before this point of progress has been then we may on the chair, or the bird, or the tree in the picture, or •music proceed to the staff and its musical musically, and mechanically, then the in- message. mayhap to color some item red or blue. His reading reached, By “facility” we mean that the bow and struggling with the student’s poor fingers lesson becomes functional because he must make structor will be work well on the instrument while the eyes some definite reaction to what he reads, are definitely occupied with the num- and reading is necessary to find out bers and letters on the board. what to do. He responds with some ac- The teaching of the notes on the staff tual act on his part to what he has is a fairly standardized procedure start- read in his little book. ing with the open strings and progress- Since this functionalization of reading through the fingerings for each in the string. ing is of paramount importance Therefore it is not necessary to to modern classroom it is interesting take space here to discuss this phase realize that music reading has always of teaching with the exception of the been of a so-called functional charac- following observation. ter. Perhaps this is one reason why the many pre-school child has learned, in The Notes on the Staff music readily long before cases, to read When teaching very young children learning language reading. Each note to read, we have actually to teach them of the music requires that the child do to see the five lines of the staff and something about it! So, in teaching the spaces between, for the very young reading, we are in definite ac- child music will not see the difference between cord with the underlying principle of a note written in a space and one with teaching of the modern classroom a line staves running through it. Using reading. with wider spaces between lines is a standard Research procedure for these younger Benefit From children. Have the child pick out notes However, there is much that we, as with the line running through the note music teachers, can learn from the as distinguished from those written research which has been done aca- between two fines. learn there is a definite trend He will soon demically, and make .? the distinction, and a child (and a definite need for that trend) thus taught to use asS a away from the old, formalized teaching STUDENTS AT THE NATIONAL MUSIC his eyes will P INTERESTED CAMP 1 readiness academics11! of music reading. This business of Interlochen, Michigan test h less trouble se counting 1-2-3 -4 for every four-beat „ than the child wh° of observation been measure is an antiquated tool (for the n have not position most of the year, and generally will lose more y beginner in music) that music educators are gradually Now, aWed to f^ow. afford lose in we come tf« There students than he can to the course of the < ther music, replacing with the newer beat-by-beat method. that is, the phase o£ reading countingE of .J string music field year’s work. notes. time, the these is much to be said for this in the "when” to play Let us suppose now that our class is ready to start the reading problems are also accom- where many begin? With this note must set up to read. How do we “A” or this of k Start ° teaclline panied by all the dual-controls the student the whok'Eote Ut with the in the note “D” on the staff? fn?° ! , twee, violin one hand and a bow four.” “h we c°unt ''one, two, when he has a in Next the ? “ fashion. Ah, no! There is yet a simpler step. We have first L ”°te own note, ' 01' e quarter after its ' two '" the other, each to be manipulated “one.” So f=,. and to find to get the child to use his eyes away from the instru- teacher has usual g00d ' first grade, the academic method Eut at tllls int In the During his first lessons his eyes of count?., P“ °?i read. The ment. watch his °ne the child is ready to learn to foiu'-beat ’ tW0, three, four for out if a and his fingers. Later, as his skills begin to measure tests which show bow grow, beat two three- gives little “reading readiness” measure ' three for the devel been™ T' of observation aie trend obsolete. instead » whether the child's powers among . There is whether bea 6d necessary degree, ba at°rS t0 ' et eaCl1 oped to the ., sufficient ^ detads of a l,™ngiven unto itseir mind can take in intelligently the ‘t s PPose follow directions. BAND, ORCHESTRA we have a picture, and whether the child can measure like this: reading read ness? (W e Lx. 1 In music, what is our key to from here!®J and CHORUS of stringed instrument music speak , do not accept chil Edited by William D. Revelli I J j Since most school music classes j year or two in not already had a student '"2?“ £he ne the dren who have count' "one wer method that ’ (Continued 288) ".FORWARD MARCH WITH MUSIC’ on Page 2S8 THE ETUDE Music and Study

WILLIAM SCHUMAN WILLIAM D. REVELLI EDWIN FRANKO GOLDMAN

The Challenge of the High School and College Band

The following transcription is from a panel discussion presented at a session of the Seventh Annual Band and Orchestra Clinic, held recently at the University of Michigan. This particular panel is very direct and to the point. Mr. To the American Composer Kenneth Bovee, President of the Michigan School Band and Orchestra Association, immediately had appointed a committee which was to study the recommendations. Within a few days after its appointment, the committee had initiated action and A Panel Discussion procedures for the commissioning of compositions for Michigan School Bands by two prominent American composers. Undoubtedly many other states will seek the commissioning of band works by professional American composers. This movement, with proper organization and encouragement, 2b. t&Jli can well be the most important step that has ever been taken for the true development of our bands. — Editor's Note. Members of the Panel Include Dr. Edwin Franko Goldman,

ADIES AND GENTLEMEN : In order to have our William Schuman, Morton Gould, and William D. Revelli (Chairman) 1^. discussion function effectively, I have submitted several questions to the jurors. I wish to address the first to Dr. Goldman: Another reason why the band has become so degen- Mr. Revelli: To summarize Dr. Goldman’s comments, the symphonic band Is an important musical devel- erate is because of the poor arrangements. We do not the band, in order to become an important musical opment? Is it an artistic medium of expression in it- want stereotyped arrangements where the symphonic development, must first have leadership and next, a self or is it merely an offshoot from the symphony movement, the overture, and the march all sound repertory. attempting to equal orchestra the tonal interest of alike. We should have a repertoire of our own and Member of the audience: It appears to me that the that group? until we get composers writing for bands we will never people who have to do with the band feel that they are Dr. Goldman : The band is a very important medium be given the artistic recognition we desire. We should interlopers, that they have no tradition behind them. the great fault I for the expression of music; find with have transcriptions but they should be worth while Dr. Goldman: We have some tradition behind us. it is that it is not taken seriously enough. I see no and well-made and adaptable for the band. Beethoven, Wagner, Grieg, Mendelssohn, Berlioz, reason why it should be called “symphonic” band, Much of Bach’s music was written for the organ Bruckner, and many of the French composers did write however, any more than we should call an orchestra originally and not for an orchestra. If this music is a few compositions for the band. Wagner and Verdi a “symphony” orchestra. They do not play only sym- appropriate for orchestral transcription, why is it in- approved having their music played by bands. I had phonies, so why give them such a name? We have appropriate for band? The band approximates the an arrangement of Ravel’s Bolero which he approved military bands and the concert band. When the con- organ more nearly than does the orchestra. Many of having our band play and broadcast. There are many cert band was organized in Germany many years ago Handel’s compositions and Liszt’s Hungarian Rhap- other composers who have written music for the band. it was distinctly a concert band, in spite of the mili- sodies were written for the piano and were better Mr. Revelli: Can you give me examples of such com- tary uniform. The Gilmore Band was a concert band adapted to bands than to orchestras. posers? How many in the audience can name such just as was the Sousa Band. I repeat, we must have a repertoire of our own, writ- composers. There are those who would like to make an orchestra ten primarily by our American composers who have (The names of approximately twenty composers were out of the band, but I don’t agree with them. We don’t contributed so much in the past few years. We must mentioned.) want the band to sound like an orchestra; we don't get behind them. Their compositions are interesting Mi\ Revelli: Is it not a fact that we have more com- want to imitate the orchestra, we want the band to be and even the very worst of them have been worth posers writing for the school band than for orchestra? different from the orchestra. I will not admit that the while. Mr. Schuman: I would like to say something about concert band is inferior to the orchestra. I believe it is the whole position of the American composer in his as important a medium of music as the orchestra, and relation to the band field. The composer’s problem is I do feel, too, that we do not take our band seriously purely an economic one. I was only commissioned to enough. Practically every professional orchestra is un- BAND and ORCHESTRA write one piece for the band and I could not write der the direction of a noted musician. The band has Edited by Will more because I had to choose a more remunerative been resorting, to circus tricks instead of to music. field.

MAY, 1945 'FORWARD MARCH WITH MUSIC” 259 ^ 7 )

Music and Study musician is not very well versed in what is happening in music since the turn of the twentieth century. I “Putting the Words Over” think he does not even know the modern music that I agree with what Dr. Goldman said, that the band has been recorded. I do not believe he is a progressive Lf £niJ C. Dulls is an important medium of musical expression. There musician. are certain ideas that require certain media for their Our problem is to interest the composers who are You Cannot Expect to "Put the Thought Over,” expression. Pageantry, for example, which is the essen- our best composers (because they are the only ones tial appeal of a band, is calculated to move mass we have) and have them to work with us. Mr. Gould Unless You "Put the Words Over” audience emotion as a string quartet would not. has written many works for the band but he is an Instrumentation presents another problem which is exception. DISTINCT ENUNCIATION of words and a determined economically. I should like very much in Mr. Revelli: The point that I hoped would be em- musical quality of tone must exist together in my next work to have forty or sixty brass and wood- phasized when I asked members of the audience to the act of good singing. Singers taught well A must be wind instruments in with one hundred string instru- name composers writing for the band has been to do justice to words and music at the same time. ments so that I could get certain effects into my taken by Mr. Schuman. This can be accomplished only after the singer is composition. But I must be able to afford it. Dr. Goldman: We want and deserve the recognition taught the correct sound of each vowel and the dif- The composer should do more than meet the school of the leading composers of the world. ferent positions and shaping which take place with band situation half way. I am going to write more The report of this important clinic will be continued the proper degree of tension or relaxation necessary band works. On the other hand, I feel that the school in the next issue of The Etude. to form the vowels. I have found that teaching vowels and consonants as a thing apart from words has been of great help to pupils just beginning, to study. The method of teaching vowels as A, E, I, O, TJ, and not analyzing them in any way, is going the long way towards attaining good dic- A Memorable Anniversary tion. Changing the vowels about and using them as E, A, I, o, U, beginning with the E which is the closest of the vowels, and going even farther by teaching them as vowel tones, E, A, Ah, O, Ooh, leaving the / and U R. SIDNEY HOMER, the composer, and Mme. a number of Dr. Homer's compositions were performed until later, gives the student a better mental picture Louise Homer, former contralto star of the by faculty artists of the Rollins Conservatory of Music, of the positions which take of several of his songs were sung by a chorus of place in the forming D Metropolitan Opera Company, celebrated their and tie vowel tones. The tongue, lips, and are the moSt Golden Wedding. Anniversary in Winter Park, Florida, Rollins students. jaw active agents in articulating minor for piano and vocalizing. Thinking on Tuesday evening, January 9, when they received Dr. Homer’s Sonata in G and violin, a vowel or vowel tone should tongue, over three guests reception at and the premier performance of an unpublished man- put the larynx, hundred and fifty at a and palate in the right relation to each other. If the the home of Dr. Hamilton Holt, president of Rollins uscript Andante, were presented by Alphonse Carlo, tongue has been first rendered re- violinist, and Katherine Carlo, pianist. Helen Moore, pliable enough to College. spond instantly to the thought, this possible, as Highlights of the evening included the singing, by a concert pianist, performed a group of piano composi- will be distinct enunciation depends chorus of Rollins students, of original songs written tions which included Afternoon Glow from the suite entirely on the nimble ns the tongue - hps, the for the occasion by composers Samuel Barber and Gian ‘ Lake George,” three short pieces from “Early Impres- and jaw, especially ?nnm should Impromptu, and Original theme and variations. be no stiffness or rigidity in per- Carlo Menotti, and the reading of many messages of sions,” forming. the exercises given here.

p „ VOWELS 1 a in mouth - tiP of tongue lightly f pressed ?^1 ^1 ' l0Wer fl 0nt teeth just below the top of teeth ’

P t gUe is °? dropP ed slightly downward—still againstaeain5 wlower1 front teeth. W( 1 separated—evenly depressed tongue— tio^iuJSnhp just below f lower front teeth. l Sh°Uld be Wel1 teeth depressed backwards— stilf wpii parated be - Soundness of mouth should ^internal^f f With tip <* tongue dropped r Aft" Tbe s from the back of fhe +i? °und should come 0a t, A bad habit and common fault in forming this v . . t0 Pr°iect the n s externally like the shape of P ttaleu °' ThlS muscular effort causes at tnethe llpsu” tone. and Produces an incorrect

P Ximated tongue depre7sed\i With the base °f Bhuv1 ™ore than witham the tip of the tonenf? for O, and mouth ntl umg to be dropped in the below the front T!, Thus singing e , a Al> a three-note * °° l 011 one t°ne or on scale th e ad j ustments continuously achieved bv th^ w . are the be hind the lower tip of the tollgUe fJoTte'Sn'eetp and ; depression of +„„ the gradual backward ments Ue ' With these adjust- the mental rnn? gradual dent. e ‘S dearer the stu- Singing the a « to tongue bnn the tip of the down against tv, StaS ing lo ver front mak- the E adjustment : teeth, then followed raislnS the tongue by the sens,. J tip of the tongue tmS °£ the teeth another adjustment - and to Ah, fusion. . makes for mental con-

are and well enuSated wTth? ^ Saici or sunS dearly necessary cleal' men‘al of the adjustment tv. picture he 6*1 the ' should used. I i and u towels s a combinst?a hmation n °£ Ah - Ee com- Dr. Hamilton Holt of ‘ and U is a Dr. Sidney Homer. Mme. Louise Homer, and Ee-oSt Louise Homer In acquiring ti At the Fiftieth Wedding Anniversary of Sidney and exercising, the snee^h*!^ S0Unds of the vowels and distinct B&nS articulation in the correct way for Announcement was made by President Holt that vn„ congratulation from famous friends of the honored necessary are thereby the have contributed $900 toward a scholarship flexibility’ acquiring couple. As a memento of her fiftieth anniversary, the friends for every w other language enunciating beautifully in presented Homer with two special study with Mme. Homer, to be awarded to a reception committee Mme. unity of as in English. same student in the Rollins Conservatory of Music. vowel form The French antique decanters. French, t evening, Italian, ne aPPhes equally to paid tribute to the famous musicians The climax of the came when Mme. Homer and Germf £ Rollins College an ' ^enunciation of Variations in accent and thrilled her audience with reminiscences of all i „„ on Wednesday evening, January 10, with an Evening memorable with the an incidents in her brilliant career. ability to ^ acquired by 0116 of Music in the college’s Annie Russell Theater when listen amThe^ < Continued on MARCH WITH MUSIC" page 286 260 "FORWARD THE ETUDE ANY LEGENDS have gathered Music around the glamorous figure of and Study M Paganini. Some of them are fan- tastic, others are at least credible. For immediately apparent, violinist instance, it was said that he was never but the who perseveres with heard to practice; therefore, his contem- them will soon find that five to poraries claimed, he must have had a ten minutes devoted to them Mute Practice each day will develop the strength and system of silent practice which enabled suppleness him to retain his phenomenal technique of his fingers more quickly than twenty minutes of ordinary without putting bow to string. Whether practice. So far we have been discussing the or not Paganini had such a system is, Fundamental Exercises, at this late date, rather immaterial; what whose chief purpose is the development of a strong and is of interest to the modern violinist is elastic finger grip. The application the fact that certain types of mute prac- of the principle to the mastering of technical tice, carefully applied, have really immense difficulties is easy, for the method of prac- value, in that they enable him to cut down tice is the same. Take, for by at least one-half the time usually example, the following passage from the 7tli Study spent in mastering left-hand difficulties. of Dont, Op. 35: In the early years of this century, Goby

Ex. 2 , Eberhardt, a well-known German pedagog, , j published a book entitled, with true Teu- tonic brevity, “My System for Practicing the Violin and Piano, based on Psycho- physiological Principles.” In it he described a system of mute practice which he Tire four bracketed notes should be tested claimed would produce remarkable re- for intonation and then practiced as if sults, and which, he said, was based on they were one of the fundamental exer- a study of Paganini’s life and writings. cises. In this case it would also be well to Happening on this book a few years ago, practice them as double-stops—the second the present writer found it to contain and third fingers together, then the first some interesting and provocative ideas, and fourth. When this is being done, each though, to him, the system seemed to in- pair of notes should be held for about clude two unsound technical premises and four seconds, as it requires much more also seemed not to be developed as thor- concentration of mind to keep two fingers oughly as the basic idea deserved. How- relaxed while the other two are gripping ever, he was convinced that mute practice than it does when only one is in action. had something worthy of the attention After a very few minutes of this kind of of serious violinists and resolved to see practice, the player is likely to find that where experimentation would lead. The he can play the passage with complete following paragraphs present an outline ease and accuracy. of the principles evolved. Space is available for but one more The essentials of mute practice can be example in this category, so we will most easily learned in the Fundamental examine a passage that many violinists Exercises given below. Indeed, until the find extremely difficult to master—the player has mastered them he should not opening of the 6th Caprice of Paganini. attempt to apply the system to more ad- Ex. 3 vanced technique.

The fingers should be placed on the notes in the following manner, Ex. 4

As all five exercises should be practiced in the same largely a combination of will-power and mental agility, tested carefully for intonation, and held for a few way, Example 1A may be used as a pattern. The the development of these qualities cannot but benefit moments to accustom the hand to its extended posi- method is as follows: Place the fingers on the four every department of the player’s technique. tion. Each finger should then be gripped firmly while notes of the exercise, using the bow to ensure exact Several days practice may be necessary before in- the others merely rest on the strings, the player intonation; after which, relax the fingers so that stant relaxation can be achieved in the third and hearing mentally the pitch of each note as he grips it. they rest on the string only by their own weight. fourth fingers. When, however, it can be done, the Care must be taken that the fourth finger does not Then grip the E strongly and instantaneously with player should omit the moment of total relaxation touch the A string. This is an exacting passage, and the first finger, the other fingers remaining relaxed between the notes, and allow the grip to pass from frequent periods of relaxation will probably be neces- on the string. While holding the note, the player must one finger to the next as if he were playing legato. sary; but if it is practiced in this way a few minutes be clearly aware, in his inner ear, of its exact sound; In doing this, he must make very sure he is not losing daily for three days, it will almost certainly be mas- that is, he must be conscious of its exact pitch, even the quick relaxation of each finger as he grips the tered—and will remain mastered for a long time. though he is not playing it with the bow. Hold the following note. Awkward chords can be quickly learned by the same note silently for about a second, then relax the finger It is essential that the player hear mentally the method of practice: it is simply a question of training completely and instantaneously—but without lifting true pitch of the note he is stopping at the moment. the hand and fingers to take instantaneously the it from the string. Keep all fingers relaxed for a By doing so, he associates the action and shape of correct shape and position. In chord practice, how- moment or so, then with the second finger grip the the finger with the sound of the note, he subcon- ever, the fingers should grip not only each separate F sharp strongly, “hear” it, hold it for a second, and sciously employs a more vital finger pressure, and note, but also in pairs and with all three or four then relax. Continue in the same way with the third lays a necessary foundation for a further development simultaneously. The following passage, from the finger, and then the fourth. Then use various other of the principles of mute practice. cadenza of the 4th Concerto of Vieuxtemps, is fre- At the first sign of fatigue or tension and it it nng.enngs, such as 1, 3, 2, 4; 1, 4, 2, 3; 1, 4, 2, r, — may quently found to be troublesome, but can be easily 3, 4, 2, 4, and so on. These five basic exercises should appear very soon during the first few days—the player mastered by mute practice. be practiced on all four strings, in different positions, should relax completely. Dropping his left hand to and with many different combinations of intervals. his side, he should shake it gently and loosely until Ex. 5 it feels rested. Mental Hearing The benefit of these exercises may not be Considerable will-power and concentration of mind are necessary to obtain an instantaneously intense pressure of the finger without allowing it to drop on the string, and even more concentration is required VIOLIN Before the shift is practiced at all, the hand must to achieve an equally instantaneous relaxation without Edited by Harold Berkley be so trained that the three fingers can drop on the lifting the finger. However, as technique is very right notes simultaneously < Continued on Page 290)

MAY, 1945 "FORW'ARD MARCH WITH MUSIC’ 261 Study the piano after the orchestral ritornello, Music and and are shown here at A and B A

How Finger It?

Q. Will you please tell me how to finger the repeated notes in the right hand in the following excerpt from George Gersh- win’s An American in Paris? I have tried and Answers alternating the fingers 5454, etc., also strik- Questions ing each note with the fifth ' finger, but satisfactorily. Re- neither seems to work The development section begins with leasing the right hand lower quarter notes a statement by the piano of the A theme while striking the repeated notes would Conducted by simplify the execution somewhat, but this in the key of E-flat major. The recapitu- seems to spoil the effect. What do you sug- lation begins with the orchestral state- The tempo is quite rapid.—E. F. gest? ment of the chief ritornello theme, which here displaces the expected return JCJ W. QJuLn, of the A theme. 2. For a general study of musical form I would Music Mus. Doc. recommend “Lessons in Form” by Percy Goetschius. For a thor- Professor Emeritus ough study of the concerto, there is nothing finer than “Essays in Musical berlin College Analysis,” by A. Either fingering you have suggested Volume III (Concertos) that you can get Donald F. Tovey. Both volumes may be is possible, but I believe About Conducting Music Editor, Webster’s New obtained through of The a cleaner and faster articulation by using about the publishers Q. 1. What is the general rule for International Dictionary Etude. just the fifth finger for each note. Or giving a cue beat in conducting? One 3. I this added strength and brilliance, you might woman tells us that every cue beat should am sorry that I do not have below the heart. even use the fourth and fifth fingers begin from the left side, particular edition of the Bach “Inven- This would not always follow the direc- simultaneously. tions” at hand, but I believe I can answer tion of the beat preceding the beginning your question nevertheless. The “Inven- There is scarcely ever any one finger- of the music and therefore doesn’t seem tions” are bi- ing which is right for everybody. Each right to me. usually regarded as either congregational singing, if the group partite or which fits 2. In or tri-partite (that is, in two performer must choose the one all the is so large that it is impossible for three main divisions) is much feel that you , but there his hand the best. If you people to see the conductor’s baton unless to disagreement to must alternate fingers, use the 5454 that it is held quite high, is it permissible among authorities as see? just you suggested. try 5434, 5434. In any raise it high enough for all to how these compositions really should Or hinder 3. Will choppy baton movements case, I agree with you that the lower be analyzed. So if I were you, I would the flow of the music? Should the baton cease to worry until I quarter notes should not be released even come to a stop at any point in the beat about the matter if the damper pedal is used. pattern?—Mrs. A. M. had a real understanding of musical form and could come to some conclusions general rule. Often Is Its Title? A. 1. There is no What sions would the the cue beat is simply a slight movement make no difference in Q. Enclosed are the opening measures playing. the wrist, and it is as likely to be You are quite right in saying of an etude from Selected Czerny Studies from side-to- that they should continuously* (book three) published by Theodore Pres- an up-and-down movement as a be played It would be to ser Co. I would like to know the title and side one. It depends on where the baton altogether wrong to come opus number of this beautiful study. a stop at the is going from there: if it is to move end of any section. —R. W. Possibly downward for a strong beat the cue beat you are confusing the titles of the two the Moderato is usually upward; but if it is to travel series of Inventions with forms of refer toward the left for indicating an attack the Inventions. The titles then the cue beat No question will be answered in THE ETUDE to the fact that in series (the on an unaccented beat, unless accompanied the first by the full name “Two-Part two is likely to be toward the right. and address of the inquirer. Only initials, Inventions”) there are or pseudonym siren, will be published. voices or 2. Yes, the baton movement must be “parts,” while in the second series seen, else the conducting is ineffective. (the “Three-Part Inventions”) there Most conductors hold the baton too low. are three voices or “parts.” HoW- ver if Try raising your arm high enough so that ? > I am wrong in this, then, speak- You will find all these matters fully dis- ing now the elbow is about level with the shoulder. of form or design, I am afraid cussed in my book “Essentials in awkward at first, and it Con- you are not all mu- This may seem ducting,” right in considering and I suggest that you get sic to tire you until you get used to a be mainly in I can- is likely to from library two parts. But copy your and study it. not However, a high arm usually makes answer such a question categorically- it. An for freedom of movement, and in the adequate reply would demand almost an entire case of large groups it certainly makes The Analysis of Musical Forms book! 4 visibility too. ‘ Whether altei for better Q. 1. I have bought Mozart’s Concerto . or not repeat signs Czerny’s famous School move- in C Minor and e * 01In oC " A. This is from 3. In general the type of baton have been reading the depends upon where they first This collection of movement, but have trouble cur - Usually, is of Velocity, Op. 299. ment is determined by the character of analyz- however, they do not. It ing its form. I would be obliged studies contains forty different etudes, of music. If the music is broad and if you conventional, for repeat the the would explain the plan of the first example, to far as I know, move- exposition which yours is No. 34. So flowing, as, for example, Handel’s Largo, ment of this concerto. of the sonata-allegro form, title. 2 Could you but this it has no other special then the type of baton movement must suggest a book dealing in no way alters of the with musical form? 6 the form flowing character of the movement as express the 3. I have a whole. Maier’s edition of the Bach music. But if the music is quick and "Inventions in which some are said to be About Accented Grace Notes then the baton must dance too to three parts but, with “dancy,” apologies to Mr Moier, I think they argument has come up in school else the “conducting” is not really con- sound better played Q. An continuously. notes. Our teacher stated that beating. The Am I right in considering about grace merely time ‘ ducting but all music mainly “ laxen from Legend u that all single grace notes two parts, the “The you had said allows the music to last Jll ’' stems are really fine conductor repet, hon being the second OW by Ira B. Wilson should with a stroke through their part cf tlSine to toav,E' T part? 1 Was taught upon him as though he were an second told to Ploy it as lhou ? accented but my piano teacher has play tile ( 4. I am troubled 8 a n° t0 notes are not accented un- absorbs himself in it, by repeat signs- tes “ed me that such instrument. He Th a PrincipalPrtoSal note.n r ? Will you first subject is usually repeated I s that the correct tvay? less marked with an accent. him through and without allows it to permeate meaning to the form; B. L. D. or does it -Mrs. H. please straighten us out?— externalizes his feel- havpVe a through—and then meaning sometimes?—G. W. K. ings so that others may see his reactions A. A grace note with a stroke through and be stirred to similar feelings. So we A. 1. The first movement it is called acciacatura and it is not ac- 0( almost say that anything a conductor does -every concerto Is in cented; but a similar small note without may sonata-allegro fo™ that reflects the music is right; but any- and this is true of this ’ the stroke is called appoggiatura and it particular con thing, that does not reflect the music is erto. The form of the does receive the accent as well as taking classic concerto' wrong. however, is usually obscured a considerable part of the time of the by the S In general the baton does not come to a that the body of the principal note. You will find this and movement is euf unless there is a hold, or unless tomaniy preceded by many similar matters explained in my standstill an orchestra rS~ there is some necessity of producing a nello which seems to book “Music Notation and Terminology” introduce the v,° I effect—such as the pronunciation themes, but actually which may be seciu-ed from the pub- special does not The chl^ consonant, for example. themes of this The Etude. of an explosive movement are lishers of stated bv "FORWARD MARCH WITH MUSIC’ 262 THE ETVDF HIS is A TRUE ACCOUNT of incidents in the Music and Study writer’s ten years’ experience in playing for the Tsick and disturbed in almost all of the institutions in the city of St. Louis. The largest among them were the City Hospital, the Sanitarium, the Infirmary, the Old Folks’ Home, the Training School for Feeble- Minded Children, the Jail, and the House of Detention. The work was done under the auspices of the Board Music for the of Religious Organizations, and in each institution a different technique was employed. We had to be very careful, so as to convince the heads of these institutions that this could become a highly desirable and extremely workable theory. We were instructed also Mentally Disturbed to smile and to be cheerful and friendly with the patients. Only experienced and trained musicians and singers were permitted to engage in the work, and as there were no funds available for such activities, it was all l/LCL on a volunteer basis. The musicians had to be good players, because we could not risk tiring the patients. Experience proved that at the hospitals no violoncellos could be used, because the low tones of the instrument was found in the fracture ward, where pain-wracked We next went up to the “optimists’ ” ward. The occu- seemed to a depressing effect. The sick could not have bodies ceased their tossing, and where often the pa- pants of this were old ladies, and no one was allowed endure the heavy vibrations. For this reason, violins tients were left sleeping with a smile upon their faces, there but those who could always smile. If they were were used more often. left. after we One day a dear little old Italian lady not always cheerful, the rest of the women put them Only those singers who had soft, sympathetic, mellow with a withered, crinkled, smiling face called me over out. There were ruffled curtains, with a cheerful yellow voices were acceptable for this work. No harsh tones to her bedside and, telling me with her “Gracia, figure in them at the windows, which the ladies them- could be inflicted upon the ears of the patients. An gracia,” how grateful she was for the music, presented selves had made. The room was bright and sunshiny. wheels, nickel, upright piano, equipped with rubber-tired was me with a which was all she had. The nurse in How they did welcome us with our music! Their re- pushed from one ward to another. The musicians were attendance told me to accept it rather than hurt her quests were varied and numerous. One of them sur- dressed in bright, cheerful-colored clothes, avoiding feelings. So I took it and purchased some ice cream prised me very much by asking for the Ave Maria. anything gaudy. Doleful blacks also were shunned. which I ordered sent back to her when we had left We usually had a her ward. Of course we A Real Test group of three musi- had many requests for The Sanitarium was the greatest test of all. What cians: a violinist, a pi- My Old Kentucky Home, is “physical culture” if it does not mean a healthy anist, and a singer, with and other familiar songs. mind as well as a healthy body? One cannot have a a leader who had a sort always We complied healthy body if one has not a healthy mind. These of supervisory status, to with these if requests visits were a lesson in psychology. We not only had insure the proper type they were suitable and to be trained to meet any emergency which might of music and entertain- not too sad. We en- arise, but also had to be natural-born psychologists ment. Hymns were never deavored to leave the as well. We could not register surprise, no matter what allowed, as they were patients with smiles might happen. We had to deal with the situation as too depressing for the their upon faces, and if it were an ordinary, every-day occurrence. sick, and especially for asking for more music, This institution houses three thousand, four hun- the mentally disturbed. or better still, asking if dred patients, some of whom have been found to be so Nothing was pitched too we would come again. greatly improved after our visit there that they are high or too low and no One woman called me allowed to go to their homes. The buildings and involved classical music her bed to and asked me grounds cover about five long city blocks. The windows required was used. It to play there, as she was and doors, naturally, are barred to prevent escape. great care to select the somewhat deaf. I played But the patients get plenty of fresh air and sunshine, kind of music for for right louder her. When we for they are taken out-of-doors daily for a walk and the day. Sometimes we asked the woman next recreational exercise. switch had to be able to to her if it disturbed If we happened to arrive while they were engaged at the type of music a her, she said, “Oh, no. in this activity, the piano was rolled out on the lawn notice, if moment’s we I’ve a little headache and we held a little “community sing” for them, in that it was today, but it’s all so found hav- which they all joined heartily. But if the weather was ing undesirable effect lovely I don’t an mind.” By inclement, we stayed indoors and went from ward to patients. the time were upon the The we ready ward. For the sanitarium programs, we used a trio: always leave she fast programs were to was violin, violoncello, and piano, and also a singer. The short, so as not to tire asleep. These programs violoncello could be used here, for the exercise of the the patients; it was bet- pleased not only the pa- emotions caused by the low tones was good for these also the at- ter to leave them with tients, but patients. In fact, we were greatly pleased at any sort a desire for more. These tendants, for we were of reaction, for some of them would sit for hours, as of programs were given often met at the door if in a stupor. If we could get their minds off them- twice a week, by al- a ward by a nurse or selves, we felt amply repaid. ternating musicians in an attendant who whis- each institution. It was pered in our ears that The Audience Participates the aim to have as much her burdens had been Most of these inmates had been average American music. variety as possible. lightened by our citizens, just ordinary folks, such as you and I, before And now let us visit SYLVIA WALDEN When we went to the something happened to send them there. We found the City Hospital. I was Infirmary or Old Folks’ business men, professors, singers, musicians, actors, the violinist and could Home we could take a and people from all walks of life. In one of the wards “get around” faster than some of the others, who had larger number of musicians—trios, quartets, or small there was an assembly room which they would pre- to wait for the piano to be moved. Immediately upon orchestras—and play a different type of music, such pare for our arrival, arranging the chairs in rows my arrival in a ward, I would start playing something as gay little dances, popular songs, and so forth. The facing the piano. The trio, which was composed of gay and bright as I walked through the aisles between old folks sometimes would get up and dance jigs, do Katherine Johnson, pianist, Arthur Lieser, violoncel- the long rows of beds. Then the singer would give a the cakewalk, or some of the other old-time dances. list, and myself, violinist, entered the room and tuned solo or two with piano accompaniment. She tried to Once, one of the old men, who looked to be at least our instruments. This had to be done very quickly, so choose something with a cute little story to it, and for eighty, asked for my violin, which I handed over with as not to annoy the patients. One day, before we had that reason, she had to be able to enunciate well so fear and trembling, for he looked scarcely strong played even a note, one of the patients said, “I wish that the patients might follow her and understand enough to hold it. He took the instrument, and instead you all would go home; you bore me to death.” what she was singing. The pianist then would give a of putting it under his chin, put it down below his During the playing of one of our numbers, a woman number which sometimes was a pianolog. We would shoulder and sawed away on it as they do in those old- arose from her chair and came toward me. She started finish with another violin solo, then pass on to the time fiddler contests, playing Turkey in the Strain, picking imaginary objects from the edge of my music next ward, where the patients by this time had re- and all the old favorites. It made him so happy to be stand. The attendant satisfied my curiosity by telling ceived news of our arrival and were eagerly awaiting playing again, that we had an old violin sent to him, me they were imaginary butterflies. Perhaps the shape our visit. a few days later, to amuse him in his many spare of the stand itself had reminded her of them. Always

The greatest proof of the effectiveness of our work moments. when we went there, everyone ( Continued on Page 292)

MAY, 1943 ' FORWARD MARCH WITH MUSIC 263 ,

Music and Study

America and Goad Music

An Interview with

^Jdowcu'd ddcu'icow

Distinguished American Conductor

SECURED EXPRESSLY FOR THE ETUDE BY STEPHEN W EST

Howard Barlow is, perhaps, the country's best equipped expert on American musical trends. His distinguished work carries him into fields of performance values and audience-reaction values that are but seldom investigated by the same man at the same time. As Conductor of NBC's "Voice of Firestone" program, Mr. Barlow devotes himself to music that is popular in the best sense of the word. As Guest Conductor of the New York Philharmonic (Barlow and Bruno Walter are its only guest conductors for the current season), he devotes himself to the best traditions of classic repertory. In an effort to discover who is responsible for America's music and how its standards may be improved The Etude Editor s Note. has asked Mr. Barlow to comment upon it. — HOWARD BARLOW

l- , auuu| ' reany pe expected to gu- “t — . mem el an tate TSniH„ A resting; experience of my own in Tken as now 1 „”% ’ believed in American music. by European forms that it has only recently begun to Rut I th° “'/np^HE FIRST STEP we must take in understand- UBht that a11 1 had t0 15lay » -. t0 110 was I ing remember that, in any age, its evolve forms of its own—forms which, by their very enough of it and music is to the people would come to believe in existence does not depend on professional recency, have not yet penetrated to the majority of mgly ' 1 plleci il °n! Week after week, I professional the people. It is not a question of whether these native nerfn;™ da se musicians alone. To be sure, the artistic eral American works—and week after composes and performs our music, and the commercial forms are ‘good’ or ‘bad’ or ‘better’ or ‘worse’—it is we/k h audiencesJ grew smaller! After a few weeks. simply that they have not yet had time to become t ton'u . professional organizes its presentation—but its final 0m the new native ™ks and put in acceptance lies in the hands of the average citizen, fully understood. Maybe our modern native forms will Tcha,ko°vskv n™hms - M°zart, Beethoven-and the revolutionize music; maybe they will forgotten aud^nPP«f sometimes trained, sometimes not, who makes up the be fifty expanded t0 ,, the poinfc of Standing Room audience. This average citizen, then, is as important to years from now. No one will decide that but the people. Only i In Way 1 learned my lesson. Was I ‘right’ and^thp : the music of his time as the composer or the inter- The second reason why American music is no more 06 ’ Wrong ? 1 haven’t any idea! True, as convincing than it is, grows directly out of the first. I believed f? preter. Our most austere classics were written, not works aS 1 played - But as long enter- Conditioned by the fact that they are not completely the peonl a h "A™ exercises in the mechanics of composition, but as ' those "’ 01 ks dld not express the wrote commissioned understood by their own people (in the sense that people mid m,?' tainment for a public. Mozart ^ n° Vita1, understood by those eni°yable inspiration to operas. Haydn wrote for Count Esterhazy and his Schubert was good Viennese them What I do ‘Ve audlences tl,e bes t burghers who got the chance to hear him at all) of g ™y be enjoyed by , our what they , friends. These works of genius had to want andnd ahvays, ’ to introduce one work become vital and telling composers are self-conscious. that I am rmf ^ the people before they could 6 hat they want which I want -^ > hut about influences in the long continuity of musical life. Now, them tot ^decide The "Problem" of the American Composer for themselves. that is true in any age, any land. When we speak of America’s music today, we must think of the average “Our American conservatories are turning out musical he First SYm h citizen as well as of the composer and the interpreter, craftsman of a technical command and fluency that 'And P °nY on the Air J 0I that arrive at a just perspective of the is nothing short of startling. Yet when they turn these tO the Peotlle Musical so we may talent is inborn themselves. resources to expressing their own musical bmUt muslcal bridge that links them to each other. thoughts, formed. taste is not. It must be nT™, , the result is often not at all startling. I think SlneSS I know ’ today to musical tastes of tomorrovT ’ form the Taste why. Our young composers have not yet learned to a" Each to His Own let comes, when d an Aspiring job it be- completely sincere. If we lnni/ u perfectly well that not everyone is musical. go and be utterly, a young com- °ack "'hat alone has “We know accomplished in h radio their life poser feels the desire to express himself melodically in ast adult Part of our people will begin and end musical today can two decad es. Every of C-major, he curbs this desire remem h^r f?le with jazz. There is neither harm nor danger in that, the key and makes status of radio music when broadcasting first ourselves the effort himself speak in dissonance, in atonality, in any form gan T so long as we accept it and spare ‘ We^ recall the ominous pror nouncement tw +u . to that happens to be the fad of the moment. He ladio of trying to force them to enjoy symphonies (or would a full pubhc would not stand for symphony' f feel covered with shame if his natural expression were Tin 'yas influence symphonic composition by jazz standards!). ing ' en follow; week, I D11 ; „ °ugh for me. The part of our people, fortunately, do to come out freely—and be branded as ‘old-fashioned’! °™plete the The far greater air. It was the Haydn Symphony on Now, the public does not care a rap for fads. first t enjoy good music. Which leads us to the definition of Our ever been an entire symphonic work had people will welcome anything that broadcast f , is it, really? Certainly, it must be American pleases *here good music. What to what followed ^ Is no need of pointing written a couple them, in terms of beauty, vitality, and universal appeal. something more than music that was result. Today llstening to music the chief good music means simply And there you have the deadlock that makes our therP aie of centuries ago! To me, sand orchestras omething over eighty thou- native composer a ‘problem’. He is writing for a and f music that is correctly written and that has the uni- group Certainly, nds making land- not all i^ music in our it vitality and endurance. or a fad or an effect, but not for the people. And the of versality of appeal that gives tions. But are of significant proppr- the form people do not understand him and do not need him. the point il In this sense, an eighteenth-century dance in cance. tlleir signifl- can be only partly helpful It i s the fart Professional Mozart Minuet is no ‘better’ or ‘higher’ than a “The interpreter in bring- of a raterested in ijat. there are enough people dance in the form of a melodic ing composer and public closer together. He cannot makine- music twentieth-century the existence tlieviselves to warrant The aura of tradition does make the composer alter his writing—he cannot make of thei waltz by Gershwin or Kern. This 0rganizations. its means that of the music ‘great.’ The process works just the public alter taste. He can do but two things. 0 not make raore and 6 are steadily becoming charm and vitality of The first is to build himself an honest background more indenen^ ? the other way around! It is the of nt in that know recognize It means the* musical in- music that allows it to live long enough to take music, so he can and new values. that th the definite ar® gradua forming a second is to be absolutely sincere in his dual pattern of Hy on the aura of tradition! The task taste Tmi m commercial h*s taste will be reflected separate groups of presenting beautiful music to his hearers and survey* , “Believing as I do, then, I see three per- office Ub returns— ic preference and in box- of America’s musical tradi- forming it as beautifully as he knows how. In this but it will ? J involved in the building themselves. f°r“led people artist has his share And, only by the each one has its own responsibilities. First, sense, the interpretative in weav- to me ^i tions, and nng that a t 1s ust best musical pattern of his age. If he knows could ,’ j about the the composer. To many of us, this question of ing the enough hannP ^ there is n°t Of the °ur nati It is composer and native American music is music to judge it at all, he can steadfastly seek out slightest ^mn ^ °nal music. American 1 ° the years hence rtance if the of ten America’s popular music is more the best, regardless of its style or form, and offer it to show thm surveys a sore one So far, °r Brahms 6 Prefer in way that shall say. ‘Here I to Mozart to Brahms, convincing than anything she has produced along the people a — believe in Tchaikov.*V5ky “ ‘ s 01 ers reasons for this. The first this work; hence I am going to let you hear it in the greS“ hwin to everybody classic lines. There are two shapingSS. t ; “L? too, a knportance to Americans music has been so long influenced best style I can, so that you, may see if you want definite patter, find is that American hap s, is °£ the only musical ta ste. That, per- waty ?in "FORWARD MARCH WITH MUSIC" ( Continued on Page 292> THE ETUDE A DAY IX MAY The art of writing second and third grade.pieces and not making them commonplace is one which few possess. In this gracious composition.note how the intfer voices supplement and support the. main. melody. The phrasing is obvious and should be observed. Grade 3.

265 FRAGRANT BLOSSOMS

Copyright 1944 by Theodore PresserCo. 266 British Copyright secured THE ETUUK TROIKA VLADIMIR SCHEROFF, Op. 10, No. 4 A scherzo picturing- the large Russian sleigh with three horses. Play it deftly and rapidly to simulate the jingling of the sleigh bells. Grade 3.

MJY inis 267 THE HARMONIOUS BLACKSMITH From SUITE V This composition was originally written for the harpsichord, which, it should be remembered, is not an instrument with sustained tone. Thus we have a theme with variations, and these variations make up for the loss of sustaining* power by agremens or ornaments. The story that Handel, caught in a rain storm, sought refuge in a blacksmith shop and thus received his inspiration, is probably apocryphal. Grade 6. ^ ttmtt G ’ E HANDEL tranqiiillo M. > - Andante M. =92 UT^- 5^4 5 < 11 /=\

268 THE ETUlrf VAR. Ill

MAY 1945 259 OUT OF THE DEEP Church pianists are always seeking works, with an interesting and impressive religious content. This quality marks the following composition of Mr. Macklin. Although the pedal is to be used, the pianist should preserve a careful legato throughout. The desired effect is best obtained by prac- 271 SPIRIT OP LIBERTY Grade 34. MARCH J. J. THOMAS

British Copyright secured 27:1 THE ETUVV The melody weld brought out

—"* ” ~ 3 2 r 3 -jg . . d>f]. I- -=f n w | * * * P F -J 7 LlT I & - . #*£ -< 0 ^ ' ' *z tty

3 3

MAY 1945 273 — — — ON A GLIDER

- - Boys will revel in this little piece sug-g-esting the zoom ing of an airplane. It makes a splendid little exercise. Grade 3 4.

Tempo di Valse (J. = 60) FRANCESCO B. DE LEONE - 2 =rp=fte=i4^1 ff=M -j » «- ? n* I trip f f da Ice dun.

i j— ^ t-—S' j» j—

(V « GOODBYE TO VIENNA Grade 8. BROWN Moderato, molto rubato LEWIS

MAY 1945 INVENTION NO.l IN C MAJOR (TWO PART) This interesting’ novelty for two pianos is from a- set of the fifteen two-voice inventions arranged with ingenious second piano parts, which will add e- normously to the interest in studying what many teachers consider a “must” in pianoforte development. Ruggero Vene has produced an exceptional work, which will become a permanent part of piano literature. JOHANN SEBASTIAN BACH

British Copyright secured 276 THE ETUDE 277 MAY 1945 I HEED THEE, LORD Words and Music by

MANUALS

Moderato (R54) LOUISE E. STAIRS r?

WJhetLer it s a

liulclincj or a (if

tl'io foundation, is imjooi','taut

MB JONES COLLEGE

YOUNG PEOPLE, WHILE A MODERN RECEIVING EDUCATION, ARE ESTAB- LISHED UPON THE WORD OF A GOD— FOUNDATION WHICH ABIDETH FOREVER.

4 0* l ft*** lj

-Whi'h has had a 75% increase in enrollment in the last three vea-«u.s y otters voice, piano, pipe organ, violin, speech, and art v Without additional cost.

Academy — Liberal Arts ColU — Graduate ^ School oi Relial Graduate School of Fine Arts

For detailed information write: DR. BOB JONES JR. BOB JONES COLLEGE Cleveland, Tennessee

"FORWARD MARCH WITH MUSIC THE ETUDE Wow! Makes one dizzy just to read it, The Teacher’s doesn’t it? No chance here for the pupils to complain of having to practice “dry”

. for C. B.! Hound Table technic. . . Bravo R. ... A very fine pianist, D. M.—Indiana, also writes exhilaratingly: “I have been 252) (.Continued from Page playing for the boys at Camp A. Usually when I play for them at the end of a

. . . the My short preliminary talk to busy day of practicing, teaching and students went something like this: household duties, I am exhausted, but think will agree that "I you with me when I leave there I feel revitalized, as music is one of the best sports in the is amazing if I just had a good rest. It YOU SHOULD HAVE! world, sports, you but that unlike many to me that nine out of ten of them re- play it just for fun—there’s no competi- spond better to Brahms, Bach, Chopin, music tion in it. What everyone does in and the like, than to the Boogie rhythms. is done for the joy of it; and of course Yet, a great majority of them have had or the best way to enjoy music is to play little or no musical background.” sing instrument yourself. ... A musical D. M.’s letter corroborates the experi-

is . . . even better a mighty good friend ences of many another serious artist it’ll any- than a human friend, for do who plays for our “armed forces.” How thing you ask. ... A piano will turn can we reconcile the statement that most for you, winter into summer, it will dance of the men have had little training in or it will mirror every mood, it will laugh listening to good music, with all the so- For PARENTS cry will your inmost with you, it share called public school music appreciation A 2-color book of thoughts and never let you down. . . . courses so long and so universally given pictures and text You can strike it and it won’t hit even throughout our land? . . . Something showing the advan- back! wrong somewhere! tages instrumental good music training can “So today I’m going to have a D. M. continues: “Recently a violinist time enjoy give your child now playing for you. I’ll probably I went to the psychopathic ward of and and in later life- myself will, but I a lot more than you a military hospital to play to about twenty hope you’ll music, too. I shall like the boys—all seemingly in fine spirits. One for play several different kinds of music curly-haired, chubby blond chap, about you hundred —some of it music of one twenty, was in a particularly good mood. hot off the years ago, and some of it just After we had played for sometime he older, press. Many of you will prefer the requested Schubert’s Ave Maria. ... In “classic” will like the music, others the middle of it he broke down, sobbing. don't modern, more jazzy kind. ... I A doctor was called in who took the boy care for I think . which you like better, from the ward and worked with him. . . find that the best way to enjoy life is to We have just been informed that because as pleasure in everything—the serious we were able to bring him to a normal tragedy well as the light side of things, emotional state, that boy is back today as well It isn’t necessary to as comedy. in daily army routine.” .1...... be low-brow. . . . either a high-brow or a Just another instance of the contribu-

Why . . • Why the re- not be a “Both-Brow”? tion music therapy is making in can’t a time at a you have just as good habilitation of such cases. Hospitals basket-ball symphony concert as at a everywhere are enlisting volunteer part- play as willing make game, or at a serious beautiful time aid of musicians, to

at a movie? job. . . . Round this their “defense” is . . help? “The first number I shall play Tablers, why not inquire if you can Colorful, profusely Even voice teachers rejoice greatly illustrated, packed on the with thrilling Letters From Round Tablers when they are taught to “sing” Brooklyn tells her examples of how . . M. E.— During look over a grist piano. youth can have fun guard relief I “I have been teaching a sing- friends experience: and he popular, by of letters from Round Table so thrilled at the ing teacher who is music. all so fascinat- making everywhere. . . . They are to her ear, lovely tones, so satisfying ing that difficulty in choosing I have first time in her life, she are which, for the excerpts . . . Here to share with you. produce on the piano. She had some can now brief high-lights: . . . Even never been taught to play “up” song would be the end of a beautiful “I am so grateful to you for the talk you with a heavy, downward plunk. had with my daughter. ... You told her to played irritated her, and be polite and ingratiating to everybody, Her tone quality and to average in her school and stickiness of her get an “A" the' weakness marks. You did exactly the right thing. You great deal of prac- fingers, in spite of a see, she wouldn't listen to me, and refused . first Whether you are teacher, bandmaster, par- her frantic. . . The to work for me, but now mother isn’t so ticing made told her ex- actually able to play three ent or student, you’ll want one or both of NOTE! dumb, after all! . . . And you time she was TEACHERS, on. . . produce a rich, actly the same things I had harped notes in one impulse and these valuable new books. Parents will be —Mrs. R. C. B-, Minnesota was so excited, she These books are vital quality she interested in "Music, the Emo- especially important to you. her fingers and said, “Fingers, you Children kissed tional Outlet for Youth.” The other book, Yes, it’s always like that! wonderful!” They're certain to never exhortations of their Li-e "Tpflfhpr. VOTT "Fun and Popularity Through Music,” is listen to the «v,f. should have said, help increase your parents, but let some outsider—almost written expressly for youth. Just fill in the are wonderful!” student enrollment. any kluck like yours stranger or a dumb Mrs. A. T. Van D. (Minne- coupon and mail it today. We’ll send the Send for your free very And finally, truly—come along and repeat the for teachers of sota) sends in a prayer books postpaid, free and without obligation. copies today. same tiling; the youngsters hearken personality, and music- “Give me a desirable to it as to the of truth! knowledge of C. G. CONN LTD., ELKHART, INDIANA word plenty of vitality, a deep Mrs. R. C. B. writes enthusiastically: teaching, an awe- our art, genuine love of this year, I “When I started teaching for the profession I repre- some respect G. LTD., 513 CONN BUILDING, ELKHART, INDIANA found that my students and I played off the privilege C. CONN sent and deep gratitude for the than on the Please send postpaid, free and without obligation, the book checked below: keys—in the air—more in this humble but glorious contact, of serving keys; so we are practicing key minister of music.” Music The Emotional Outlet for Youth from capacity of D — “dusted” and “plucked” staccato “Amen” . . - To which we add a fervent Fun and Popularity Through Music the key-tops, “flash-bounce” with active release; consequently everything sounds the Name — better because of surer control. All of “up-swing, which is full to overflow- students do “up-fling” and "My heart, Address _ scale solaced and refreshed “paint brush” touch, “squashed” ing. has often been preparation, City State routines, swift “flipping” by music when sick and weary.’’ and play without all are learning to —Martin Luther I am a Teacher Bandmaster Parent Student looking.” . . . "FORWARD MARCH WITH MUSIC’ 285 MAY, 1945 °

15HSa5H5M35agS5H5H5mg5Z5H5Z5g5H5g5a5H52g5gWSffl5H5gWSg5i found in the casual comments often tossed out about singers: “a good voice, but no — Mental Projection brains” “the voice has seen its best days, but what a thrill it gives you!" One The least-schooled in Singing hearer is conscious that something else must come through of the the mere notes of singing. It is that something else that, to chief busiest ( Continued from Page 249) me, is the element of singing. It can be developed through mental projection. and most see them in new perspective and fresh light, and that is how I learn. And versatile there is so much to learn!” It seems to me that one singers can never reach into the hearts of Putting the Words Over" others without something of this humility of spirit. in Radio ( Continued from Page 260) Mental projection should be begun to-day with the first tones the is young singer CONSONANTS sends out. I am sometimes asked why it is that experienced singers sometimes Articulation of consonants takes place at the mouth. produce “bad tones.” They know how to Usually they are broken up into sing; their- technical facilities are in good silent contacts B, D, G; breath HARRISON order then what percussion T, KNOX — happens to the tone? p, K; or singing consonants

’ N ’ L A For one thing, the singer always works 7 simple division of consonants into TENOR under the disadvantage of not being able lip-teeth contacts and tongue-palate contacts to hear his own tones as others hear follows: Mr. sings Knox them. Another explanation is that the Lip-Teeth BLUE ARE singer does not build his tone mentally P-B-M-F-V-R-W HER EYES Wintler Watts before vocalizing it. Unless there is some- Tongue-Palate (Pub. by Oliver Dilson Co.) thing seriously wrong with your produc- L-T- D-N-K-G-Y-H-S-Z r t l T tion (and let us assume there C takes the THE LAST HOL R A. Walter Kramer is not!) sound of K or S. you can bring out that tone P, B, M. (Pub. by The John Church Co.) that you Bring the lips close together, have prepared and determined t ien separate, in your p is made with a puff oJ A BAG OF WHISTLES Bainbridge Crist mind. Many minor errors wlth vil (such as ’ Jrated . breath; with . and M (Pub. by Oliver Ditson Co.) “white” tone, constricted tone, the singing, uncertain tone in a shut position. BY pitch) can be eliminated by thinking ormed THE the ' by WATERS OF MINNETONKA tPPth • ,^ placing the upper tone correctly before singing it. In like he Center Thnrlow Lieurance thP of the lower lip. When fashion, the entire matter of coloring * comes y°u hear the F. The V is 'Pub. by Theodore Presser Co.) tone (which is by mnHo no means the same as approximating anr) the upper teeth pushing or forcing it!) begins in the OWer lip at a P°in‘ slightly THEODORE PRESSER music publishers and distributors for mind—in the mental picture the singer mL \l CO. outside of the lip. Vibration 1712 Chestnut St. PHILADELPHIA 1. PA." OLIVER DITSON CO. & THE JOHN CHURCH CO. makes of the tone-quality he wishes to f°r air and we have the sing. For that reason, it seems to me a V sound mistaken practice to begin work with f the ton§ue flat in the mouth rather heedless, purely physical, vocaliz- with ? Vibl ation at the forepart of lngs and then expect to “put in the color” the tongue^*" the other “effects!”) (and at some later lt aCt the lips as in pronouncing time. The point is that the effective tone OoT- h?I M A Fine Text Book Classes— n hroUSh °Pento8 For Summer —whether it is part of a phrase, Produces or toeTsound whether it is simply a step in a scale must be planned as a single whole, before * *2^ thr&ont *of it is sung. If you consider it as a single rUi STANDARD HISTORY “ 6 Uth or hard alata - whole, you will quickly abandon the Raise n'° P habit of vocalizing first and the 6 ° £ the t0ngUe *° OF MUSIC then laying hard palate “vf^'' vlbrate, sound, on the “expression” in second place, as K G ye' Se the the Latest Revised and Enlarged Edition a sort of veneer. tongue and n™ outside edges of SS agalnst the palate and back teetu hard By FRANCIS ' JAMES COOKE Essence R6t, aCt tha anCi The ol Vocal Eminence vibrate sound tonsue The singer who develops his work h St 1 kePt Btlu in : tongue flat The here abroad as an au- mentally finds a moutl? ,. , author, who is esteemed and number of interesting a ] f„, thority and music subjects, has drawn 0 a gifted writer on things happening to him. He looses Palate ™"™ 1 at th6 ““ on his rich reservoirs of experience gathered from teach- super- Produces th” ing. research, travel, and personal acquaintance with ficiality. He deepens his thought powers. 11 6 world-noted music folk to make possible the interest 1161’’ tip of ton£ue ex- He learns to make friends with himself Panded^nd ,.!:^ ! Chapter Headings of a content, judicious scope and practical arrangement of 1Sed to the this tale, terms of endless middle a Position in feu- of the many subjects book. In a style rivalling a graphic, well-told in an series of “Why’s" of th Q this book successfully fulfills its mission to impart a use- mouth between hard covered in this volume Why shall I do this? Why will palate , the ful knowledge of music history from the earliest known — my pro- and t How Music Began bottom of facts, instruments, and composers to the epoch-making jection be more vivid? Why did just behind the mouth What Polyphonic Music Was and Margue- thfe living composers, and the present eminence of the art in upper teeth; air forced How It Came to Be rite (or Elisabeth, or Micaela, or anybody through niakp ., education, in our social life, in the band and orchestra What Early England Gave to Music air 6 5 Sound vibrated field, in opera and in radio and motion pictures. It is an else) behave in one fashion rather makes and The Wonderful Bach Family and than the ideal and z Some Musicians Who Lived text book for class use because the logical in another? He reaches into the practical arrangement simplifies the work of the teacher deepest U the Same Time thf Ooli, and projection of fixed Great French Composers of the to the Consonan t pre- Nineteenth Century an idea, the human warmth to make vowels Modern Art-song Its Practice The and Com- Theodore Presser Co. possible the idea, the spiritual integrity of th posers will be axeacises to make the idea seem compelling productive^ every day Recent Great Vi'tuosos of the Piano enough Voice in America and pleasan t speaking Music Everything in Music Publications for other people to want to know about distinct Masters of the Early Twentieth the speaker 1C1!ition for both Century it. These qualities must be developed ana t]„™ 1 ’- Newer American Musical Lights 1712 CHESTNUT ST., PHILA. (1), PA. exercises in "Pf 1 Doing apart from vocalizing. A sure proof a routine : these that Phsli ashion singing is not a matter of voice nothing f or will accom- alone is solutely eful essential to°nght is ah- 286 "FORWARD MARCH WITH MUSIC the etude -

FRANKIE (MLEvWW O/rfifauPty ttnericai Smartest pi< iioh.6 Sftj/itf erf )JU?c{eHi Piatur P/siy/ny- Voice Questions

Jntmeredlv DR. NICHOLAS DOUTY

IMPORTANT! quate words will encourage you to lend your talent to this very fine and necessary work. restrictions, all to extreme wartime paper MISSOURI WALTZ (S.m A...ns«m.n i) Owing 3 department must not HINDUSTAN inquiries addressed to this The Aspiring Young Singer of Limited Means exceed one hundred words in length. DOWN BY THE OLD MILL STREAM Q. I am twenty, I have a fair tenor voice ON THE ALAMO with the ambition of becoming a singer of AND UP popular songs. I .am entirely ignorant of THE ONE I LOVE (B.lon,. t, Som.lod, El..) much love it. I started WITH NO MAN OF MY OWN music, but 1 have for piano lessons for I believed it would teach Again the Young Baritone me more about music and enable me to play Published separately In slieel /J ifTIc in ** be grateful if you will answer the pieces I wished to sing. I can take only music torn,. Each number . . I will Q eight- The Etude the following question. I am one voice lesson a week, because I have to baritone. I have per week should een and have just become a work. How many lessons two before been advised to wait a year or a beginner take? or taking vocal start musical training? Forster Music Publisher, Inc. attempting to sing seriously 2. Am I too old to think it is Permissible to sing 3. Does it do any harm to smoke occasion- 216 South W„b..h Avenue, Chicjo 4, Illinois lessons. Others the slightest discom- ally? Please describe the effect upon the vocal at eighteen. I feel only this is gradually dis- mechanism and explain? W. Y. Z. fort when singing, and — give me your view. M. A. S. appearing. Please A. It was wise of you to start piano les- question many sons in conjunction with your singing. Learn- A. We have answered this The Etude, some- ing to play the songs you want to sing is the times in former issues of Learn more about these pianos Will you please read quickest and best way to master them and we times in great detail. children — about are so many md.v.dual wish every singer would adopt it. If you can that appeal Jo these answers? There j of eighteen find a good singing teacher you can scarcely compact size, attractive case differences between young men thejr lessons per week. The usual general rule can be quoted. At eight- take too many design, beauty and volume of that no Take them, as young fellows are mature men both procedure is to take too few. een some and as your free tone, and responsive touch. New mentally, while others are still many as you can afford physically and faith- class do you belong. time allows you and work hard and pianos are now available to musi- bovs. To which general should commence fully at your music. If you do so you are FINGER DEVELOPER The decision as to when you cians, music teachers, and music one. Do not not too old; but if you dawdle away your study of voice is a serious for pianists the time you can never hope to succeed. 5ttidents nax R new invention advice of those friends of yours who ^t WRITE FOR FREE take the smoking, especially if you in- ‘ ^ minutes daily music and therefore are 2. Excessive Booklets show- The use of this exerciser a few are uneducated in for 1 touch of any physician hale (and who does not ) is apt to be bad is guaranteed to improve the to advise. Have your Gulbransen by many that it not qualified voice, because the temperature of the . tfflh 1 ing pianist, it has been stated then if he thinks your the Will technic. Took at your throat; charming revolutionize pianoforte hands audition smoke is high, somewhere about 120 to 130 « new It develops muscles of the fingers, normal and strong, have an the ana so cords are alternation of the room tempera- traditionally- and arms in a new and wonderful way. teacher. If both degrees. The The ap- a well-known singing | quickly that users are astonished. with matured, you ture of about 70 to 80 degrees and the smoke ^ Grands arrangement oi think your voice has V pliance consists of an ingenious u men Ihese men temperature is apt to irritate the mucous rings and fine silk covered elastics, safely start your lessons. —— and Consoles. creates the "downward and can membranes of the nose and throat. In some resistance on the assistance the "upward" movement of nicotine is deposited upon the on immedi- extreme cases fingers. The eflect of this is noticed Therapeutic Agency muscles that move them inter- ately, brilliancy being at Music as a cords and the COMPANY greater speed and an GULBRANSEN tained. _ voice for four years o„e fering with their resilience. However, Ordei to- I have studied N. Kedzie, Dept. E-12, Chicago 51 Send for valuable free literature. Q will do little or no harm 816 to be teacher in New York. occasional smoke day- It costs less to have one thaii fipnr with a well-known PRICE great deal about the unless your throat is unduly sensitive. without it lateiV have heard a therapy. I would hke to Mfg. and sold by ue of music in „ or school where there is any college Concerning the Art of Whistling CHAS. T. MARSH. LTD. TnZ if with relationship to therapeutics is taueht Judging from the number of questions sent 895 EAST AVE., VANCOUVER, B.C. to know if the training 64th music 1 would like to us about the art of whistling, the interest voice will be of use in this T have had on my in it must be very widespread. While we have be a new field with great study This seems to whistled all our lives, the sound we make I would be glad for the future and could not by any stretch of_ imagination be chances give me on this information yon can called artistic. Therefore, we 'print in its en- „ any very limited knowledge of this is tirety a very interesting letter from an ex- 'St MV think that music interests me greatly to perienced and skillful whistler, since it an- curing the sick both S VSS 2 an aid in swers all the questions submitted much better J- W. bodily and mentally.—B. than we can hope to do. Here is the letter: Christian Songs individual per- I saw your answer to the whistling ques- a in a list of names of a Hpre is can tions in the November, 1941 Etude, and I • Broadcasts institutions to whom you Heard on Gospel sons and of am wondering if my experience may not Rallies detailed information concem- • Youth for Christ f" ‘for more one the questions, the one The National Foundation answer at least of • Singspirations musicaTSerapy: about whistling being harmful to the whistler. have these Steinway Hall. 113 West Easy to learn, hard to forget! you may t!ZIZ I began whistling in public when, at the a y TS!c Boul-thrilling songs—words and music York City; home. Order 57th Street. New tender age of fourteen. I whistled backstage own piano, in church, school or Regent. 2720 Broadway, New or popular collections. wrleht. Hotel for an old-fashioned elocutionist. My visible A FRANK . more of these Martha Kalms, Director of DUETS -{jOc Vnrl City; Miss debut came one year later when I whistled INSPIRING GOSPEL SOLOS AND — Hospital. Philadelphia; OF FACTS ABOUT DUETS 5UC Pennsylvania Lange’s Flower Song on a high school pro- STATEMENT NEW SACRED SOLOS AND Music of the Amer- AND POEMS 5UC Walter F. Franklin, care gram. accompanying myself. My only com- FAVORITE RADIO SONGS m™ The Walter Reed AN IMPORTANT SUBJECT PRAISE AND WORSHIP CHORUSES ^ “an Red Cross. Philadelphia; petition in town was a woman warbler, also SHOWERS OF BLESSING £2“ h ne 1 C an amateur who seldom consented to perform. - 22“ H 'studies will be of %ed, there is some SACRED TRIOS FOR WOMEN o I° 'vS'al I was soon in demand in local affairs, where - /3C “Y«tam“ y LILLENAS’ SONGS FOR MEN ... . have been trained girls value to you if you I took much teasing about “whistling filling orders for Deagan set only $3.00, postpaid) -real delay in (Entire beautiful tone, to enunciate clearly later tormentors sacred songs. fn make1 a and crowing hens," but my Let us locate YOUR favorite without But it's the kind of delay and to sing Quietly and were glad to have my services. Marimbas. Write for Free music catalog. and easily, For more than a year whistling: 1. The Sduf PPhysical effort. There are two methods of that is worth while from two standpoints. LILLENAS PUBLISHING COMPANY pupils have been doing this schoolboy with outblowing mo. several Qf our pursed lips of the patriotic delay, caused Kansas City lO, excellent results, espe- easier, longer First, it's a 2923- C Troost Ave. in hospitals with breath. 2. The indrawn breath, “urk been inval- I SSy among soldiers who have lasting, and certainly pleasanter to see. by the fact that highly important war variety of causes

How much simpler for the beginner- beat or more which concerns it, and stop “Eyes to See” reader to count the measure simply "one” counting one, two, three, four, and see mental and simpler way for the child to what result you get. Often ( Continued from Page 258) for the quarter-note, “one-two" for the the student approach this business of counting time. half-note, and “one" for the last quarter, will render a perfect performance of the By the time the child is advanced three, four,” for this compels him to thus assigning to each note just what it measure on the very first trial with this enough in the handling of his instru- perform constantly a mental problem gets! type of counting. ment to enter the orchestra, he will be of arithmetic addition and subtrac- For eighth notes, teach the student to If you are still unconvinced, try this amply ready to group his notes by meas- tion all the while he is trying to play. one yourself observe next and your own ures. and this is when it Ex. is really neces- The better and newer method is to mental processes as you do it. sary to do group them in pairs. are so. For now he wishes to have the student feel of the pulse get the Count this measure out: recognize the director’s very important of the beat, an even, regular “beat, beat, n down beat, Ex. 6 signifying the beginning of beat, beat,” then simply allot to each “partners” coming together on one beat. the measure. And it is dollars to dough- note its correct number of pulses or » nuts that Ex.3 'if pp r p*p* p cj*pi the child will develop into a beats. Instead of counting “one, two. is long, short -short. better sight-reader sooner if his ap- three, four,” the student would count the pioach j n Did you notice how you concentrated to the problem of time-counting measure above as “one, one-two (the half is on putting two beats on the quarter; how made in this more practical and mean- note), one,” each word being spoken This measure is you grouped your sixteenth rest and your ingful way. rhythmically as the beat falls. Thus no j j j j j sixteenth note to form a beat; how you complicated problem in addition results. counted one, one, one, one; with the made "partners” out of them? Let us now analyze our mental process child playing the “partners” quickly with True, you were counting “one, two, One Hour of if we count the four beats in sequence, short bows so as to get them both played three, four, five, six,” and so forth, be- “one, two, three, four.” “One" equals a on the one beat. The same later for: cause you are used to counting time that Practice quarter note; two plus three makes the way; you have done it for years, but you Ex. 5 ( Continued, half note. This is confusing in itself, were also working very conscientiously from Page 254) because we have now suddenly associated beat-by-beat as you proceeded through Raft. j j j J J Cavatina; Tchaikovskv. the word “three” with a half-note, and j n the measure. “Violin Ooncerto_s-'FS ConservatoryConservat 01 ' high-grade If, like thousands of ambitious men and ^' ^len musical institutions. however, women, you you ,• i i • r must n have a K C Glce ° left over from your regular duties—and at a nominal expense—then the University Extension 0ur musical ^ Conservator train’"ln ;] ^ otters 1,1 time1 anteed means to the attainment of your highest musical ambitions. you the ^ ' ° v- Pillsure,snrp' C. provenatTlfran andnnrl guar-re> Th

Students and those wishing to take up the Study of Music under the most approved and authoritative methods will find our Students’ Courses ideally adapted to their needs. »ept. A.4Q3 Please send me catalog x have marked Strated They are remarkable in their simplicity and thoroughness, leading front the first with an X &l2w. »«»ons and fu " steps to real proficiency and accomplishment. informatiion rudiments of Music by easy, progressive 5 regarding course I C ° Urs photographs from life and with detailed ex- sSnt's Course' ° The lessons are profusely illustrated with Jj^futony understanding of proper technique planations of every important point, so that a thorough Public Ichooi »'’« Violin Advanced tedjt" ccd is insured. CompositioS Cornet Cuitar Voice Mandolin of highly qualified teach- usic Saxophone All instruction is individual and under the personal direction Reed Organ of a very wonderful - ers who keep closely in touch with the student’s progress by means Name . Ba " d Arranging Banjo system of examination papers throughout the course. Street No •Adult or inter- Juvenile. right in your own borne, without any . You can have this invaluable training City ot the cost in time and money ference with your regular work, and at but a traction teachers and artists through- Are you otherwise necessary, thousands of professional musicians, teaching now? authoritative i of the University out the world owe' their success wholly to the Extension Conservatory, and gladly testify that fact.

~~THE ETUDE HUM Mil riltmil flUsTIUlVS JmMTmrmm FRY, Mus. Doc. -Angered lf HENRY S. *7fto(/ern fours# for Piano~~

by the full answered in THE ETUDE "”/m rompanied No questions will be , “““'"Cr will "hr pubhuh or pseudonym— givengiven,, wd*will be name and address of the inquirer. Only initials, advertisers, ca. express r. lished. Naturally, in fairness to all friends and we relative qualities o various organs. at In the "TEACHING LITTLE FINGERS TO PLAY". Here is a book in which Dr. Thompson gives the beginner on opportunity to "Play a Tune" at the VERY FIRST LESSON Price, 60 cents. Q. The pipe organ in our church is in "TEACHING LITTLE" FINGERS TO PLAY ENSEMBLE". Simply a IMPORTANT! Materials such as rub- urgent need of repairs. book of accompaniments to be played by teacher or parent while Owing restrictions, all berized and leatherized tape are the essential to extreme wartime paper the child iS playing the melodies from the beginner's book, must not needs. Where can I obtain these materials? inquiries addressed to this department "Teaching' Little Fingers To Play" Some other parts of the organ need replace- Price, 50 cents. exceed one hundred words in length. M. J. ment also. Are they obtainable?— "THE FIRST GRADE BOOK". In this book, as in all of his instruction, John Thompson "makes haste slowly", thus insuring the A. We suggest that you make known your pupil o sound foundation for future needs to various organ builders, organ me- development Price, $1.00 chanics and organ parts manufacturers asking Q. I have a group Junior Choir children "FIRST GRADE ETUDES". This book is intended to lay a foun- of them for information as to what is available. aged seven to eleven. I would like to try dation in technique for the FIRST GRADE piano student. their voices for two-part singing. Only the /./*••/”. Price, Q. I interested in learning to play an 60 cents. nlUaet can cany a tower part, but will you am organ. / have had only two yearn of piano, pant aiso "THE SECOND GRADE BOOK". This book is designed to advance please tell me the range of each u‘<": the imxioiw i™™- pupil musically and pianistically, can the SCIllS but I am '"I™”’ without interruption, beginning you tell me the names of used reed organs for sale (Ml Lfll!-* I know mat ton on ayllublcs when auny chromatically? exactly ot the end of flic "First Grade Book” Price, $1.00. going is do,, di, re. ri, fa, in up chromatically . an organ available for practice FIFTY chro- I°may find "THE SECOND GRADE STUDIES'*. All examples are edited fe, sol— ? ti, do,' but cannot descend Pasadena ?—B. B. and fingered by John Thompson matically. Can you suggest a good text book and are designed to hold the for me?—O. D. P. A. We are sending you information as to pupil's interest os well as to develop the various points of pianism of used two manual and pedal encountered in the Second Grade the the availability Price, 75 cents. A. suggest your examination of in Califor- We reed organs, though we have none following range you will "THIRD GRADE BOOK". Carefully planned to continue the pianistic works to give the in the list at hand. We cannot nia included and musical development suggest an organ available for practice in of the pupil from the precise point attained Wnrhurst; “Sacred you at the end of the SECOND “Cecllian Choir,” by Pasadena. Perhaps the party with whom GRADE BOOK Price, $1.00. Two-Part Bliss; “Ditsons Choruses." by study can suggest an instrument. Sacred Two-Part Choruses.” The chromatic THIRD GRADE VELOCITY STUDIES", Fifty etudes from re. n, the works of Berens, scale ascending is as follows. Do. di. Mason and Hamlin organ, Bertini, Burgmuller, Czerny, Duvernoy, the Q J own an old mi,' fa, fi, sol, si, la, li, si, do. Descending Tremulant works. Heller, Kohler, LeCouppey, Lemoine, and wish to know how the Loeschhom, Streabbog! syllables le, sol, se, fa, pipe are Do, si, se, la, Also how does the tremulant work in a Price, 75 cents. rnl. me, "e” in se, le, stop re, ra. do. Pronounce organ? To what family does the Melodia me, like “a" in "FOURTH GRADE BOOK". Like oil others in JOHN like "a" in fate, a in ra. belong, and to what family does the Gems- THOMPSON'S own use, we organ MODERN COURSE FOR THE PIANO" is designed father. For text books for your belong? Is the Mason and Hamlin to carry forward, Sight- hom both musically and pianistically suggest examination of "Methodical and if so, where is the Price, $1.00. Sight- still manufactured, singing.” by Root; “Popular Method of Company located?—D. W. H. FOURTH GRADE ETUDES". singing,” Twenty-four progressive studies in all By Frank Damrosch. major and minor A The tremulant in a reed organ works keys from the works of Berens, Bertini, Cramer, getting to suction when valve Czerny, Gurlitt, Heller, Leybach, Q. Please suggest some method of as a wind mill due Loschhorn Price, 75 cents! are different forms of rid of who thinks she can cover is lifted. There a church organist, namely, valve, "FIFTH GRADE BOOK". Pianism and Musicianship march on apace all. I, a boy used in pipe organs, Vlay, but in reality cannot at tremulants in this book and the the all of which may be operated student becomes increasingly familiar with works of fifteen, have been told that I can be beater and fan, can be latter however, may be oper- from the Masters Price, $1.00. organist (without pay) if this lady bv wind—the solution motor. The Melodia stop removed from the position, thus the ated by a small "FIFTH GRADE TECHNIQUE". Artistry unimitative flute family. The being the watchword in is of extreme importance to me . —J. W. C. comes from the Fifth and in confirma- the Grade and beyond, the technical exercises ore based Gemshom is a hybrid stop, A. dependent on quote from Organ exclusively on fragments taken from standard piono literature The matter is entirely tion of our opinion, we to the authorities, and we given to an meet a definite action of the church Stops” by Audsley. "The name technical need Price, 75 cents. can the organists which are coni- make no suggestion for open labial stop, the pipes of "THE ADULT PREPARATORY removal. metal, and pyramidal PIANO BOOK". As the title suggests, cal in form when of this book is a preparatory book in PIANO PLAYING. It is when made of wood. The tone of the true designed book, The and penetrating, especially for the ADULT Price, Q. Can you tell me where the Gemshom is rich, clear, $1.00. Reed Organ" by Milne, may be purchased. beautiful timbre which may be having a THE HANON STUDIES". A First Grade edition in quarter Also the names any other books or pam- between a normal reed-tone and — of classed as notes of this standard work specially phlets in attach- as we know the Mason — designed to develop funda- which will give information a string-tone." So far have recently manufactured. mental touches in piano playing Price, 75 cents. ing a motor to a reed organ. We and Hamlin organ is not now reed organ, and purchased a Story and Clark STUDIES IN STYLE". Twenty-five Tuneful Etudes, in the Second Grade a organ. Are these send information regard- Mason and Hamlin reed O Will you please for the Pianoforte. These etudes speedily develop technical fluency (pianos, piano for pedal in all firms still manufacturing instruments ing pedals attached to the directions 1 Please state price.^ p rice# 75 cents suppose).—J. M. B. practice for organists? ^ "KEYBOARD ATTACKS". The purpose of this book is to simplify of A. The book you mention is out the teaching of for addition to communi- touch and expression. Only the favored few an English publication, business bombed, We suggest that, in guar- A name and address who have studied with artist-teachers have learned the this reason price and delivery are not cating with the party whose tricks. communicate mail, you communi- anteed. We suggest that you we are sending you by Price, 75 cents. manufacturers desires to various organ with various reed organ motor cate your needs and Due to wartime paper limitations, we cannot supply all the books you Pianos price of pedals, attached might want, but like advising them of your needs or desires. builders, asking for other national favorite items . . . keep on trying. are of both manufactured in the names "V: to the piano. firms you mention, although we do not tnmK organ lessons for they manufacture organs at this time. a I have been taking get about four months, and find it difficult to enough for pedal practice to the church often Therefore, will you please for each lesson. the Willis Music Ca. pedals attached send me information about RICHARD McCLANAHAN practice?—F. Q. to the piano for pedal Matthay Representative various 124 E. FOURTH ST. CINCINNATI We suggest that you advise 2,0. N.Y.C. A mechanics of your Steinway Bldg., organ builders and organ attached to the needs and have the pedals from these per- PIANISTS piano, by some one selected SUMMER COURSE FOR to the pt.no Sns. Have the pedals attached June 18 July 20 one octave lower to give the 16 foot — key from the and to avoid interference * * effect that you pulling down the some note 10 pedals 1) 10 Lectures Tuesday and Friday may be playing with the hand. principles to 12: Applying the Matthay of tone-production to Piano Fundamen- the ORGANS -Used tals; sources of musical meaning: lew — PIPE reper- teaching of expression: materials; and tory; etc. nr red very reasonably. We also rebuild and tubular organs, additions of tracker care 2) 'Private lessons by appointment 2"SSl5r.M chimes installed. Yearly organs. We solicit Inquiries. Organ Experts Particulars from Delosh Brothers — Corona, L. I., N.Y. C.ty >08-1 05th Street 113 W. 57th St.. New fork 19, N.Y. "FORWARD MARCH WITH MUSIC” 289 may, 1945 Mute Practice

~~JOHN M. WILLIAMS I Continued from Page 261)~~

hesitation. The fingers PIANO COURSE and without mediately follows. The player will find must be accurately placed and, at that this sort of practice is as valuable separately number of for G+Dc+J> first, gripped a training his ear as it is for training times; then the second and third fingers his fingers. He will also find that he together, alternating with the should grip develops a strong and elastic gi'ip on -the THE FAMOUS first; then the third and first, alternating notes of a difficult passage much more second; then the second and quickly with the than he would if he depended GRADi-BY-GRADI first, alternating with the third; finally, entirely on audible practice. all three should grip and relax together. Two or three minutes practice is quite Time-Saving Practice at any one time—what happens "BLUE" BOOKS enough Not only isolated passages but entire the first minute is what counts most. in movements may be practiced in this player can take the notes As soon as the way—if the player has the endurance chord simultaneously and without of the to do so!—and, because of the close asso- the shift will give him no PREPARATORY GRADE adjustment, ciation between the ear and the motions difficulty. of the fingers, memorizing is invariably VERY FIRST PIANO BOOK — Original Blue Book with the staff Single- and double-note shifts can more rapid. A violinist who can, without notation chart- profitably be practiced mutely. Take, very stumbling, play mutely through a move- HAPPY — Designed for boys and girls who practice for instance, the following shift on the ment HOUR BOOK of a concerto can be quite sure only a short time each day string: that his A finger-memory will not fail him. It must not be inferred that mute FIRST GRADE practice can supplant audible practice. It FIRST GRADE PIANO BOOK — The most celebrated piano method cannot. For one thing, there must be a perfect before the public today. Written throughout in five-finger posi- coordination between the bow and the tion in all keys 1.00 left hand if a technical passage book to *? e wel1 and clearly GRADED SIGHT READING, BOOK I — A supplementary played, and only audible, practice First Grade 1 .00 can develop that. What The distance of the shift is, obviously, mute practice can MAJOR SCALES, BOOK I — Contains all the major scales with do is to reduce very distance the first finger moves in directions for the considerably the time writing, building and playing .60 G. Therefore the required for mas- going from B-flat to tering purely left-hand ADVANCED FIRST GRADE — Designed especially to bridge the be gripped alter- difficulties, for it G and the C should Ql e gap between the First and Second Grade Books 1.00 unnecessary many of the nately and together. While he is doing innumei S able repetitions usually must try to be aware, needed this, the player Uer eSe problems SECOND GRADE - Because every sound of the notes, but F not only of the mr,i?n^ f the!? is consciously di- SECOND GRADE PIANO BOOK — Preparatory exercises of each shape and position of his rp^lTK° LL also of the the mind and . , is at once asso- study thoroughly worked out to demonstrate to the pupil the hand and arm. To do this successfully ciated,. th through the mind, with 1 -00 than has the sound proper manner of study calls for more concentration 0 note > habit-grooves heretofore, and some little f necessary GRADED SIGHT READING BOOK II 1.00 been needed a aC Urate Performance are cut 60 time may elapse before it can be clearly mnrp H f MAJOR SCALES BOOK II m°re When the player feels that he QUickly than is visualized. generallvThPgeneraily the case mind he should place with audible practice. T H R D GRADE has it clear in his e S Saved can be devoted finger on the B-flat, hear in his to . V THIRD BOOK — Designed to follow the second his hL!! ue ln GRADE PIANO the C to which he ^ue Loo often sadly in detail inner ear the G and neglected-^n grade book. Numerous preparation exercises explain ^“ study o£ shift, and imagine as vividly as t0I« produc- it will be mastered must Son how to practice each piece of study so that the study of possible what it felt like to hold those the musical with ease 1.00 anS'arnt P6CtS he should shift, mutely. 01 Performance. To 1.00 notes. Then SSG bu,v v r“ GRADED SIGHT READING BOOK III shift has been made, the notes s£lou£d pe a matter When the of great Interest FOURTH GRADE should be tested with the bow, to find how successful the effort has been. ctice is that Third out BOOK. Designed to follow the difficult rxst d FOURTH GRADE PIANO Shifting is the most form of work r uotive Schumann and late at o*°„ °. l°“5 Grade Book. Bach, Chopin, Mendelssohn, practice, because of the mental nS or m a hotel room, mute under other Schubert are among the composers drawn upon for the studies but when a shift 1 C Stances effort required; has violin playing where 1 .00 mmieht S 'fl beautifully laid out and carefully edited volume in this way, it will h‘ b in this once been mastered ea5lbIe- ^evioL?st 100 0 t GRADED SIGHT READING BOOK IV remain in the fingers for years. tice must l Xs; rup mute prac- hot expect With the exception of shifting, we 1, amazi in the first feVSavs results FIFTH GRADE dealing up to now with S ' Some ^ have been pas- possibly a few wppJ httle time, — Technic is to master all the sages in which the hand remained still, must THE FIFTH GRADE PIANO BOOK the mind can adan^l Pass before condensed table of all question is bound to be asked: scales in thirds, sixths and tenths. A and the different an to so radically will found in this book 1 .00 “What about a difficult running pas- scales and arpeggios be Therefore he shmiS^, to Practicing. sage? Can this, too, be practiced mutely?” least a °'V hlmself at month of cons' ADULT STUDENTS -BOY BEGINNERS Certainly it can—and with most satis- he bsistenS t makes up hi* work before results. The procedure is ' factory as fol- this new nd whether or not GROWN-UP BEGINNERS wav nf n . lows: Play the passage a few times with him. 11 100 But the ^ * S helping THE ADULT BEGINNER the bow, at a very moderate tempo, so playerSvhnS*who FIRST BOOK FOR brings the fun ls patient, who THE ADULT that the ear may learn the tonality. MELODIES FOR to bear on ^ °* b *s ihtelligence FAVORITE what . even slower tempo, finger he iS Then, at an it and do * ng gladly sent for your examination elaborates ’ who follows Above hooks mutely several times, using on t) _ through a above, princi will surelv Ples outlined vital and intense finger pressure on each ^la “ “ “ control is ^ technical Bi =, === ~ CHARGE “ "T testing note here increasing. NO note, and a and there he 1 had believed Ucb taster than nrf 1^, I in order to check on the intonation. In ble that he is ' And> further, CATALOG W-545 of mute practice the ear gaining v?| SEND FOR this form should he can ll ble THE BOSTON devote to time which for teachers and mentally listen, not to the note that is tion, culH»at? Helpful suggestions his musical ng his Vagina- being stopped, but to the note that im- unril ! pupils. technique of erstandin aud his MUSIC COMPANY expres^ g>

116 Boylston StreeL “ Without the definiteness of sculpture Bosfon 16, Mass. a that very reason far more suggestive, Uke m*-sic is for one tmPu,se is ,urnisKea. ana the mUn^’ ..ZONE STATE... outline, a°es the rest.” tuckerman "FORWARD MARCH WITH MUSIC’ 290 the etude .

~~n6 iuer,ecUy HAROLD BERKLEY~~

IMPORTANT! must be flexibility in the joints. Try to obtain a copy of The Etude for July, 1944. In that paper restrictions, Owing to extreme wartime issue there is an article of mine on the vibrato The price of World Famous Century Edi- World Famous Century Edition presents all inquiries addressed to this department must which answers your question quite completely. hundred words in length. tion is incidental. You have been willing in these new issues, music you will want not exceed one A Good Offer to pay much more for material not up to to play music you will want to teach . . . D. B., Pennsylvania Neither I nor these in quality, character at Century's money-saving price of I5(t — anyone- and excellence else can give a valuation of a, violin, without the Maker Rocca of production. a copy. Concerning seeing the instrument. A transcription of the Oklahoma.—Joseph Rocca (bom label is no Miss G. W., of help, for labels can be copied 3709 Minuet No. I, Anna Magdalena, C -2 Bach 3G75 The Firefly, Am-1 Hopkins 1865) a pupil of Pres- 3710 Minuet was No. 2. . died after even easily than Anna Magdalena. 2 . Hopkins 1800. more violins. This is par- C Rach 3G76 Going Swimming. lib- 1 . highly regarded. 3711 Ecossaise, Kb-2 .Beethoven Hopkins senda. and his instruments are ticularly true of J. B. Schweitzer. He himself 3677 Grandpa’s Clock. C-l ...... 3712 Minuet. Oxen . they range in price from eight C-2 Haydn 3678 The Military Band. Bb-1 Hopkins Generally, was a very good Austro-Hungarian maker, and 3713 Menuetto and Air. F-Bb-2 . . Mozart 3679 Summer Days. F-l Hopkins hundred to fifteen hundred dollars, though he produced some fine copies of the Italian 3714 Tarantella. Dm -2 . I’rokuflefT Hopkins 3680 Tommy’s March. C-l.. more has. been paid for an exceptional speci- masters. But his violins are quite scarce. How- 3715 Little Waltzes from Op. 9A-3 Schubert 3681 Marie Antoinette's Music Box. C-l Clovar.nl However, I cannot assure you that your ever, the violin market 3716 First Loss. Em-2 Schumann 3682 Down Merry Matanzie, I’ortrr men. was flooded a few by C-l.. genuine Rocca. There are many 3687 Brownie’s Courtship, C-2 3883 Poor Fldo. C-l Porter violin is a years ago with violins bearing his label. These 3688 Jumping Jack. C-2 Hopkins 3684 Porter around, bearing an exact Here We Go. 1 instruments instruments are 3689 Banjo. C inferior the cheapest kind of factory My F-2 . Hopkins 3685 Porter School Drill. C-l . facsimile of his label, instruments with which product and were designed for the pawn shop 3690 Dancing School. C-2 ltolfe 3686 Which Way to London Town, C-l Porter 3691 Going to Market. C-2 whatsoever to do. Only a per- . . . . .Hollo 3717 he had nothing trade. You say you have been offered $500.00 . Schumann Sicilienne. Am-2 .-. .. violin 3692 Lots ot Fun. G-2 Rulfe 3718 Tschalkowsky sonal examination can decide whether a for your violin. My advice to you is to accept Sweet Dreams, c-2 Sea Spray. C-2 . to sure, you ltolfe 3719 Polka. Bartered Bride. C-4 .Smetana is genuine or not. If you wish be the offer and be very happy—for a genuine At the Playground. C-2 3720 Oanse Husse. Petrushka. C-4 Stravinsky should send the violin for appraisal to one Schweitzer is worth no more. Party Clothes. C-2.. *. 3721 Debussy The Puppet Show. Afternoon of a Faun, E-4 dealers who advertise in The Etude. G-2.. . .Steiner 3722 of the Topsy Turvy. F-2 Festival at Bagdad, „ the name of Kerbren is . Steiner Schcherezade, Rimsky-Korsakotr (2) No maker by 3698 Song of the Mariner, C-4 Tartini Bowing Am-2 . Steiner disposal, and A 3723 Hallelujah Chorus, Messiah, D-4 Handel mentioned in the books at my 3726 Chords Abrams is, a local O. E. J., Arkansas—The first seven measures, PIANO Arpeggios, Triads & 7th the chances are that he was, or OR VOCAL SELECTIONS maker—perhaps an amateur—who copied excepting the fourth, of the Mazas study no. 3699 God Be With You Till We Meet Again, TRANSCRIPTIONS BY ROLFE 50, op. 36. should be played near the frog. Beethoven Stradivarius. 3700 Funiculi Funicula, Eb-3 3663 Allegretto. 7th Symph.. Am-2 This is an unusually good study for bowing . . Dcnza 3664 Grice 3701 0 Sole Mlo. F-3 Ase’s Death. Peer Gynt. Am-2 . Dl Capua and for intonation, and it deserves concen- 3702 3665 Consolation. F-2 Mendelssohn A Question of Appraisal Ross of Tralee. Hb-2 Glover 3666 Estudlantina. C-2 Waldteufel Maggini trated practice. (2) In the forty-fifth varia- 3703 Tales from Vienna Woods. 0-3. Strauss C. H. E.. California—A genuine 3704 Evening Star. Tannhauser. 3667 Barcarolle. June. Am-2 Tschalkowsky Mrs. tion of Tartini’s “Art of Bowing" the first G-3 . Wagner fine violin, worth today 3705 My Heart at Thy Sweet 3G68 Light Cavalry Overture. C-2 Von Suppo is, of course, a very best Voice. C-3 St Sams nine notes are played spiccato, the re- 3706 3669 Spring Showers. C-2 as thirty-five hundred or four thou- T it- Willow. Mikado, 0-3 Sullivan as much maining three being taken in one bow. The Ave Marla. Kh-3. 3670 Tarantella. C-2 Heller but there are not many of them . Bach Gounod sand dollars, printed is impractical 3708 I II Take 3671 Valse Lente. Coppelia. F-2.. Delibes bowing and not very Vou Home Again, There are, however, many imifcu £a‘h '«n 3672 Voices of Spring. Strauss to be seen. musical. There is much good material in these - Westendorff C-2 of 3727 The Caisson Song. Some them . 3673 Trepak. Nutcracker. <-> 2 in G Expert Repairing. Send for Catalog E the Concerto by I in A minor, op. 108; certino Concertino m Frank Woeiber; the Carl Bohm Hans Sitt Concertino PIANO TEACHERS! G major, op. 377; and the n P ln m two books on violin SCHOOLS-COLLEGES Teachers!.. .Students! Add Swing Piano Playing Y« i haVe pubiished —"The Modern Technique of Violin nlaidng Modern Bow- Be a PIANO STYLIST to your teaching program BowiM" and “Twelve Studies m edited the “24 Caprices of 5 h ., Vvr a iso • Jazz • Swing • Jump • Boogie-Woogie .*? Studies" of and increase your income j -First Thirty Concert CONVERSE COLLEGE page Piano Instruction the Papanini "Caprices." These Our NEW 100 Book will en- Axel Pinno InP tr '' c n leriot. and you to play Popular Songs with Christensen's Complete Swing . ^° 5e publishers able all the Book glnmour procured through the fancy will enable you to teach votir pupils to hooks may he embellishments employed by the professional. e witli pe -- i^ Pp.P'ilnr melodies in reallv modern style of The Etude. Make Your Own Arrangements Add Notes — l ’ e Department of Music [ect time, liberal 'vl'"' e8 Chords— Basses Breaks—Blues— touch and rhythm. Very SCNOX Galesburg. Illinois — Rhythms— Modu- P fj ° 4° tenc hers musical colleges. Send Tl'°“ lations—Transposing—Orchestra and Radio and the Vibrato ns w - Williams. Chairman Playing tn i already Question on ‘I.y'ur loenl telephone book does not A COILLEdifc> Ha Sn 's=3 fc Catalogue sent upou request. —Introductions— Endings, etc. 1001 sparkling l; . perfect vi- new ‘ist a Salvador, C. A.-Tlre Christensen School. r L El and ideas all contained in one book. Not an ear orcoyres- combination of arm, wrist, pondenee course. You receive CAVAN Bulletins con- “bratoiat is a AUGH’S In- Our Break ° for this ensures complete struction Manual which shows you step by step ‘ IP?! | fascinating arrange- finger nimovement, how IS 3° trim hand—which is the to apply contents of this famous book to 0 lts for hit-songs th arm and any popular , Building extra choruses of popular reiaxation ^ ^n ,'i , figures, vjbratf) It is rather difficult SHENANDOAH song. For Beginner. Medium or Advanced Student o nd u rd s |,y means of novel breaks, bass ri rltn' baS except that Courses leading to Order your book NOW! TODAY! Price $10.00 com- naing the melody, for sample copy. the impulse starts— etc. Send 20 cents , sacGv whefe the B. Mus., and B. Mus. Ed. degrees. Rates plete. Postpaid and insured anywhere in the ?° heart. It certainly does world MUSIC X.c?me from the reasonable. In the heart of the Shenandoah CHRISTENSEN SCHOOLS OF POPULAR ’* should be no CAVANAUGH POANO SCHOOLS tn die finger. There Valley, Dayton, Virginia. 752 f «Mrt 475 Fifth Dept. New KIMBALL HALL BLDG. CHICAGO 4, ILL. indent movemont of the finger, hut there Ave. E York 17, N. Y. ' 'FORWARD MARCH WITH MUSIC" 291 may, is>4s — ° ‘

and understanding for children. They UHE1EE1 Special Summer Study Courses are told them lovely little constructive stories easy to conduct with the proper and taught them Music for the Mentally to sing children’s songs. TOB>Y books selected for the students. My friends used to ask me if I did not find all of this work very depressing. I 5* Here are obvious 9 choices. Disturbed told them' TAWE)BYS emphatically “No!” And I S think that all of those who aided in this will ( Continued from Page 263) work corroborate my statement that there would be many more happy people • OUTLINES OF MUSIC HISTORY O THE FUNDAMENTALS OF MUSIC in the homes, fewer neurotics, and fewer By Clarence G. Hamilton S2.25 By Karl Gehrkens SI. 50 had to sing Sweet Adeline, The Glow- inmates in the asylums, if they busied A clear and concise work for class use or general A non-technical presentation of those essential Worm, and several other songs. In this themselves with some such activity for reading. Includes, in addition to eighteen pages of aspects of music that may well be called funda- illustrative music listed at the front of the book, mental. The chapters are fully illustrated and give ward we found some who had been pro- the good of mankind. reference groups of outside reading material, pic- am|>le lists of reference books for collateral fessional singers. They sometimes tures, maps and chronological tables. would take part in our programs, singing a solo CLASSROOM WORKBOOK By M. F. • PIANO MUSIC: Its Composers Goldman—A practical new study guide for or reciting something. They appeared to and Characteristics use with “The Fundamentals of Music.” Pro- be perfectly normal and were disturbed vides exercises based on the text with am- By Clarence G. Hamilton only at times. $2.00 ple space for writing. 94 pages. Price, 60c. America and Good Music In this compact history of piano music, with the A great number of the patients felt technical and aesthetic features of the styles of its O that they were unjustly incarcerated, and composers discussed, the author also describes the ELEMENTARY MUSIC THEORY C Continued from when the attendant was not looking, Page 264) early claviers and the evolution of the piano from By Ralph Fisher Smith SI. 50 a the time of Queen Elizabeth to the present day. note would be slipped into our This book is written in such a remarkably clear hands, yet attractive style that it can be used successfully asking us ’phone their which to folks to come we should ‘imitate Europe.’ IN in either class or individual work with children or ® TOUCH AND EXPRESSION and get them out; or we would be asked Through years of adults. Primarily designed as a class text book, it rich musical heritage, PIANO PLAYING is so readable that it makes an ideal self-instruc- to mail a letter for them. Europeans One man have learned, not to prefer By Clarence G. Hamilton 60c tion book in theory. Prepares for the study of among them always seemed happy and one composer, advanced ear training, melody writing and harmony. or style to another, but to Subject headings from this pocket guide to piano more normal than the rest. Though we shape an independent playing include: THE FINGER TOUCH. THE STUDENT’S WORKBOOK to “Elementary and spontaneous had not asked him any questions, he awareness HAND TOUCH. THE ARM WEIGHT TOUCH. Music Theory” By Ralph Fisher Smith— vol- of judgment that allows grave THE FULL ARM TOUCH. PEDALS, EXPRES- individual class member, A book for the unteered the information, one day, that professors to enjoy Viennese SION VALUES,- PULSATION, PHRASES, IR- in which he sets down the written work waltzes, ACCENTS, CONTRASTS he was happier than he had ever been at little apprentices to REGULAR DYNAMIC prescribed in the original text. It follows whistle Schubert, AND SHADINGS. TEMPO, COLOR AND his wife, and hoped and the parent chapter chapter, and home with that he everyone to follow STYLE. Liberally illustrated with pictures. book by new developments has spaces written answers to the ques- would never be released to return to her with unfaddish for intelligence. We will get tions involved. Price 50c. patients talked ® EARS, BRAIN AND FINGERS , again. These about our to that point, too! program from one week to the next, and By Howard Wells SI. 25 Q PRACTICAL MUSIC THEORY somehow always knew when Thursday Developing the Musician The exercises given in this book are necessary for of By F. M. Dickey and Eileen French SI. 50 the establishment of the principles of relaxation, rolled around. They would start early in Tomorrow the development of the hand pianistically and for Serves as a preparation or introduction to the study move chairs stressing the importance of developing the morning to into the as- 14 uW cultivating musical hearing. of harmony be a B°°d thinS ‘° ‘rain our a sensitiveness to all rhythmic and tonal possibil- sembly room. youngstersvn',', r for. such ities of music. These elements are "discovered" a goal of spontan- ® musical There was a large auditorium, also, US1C NATURAL LAWS IN PIANO through the observation and analyses of 1 mdePendence. Those who illustrations. which held about two thousand people, wiUSn\,u-ultimatelyf , TECHNIC become the musicians with a good-sized stage. Evening enter- of By Mary Wood Chase SI. 50 O DEVICES eSerTe the neatest NEW HARMONIC tainments and moving picture shows ,b Written principally to give pupils, in a permanent SS supervisors Alden Miller $2.00 of their educa- form, a definite guide which will recall to them By Horace and also operas Mnn Tf f were given here; of their 18 n °‘ enough the beginnings of their study, that they might A book intended as an aid for advanced students to look for own were presented, with their chorus ’talent.' more surely take their own first steps in the de- who may wish to acquire facility in writing in a a deS Should velopment modern harmonic be considered, of those whom they in turn are to teach. modern style. A treatise on taking part. The chorus was trained by and n, mm“d problems. S entire mental mahe-up a professional director, who accomplished shouldihouM h , be analyzed to see • MUSICAL INSTRUMENTS wonders with the patients. An orchestra whether he is • THE R0BYN-HANKS HARMONY Serious because By Edgar Stillman Kelley $1.50 was organized from among them, and natureio “ is Book One Book Two Book Three hT because he Treats of primitive and Oriental instruments, of furnished the background music and ac- eyeglasses « may need their successors in Mediaeval Europe, and then of By Louise Robyn and Howard Hanks 75c Each nce ’ ’ the child’s special the instruments in or- companiment for the operas. bent has ho 5? use in the modern symphony A Junior Course, for students of any age, in writ- been discovered, chestra. Includes chapters on the piano and organ. harmony, and ear training, to cboii ^ however he ten harmony, keyboard When we went what they called the 1 with a ™^ ‘° f °ll0w suitable for private or class instruction, “Criminal Ward,” we usually took a cow- ently and^ 11 tadeprad- • MASTER KEY for the teacher included in books Br Ve ” Eay INTRODUCTION TO MUSIC continues the de- singer along. They had according to One and Two. BOOK TWO boy a men’s single the spirit?,,? , f f in BOOK ™ ‘ nside APPRECIATION AND HISTORY velopment of the material contained and double quartet which sang four-part he shoS? Ws soul. And ONE, and BOOK THREE carries on the work of beComeSen a r By Dorothy Tremble Moyer SI. 50 P ofessional musician BOOKS ONE and TWO. songs beautifully. Perhaps it was the onlymlfifit She cannot heln it-i j , Gives an understanding of the form, traits and his- “gang” spirit in them which made them tory of music, in a concise series of chapters, free from all technical language, and traverses the so good at this. There were all sorts the story of music from its primitive origins to here—the greater number of whom were present chapter includes review ques- AT YOUR DEALER OR FROM THE PUBLISHERS day. Each praecox. tions. 14 illustrations, 75 music cuts, 141 pages. victims of dementia When their minds were directed into the proper • MUSIC APPRECIATION Oliver Ditson Co. channels, they could accomplish won- By Clarence G. Hamilton $2.50 ders. of literary criticism, this unique Theodore Presser Co., Based on methods creates - A11 music with youngsters should book is for those who wish to listen to Juvenile Appreciation be ta m quickened hearing and real understanding. I here Distributors least one instrument er at for supplementary read- Th?b ? are numerous suggestions Our work in the jail was similar to taught to y should be bountiful supply of portraits, diagrams listen J ing and a 1712 Chestnut St., Vhila. 1, Va. that of the City Hospital, except that they latlV y to and music cuts. we hear, and to what r?Ls? 1Z f? could have longer programs and more a fine performance the values of Tlf’y ShOUld1 serious music, with a little jazz to fill in. some lamlliSS whh be Ei™ VIOLIN FINGER GUIDE simplifies The House of Detention was a pitiful the difference true intonation, no between ““““l learning and teaching, sight. The young boys and girls, & onata guess work, easy to put on. Price §1.00 who symphony, for and a instnnn thef CLASSIFIED ADS State size of violin. Burghardt Systems, probably had been reared in terrible sur- between a canon Terence 2720 N. Albany Avenue, Chicago 47, Illinois. and" 116 roundings, were hardly to blame for ' their in their educational?,,-??? Somewhere Zither in first class condi- imprisonment. When we played for S ‘ bey FOR SALE: SINGING MADE EASY—Book one dol- them taught to distinguish W U be Excellent tone quality. Reasonable, Eastern Studios, Chambersburg, Pa. an 1 tion lar. it was difficult to believe that they could a sonnet, epicep 1 poem ^eodonia Kullman, Decatur, Ala. even if from used. understand the music, and yet the tears of verse yer Wrtte WANTED! Marimba or Xylophone, themselves^ tt a line and price. John CONCERT State size, make, number would stream down their little faces and should be Same thlng s »rR s STEINWAY done POR NEW. SUB- N. Frank, Box 7S9, Sapulpa, Okla. that they for them • [. VND ABSOLUTELY LIKE they would say never knew dint of musically. Joseph Holstad, such training By -"I AL DISCOUNT. ^* h \NTI Minn. VOI R UNWANTED MUSIC exchanged there was such a thing as music. Of couraged y 'vlU be en- !37 Oak Grove, Minneapolis, quality to form ind piece for piece. 5 tf each; matched. course many of them were sorry for the ent Burpee's Specialty Shoppe, Delton, Mich- opinions of their own musical petty crimes they had committed, when m igan. dislike ' .®y wiU citcrttv USED CLASSIC'S fVocal, honestly h-, like or gravity of their offenses was ex- the preferences bui 'd' their 31ol High, Denver u, FOR SALE: Latest model dark oak Vir- reas'onahlv 0c. Fore's (Dept. E), by the judges. gil Clavier. A-l condition, original cost plained They will scorn not b'7 fads, Colorado. ( to copy $110.00. $35.00 fob my home. E. '. Klatnm, School for 1 5 s? The Training Feeble-Minded other lands— the ‘‘'editions Ha llec-k Street, Youngstown, Ohio. and e of 164 wonderful institution. h violin owners Children is a It is Pens, we that -toi RF/TOiVING: If all shall have ha P- IV retoning- system SWING PIANO IDEAS: Write for de- remarkable what the doctors and psy- eTan™? oitSnt mv valid musical ‘ WlShed a viteI swamped tails on Bulletins containing Breaks and traditio? . I wnuld^e able to do with these chil- f proves "violin 'tone, Special Basses for Hits. chologists are composer of our New Popular and the „ , own. The violins for sale. PHIL SALTMAN STUDIOS. 2S4 Common- dren. We took juvenile performers there, with the orm tants.'NeWantl retoned wealth Avenue, work—but "? sr can help Harvard, Illinois. Boston, Massachusetts. adults who had great sympathy 4 on'y Iph Goss, and also achieve it.” ‘he people can WITH MUSIC" 292 "FORWARD MARCH THE ETUDE —— ;: ——— . a , l

*Y]ew — Quit j-^ubiiihed! Hampton Miniature Amm@w Scores Volume 11 —Works of Volume‘12—Works of Contents of MENDELSSOHN SCHUBERT, WEBER, First Ten Volumes

Music . "MIDSUMMER NIGHT’S DREAM” SCHUMANN , Rimsky-Korsakow 1.25 Nocturne Overture—Scherzo— ROSAMUNDE Overture , Mozart and Gluck 1.25 Dance Wedding March, Clown —Entr'actes—Ballet Music . Beethoven 1.25 , Miscellaneous Works PROSPEROUS VOYAGE EURYANTHE Overture 1.25 CALM SEA AND . Stravinsky Ballets . 1.7 5 Overture —Overture FREISCHUTZ . Modern Overtures 1.25 RUY BLAS Overture OBERON Overture , French Works 1.2 5 ATHALIE Overture MANFRED Overture . Russian-Bohemian Works 1.25 , Rossini Overtures 1.25

~~Price $7.25 Price $1.25 , Opera Overtures 1.25~~

~~Available at your music dealer, or direct from~~

~~• • ' R.C.A. Bldg. Radio City New York 20. N.Y. EDWARD B. MARKS MUSIC CORPORATION~~

ing his music is somewhat dated today, performed as Mexico’s Famous Rare Interpreta- but when it is as capably Classical warrants our ap- it is here, this music plause. Miss Morini is one of the finest Folk Orchestra Records stu- tions on violinists now before the public, and will do well to dents of these works ( Continued from Page 245) of emotional stress ( Continued from Page 250) emulate her avoidance in the Romance. Marian manner of the old viol d’amore ) 4 Songs and Spirituals; sung by , Mr. Menuhin is heard to best advan- (contralto) with Franz Rupp Bandelons (plectoral instrument with tage and the Anderson in the slow movement nine strings) and 7 Salterios (this de- piano. Victor set 986. , finale; however, at the he is to be commended, its from the same source as Miss Anderson has chosen a program rives name tor his avoidance of sentimental stress will have a wide appeal. Her that of the ancient psaltery. It is an in- sister, here which throughout his performance. His strument plucked with the fingers, or Megie (Massenet) ; When in pub- selections are Offers accredited courses in Piano. Hephzibah, who has not appeared plectrum. The name is of Greek (Rachmaninoff) ; Die with a Night Descends Voice, Violin, Organ, Public lic for proves1 throughout School several years, Perl an Perle (Brahms) origin but the instrument itself is an Schnur, die Music, Theory, and Orchestral In- this recording that hers was an unusual Soul's evolution of the pre-Christian Arabic (Spross) ; My Will o’ the Wisp gift for ensemble playing. For us, it is her Persian, and the Hebrew instruments. Anchored in the Lord; Hard Times; Kamnn, the persua- Been - Playing which remains the most - in the Bible as the no Hidin’ Place Doom Dere; strument known sive. that this Dere’s Confers degrees of B.M., A3., However, it should be noted the Rye, and The nebal. It is one of the most ancient in- Cornin’ Through and M.M. brother and sister were a finely coordi- struments heard in any modern group Cuckoo (Lehmann). nated team, one which took into consid- one finds and it is rarely seen, save in the Distinguished Faculty Putting musical values aside, eration the full meaning of co-partnery with equal artistic Orquesta Tipica. It has a metallic but form the contralto singing which is the intention of the sonata Her choice of sweet ringing tone and when played by conviction in each song. in a The record- expert performers invariably elicits duo-instrumental work. permits her to show a stylistic very Address Registrar for Bulletin ing with material of this set is well contrived, especially praise- great applause) , 2 Marimbas (the tone versatility which is DePAUL UNIVERSITY °nly one balance in the of tone of the marimba makes an excellent tonal point of poor After the dark richness slow pianist is al- worthy background to our group but does not by SCHOOL OF MUSIC movement when the the Massenet and Rachman- employed in 64 East Lake Street lowed to drown out the violinist. A Bach lightness in Spross’ any means dominate the tone mass) Room 401, songs, her lyrical encore, the Praeludium from the unac- S change in style. Chicago. Illinois is an uncanny companied solo violin, intendcd for A Plectoral Quality Partita No. 3, for lahaTsong7o ri glnally which of this set, is S witht telling ef- “In the percussion section we have the forms the odd side soprano” is sung this a high well played by Mi-. Menuhin. But Anderson. This same lyr cal usual drums and the bass drum, the tam- fectfeet, bypy 1Miss " m°re austere of Bach is a poorly to an unfamiliar bor (an instrument of the tambourine .- K.HCXX side brought * chosen romantic- native tonal dark- type) thfi Giiiro, a pipe-like wooden TKe&tre_ filler-in for the warm Brahms. Her , ..Jiene SOIlgsonTo? .. ism of the singercinerpr tot.O conC01X- instrument looking very much like an Brahms’s music. Uwvnot permit auctions for showing to B'wny-Hollywood Talent Scouts and „ aoeshops r „ m Liebes- ness Cuckoo or gourd. is serrated like a public. B^wajr S U n 0°C y° B “pon Kreisler (arr. Rachmaninoff): of The elongated It saw 0 E R 17 8 B ROADWA *{j^ /fnilvfully tthene “humor s H T y freud Liszt): Seren- vey Throughrrhrmiah the Rye.Rye, and the - player rasps these teeth in i and Schubert (arr. Coinin’ .. aovr-hnpss of ade Rachmaninoff the in the latter is rhythm with a hard piece of wood. There i played by Sergei of a cadenza a e U (piano) 11-8728. But one are also the well-known rattles, casta- . Victor disc tiii eSn°g does L throughout, and nets, and other instruments. COLLEGE OF FINE ARTS Neither of these arrangements her-- »n™gsinging - - admSes He gie. tonal justice to the originals. Rachmaninoff’s the ubiquitous “On the whole, the mass has a SYRACUSE UNIVERSITY : case— transcription charming sings in Eng- plectoral quality, but the number of non- of Kreisler’s “bT^thT^rSiwiselythe sing Viennese preten- which unsuccessful. plectoral instruments balances this and Waltz is bloated and o„e Nine Major Courses leading to Degrees Hsh-does DescendSj peculiarly to the expression | tious. And the business is a distor- is adapted Liszt Hegi of Bachelor of Music and Master of Music tion recall In the accompani- of the music which has grown during of a lovely song. We prefer to Anderson has a v j ola Miss 1 - Rachmaninoff’s other vehi- ^ the past four centuries in Mexico. The virtuosity in expert f P 5 Piano Harp cles— on a ment, our feeling that Orquesta Tipica is supported by the Gov- such as his own Rhapsody - has always ireen rose. „It > out of place; ernment and travels to many parts of Organ Music Education Theme of our way of think- mgie is Paganini. To string sol° 1 ^ ln o a ,, _ rot,s the singer the country as an educational measure. Voice Composition g this is not an enduring memento d a “ is composer intended It has toured South American countries Violin Piano Teacher great artist. ““"which* n the of honois l’ecord- and, extensively, the United States where Capriccio— alone . The Training Wieniawski (arr. Auer): Cello Were bal- itself very popular in the Va| se, Con- an equitable it has made Opus 7, and Romance from providing v °ood South and South West. ® e to Monni Session—July 2—August r m D minor, Opus 22; Erica Summer 11 Victor “Mexico welcomes musical artists who (violin) and (piano) . R 1 Max Manner tom the country and many performers REGULAR FALL TERM dls c 11-8731. ani £****> September 3 g from the States have made friends be- Starts of the Se— Wieniawski was noted virtuoso a all times. Songs My low the Rio Grande. It is the conviction Send for Bulletin E lolin—a than a com- at Kreisler): greater performer Dvorak (arr- of the Mexican that musical poser. was DvoMk (a Government HAROLD L. BUTLER, Dean But knowing the violin he Melody (from bonds between the sister republics will College of Fine Arts e to write pieces whic i « Spiritual some virtuoso "“‘Trt • NNeSs fortify SYRACUSE UNIVERSITY ® Kreisler) World Symphony) do much to the precious friend- b°w off the technique, hence player’s Largo °f with Franz ship between the right thinking progres- Syracuse 10, N. Y. ese favorites ox (viola) !r pieces have become sive people of both lands.” any three Victor disc 11-8,30. violinists for the past two or TiTpiano. generations. and feel- Romantic in style "FORWARD MARCH WITH MUSIC 293 M/IY 1945 — .

~~What Is Musical Interpretation?~~

~~( Continued from Page 246)~~

passage, rings out again and again like marked agitato, had to be reminded by a bell jangling on and off the beat her teacher that she did not have to get through nine measures. This note heralds agitated. He explained that if she played the preparation for the return to the the music just as it was written it would principal theme. give the impression of agitation. Gadski, renowned as Ex. 7 _ - a singer of Wagnerian roles, sang the Brunnhilde Aria from the Im- molation Scene with the same dramatic iorce, while standing motionless before a vast audience in a concert hall, as when preparing for her sacrificial death in the opera. A distinctive interpretation never comes from a parrot-like performance. It springs from an awareness of self- A professional music school in an attractive There seems to be among certain owned and self-controlled musicianship groups of students, erroneous concep- and experience. college town. (Member of the National Interpretation is a cor- of the means used to interpret. tions rect reading, of that which we have been Association of Schools of Music.) One young, woman, when playing a part taught to find.

~~Thorough instruction for carefully selected students in all branches of music under artist teachers. Special training in hand and choir direction.~~

Write for catalogue describing Ohcrlin’s conservatory courses and its superior equipment (200 practice Music and World Unity rooms, 23 modern organs, etc.). Degrees: Bachelor of Music, Bachelor of School Music; Master of ( Continued from Page 243) Music, Master of Music Education. whole law. The rest is only explanation. for which a solitary murderer pays In Finally, consider the inspiring, positive the electric Frank II. Shaw, Director, Box 555, Oberlin, Ohio. chair, to be compared with words of Christ: the crimes of the Nazi madmen, who “Whatsoever ye would that men should have diabolically caused the death of do unto you, do ye even so unto them.” millions of innocent people? We need The present job of the world is to win mo, e warm-hearted kindliness toward this war and to plan the way for human peop!es 01 the earth. We must unity. All honor to the brave men and seekZ* to, see the best in all people; not women at the front who have given their tile worst. Shakespeare, in "King Henry utmost that justice and righteousness tates .this thought magnificently: to Man! We are „4 COLLEGE may be restored now ere S S°me CHICAGO MUSICAL S0Ul f ° S°°dness in hunting expedition to rid the thi™s Founded 1867 by Dr. F. Ziegfeld RUDOLPH GANZ, President upon a e vU CONFERS DEGREES OF B.MUS., B.MUS.ED., M.MUS., M.MUS.ED. world of human beasts of prey, murder- bservingly dlstil out.” Member of North Central Association and National Association of Schools of Music ers, and international gangsters, so that wV War ALL BRANCHES OF MUSIC. SPECIAL INSTRUCTION FOR CHILDREN AND NON-PROFESSIONALS 1 the late Thomas by the grace of God we can start to build Edison ? “ me: If ™ could take Address Registrar, 60 E. Van Buren St., Chicago 5, Illinois our lives anew upon constructive and uni- fwavy the EUnS and the bombs of all fied lines, with a sense of real brother- m, and SaU°rs on both hood based upon the Golden Rule. and nuffiddi sides and h'ombones into their \| It is because music, the “universal tends the fi ? ( W0UW St°p histantly SHENANDOAH CONSERVATORY \ language,” as Longfellow called it, is per- anS such „ tr f topian idea would prove haps one of the greatest forces leading a far £aifar bettera OF MUSIC \ way of bringing sense to international, intersocial, interracial, W Member National Association Schools of ° £ Wastlng \ and interdenominational understanding, Hons of Uves In^tte* Music • instruction in all thousands of Thorough that I am here today to give you a of dollars," millions branches of music • Degrees: B. M. and \ glimpse of a subject of universal di- 0 r J - J ' Goldstai B. M. Ed. • Certificate in Church Music oftoe “, Judge mensions. C„ ur°t o?rGeneral Sessions of New Summer Session: The very word, harmony, connotes York citv in* * 1 radi° 79th agreement. Discord is the mystical syn- compaied^nhy^r? add— June 18-August 31. great \ war. symphony SUMMER SESSION onym for Harmony means getting orchestra. He said: For full information address, together, concord. Discord means split- 6 weeks term \ 1 ISr“el ting apart. The world has been explod- termed the ZangwU1 E. T. ANDERSON. Dean June 18 to July 28, inclusive \ United s'tat ing for three decades. Nothing can =lting pot: Virginia summer school announcement make and this label, Dayton ITrite for unfortuned,tely this volcanic disturbance subside but ’ oaught on 2650 Highland Ave. Cincinnati 19, Ohii \ a and stuck md ? 1 new world harmony. What could we recommends substltuUng^he want more at this time than this har- orchestra m-mT^symphony in place ZU® , mony of interests, of thought, pot is>eriou£ #»tubcnts and of the symbol of America as |)ta!W ©eacfjera & effort, directed toward doing away with the instruments, re VanEd the bell-™ «° a condensed residence course in the piano technique by weight selfishness, greed, and combativeness. tra. No investigate player finds fault For full particulars, address, Over twenty-five centuries ago Confu- strument w th? the ln ' control. used by annul,,™ cius wrote: “When music and 1 CECILIE KROELL courtesy makes his individual eaCh Berlin Concert Degree contrlbut? ^! Cologne and are better understood, there will be l Los Angeles Calif. no perfection of ° 738 Burnside Ave., 36, the melo“y Just war.” Those responsible for war will, symphony T e orchestra there Z “ according to our present United Nations the melodious r,°°m for express^ , j ' agreement, be properly rooted out like me, ’ tostl - its, so in the sympi u the cancers that they are, or placed CONSERVATORY OF MUSIC— A DIVISION OF WESLEYAN COLLEGE America there is to WESLEYAN lo/Z° under the strictest possible penal con- S * ttl ~ pression of ex Institutional member of National Association of Schools of Music all peoples trol and treated precisely as are other If we can look forward Degrees: B. M. and A. B. with major in music criminals. Eventually we must demand of a symph peoples in our countU ony a peace, with some assurance that we For Catalogue and Information address: the vortex of an inextinguish- Conservatory are not in The Dean Wesleyan Macon, Ga. able military volcano. How is the crime been a movement in New ' YorU city 'FORWARD MARCH WITH MUSIC’ 294 the etude "

which has attracted national attention. the German composer, Ludwig van It is an interdenominational effort Beethoven!” known as the Annual Three Choir Fes- Now, my friends, civilization is not tival, given at the Reformed Jewish dead when music can bring to the of Synagogue of Temple Emannu-el on human heart such an example tolerance from an audience not know- AMERICAN Fifth Avenue, in which the compositions next second might of Christian composers of synagogue ing whether the music appeared on the same program bring it annihilation from another Nazi with works of Jewish composers writ- bomb. CONSERVATORY hour of music’s greatest ten for the Christian Church. One pro- This is the that the con- gram was given over to Lowell Mason, opportunity. The moment ductor’s baton descends, all those who “father of American hymnology” and in music, regardless of social posi- composer of many of the finest Protes- join e^MUSIC religion, find tant hymns. What but music would have tion, nationality, race, or vibrating and bound together CHICAGO brought about such a splendid demon- themselves 59th SEASON Philadel- by the miraculous power of this art. stration of tolerance? Here in Accredited courses in piano, vocal, violin, organ and all oilier branches of Poets are seers whose vision penetrates phia there was held last Thursday night Music and Dramatic Art leading to the nebulous future. They see through (February 22, 1945) at Irvine Auditor- divine inspiration the course of things DEGREE—BACHELOR OF MUSIC ium of the University of Pennsylvania to come. Arthur 0‘Shaughnessy, the DEGREE MASTER OF MUSIC a Festival of Music of all creeds as a — English poet it was, who wrote: part of this great revival of faith and “One man with a dream, at pleasure, Under Authority State of Illinois hrotherhood, which we hope will sweep Shall go forth and conquer a crown; the world. Unsurpassed faculty of 130 artist instructors, many of national And three with a new song’s measure and It is true that there has been conflict international reputation. Can trample a kingdom down.” in the world ever since the cave man, Let us all have new hope for a brighter Thorough preparation for concert, radio, opera and teaching posi- over a million years ago, started to slay day of opportunity, and in that hope tions. Weekly recitals, lectures, school of opera, training in students’ his neighbors with a club or a stone axe. rests our future. Have you ever heard symphony orchestra, bureau for securing positions. What we have today is merely a 1945 those words which Thomas Jefferson Frankenstein model of the brutality of wrote in his Bible: the cave man. Germany, with her armies “Hope sings sweet songs of future years, SUMMER MASTER SCHOOL of people working underground in mu- And dries the tears of present sorrow, nition factories, has become the modern doubting mortals cease their fears, Three Summer Sessions—May 17 to June 27 con- Bids land of the cave man. She has bright tomorrow." And tells them of a June 28 to August 8 and August 9 to September 19 verted her magnificent civilization of of horror yesterday into a nightmare Special Summer Courses in Public School Music, School of Acting, and has turned the world back over a Children’s Musical Training (Robyn System), Oxford Piano Course to- f^MOPOLITAN million years to the Stone Age. But morrow, war, with its increasing un- 1L school of MUSIw Member of the National Association of Schools of Music points SHIRLEY GANDELL. M.A.. Oxford thinkable murderous machinery President. MflWAAO University, England, Send for free catalog. Address Hattstaedt, planet. year. Accredited. Offers courses John It. President to the end life on this ) AWVAr 41st of human branches of Music. Certificates. / /-Wr 1 In all are spend- and degrees. Desirable board- That is the reason why we 1 ilk 1 diplomas mil- \ HIV / jpg accommodations. Located in down- ing priceless lives and thousands of AMERICAN CONSERVATORY OF MUSIC Box" e7Io8 8. Wabash Ave.. Chleaoo. lions of dollars to put an end to war. How are we to approach a newer and 577 Kimball Hall, Chicago, III. finer way of living in the world of to- MILL1KIN CONSERVATORY OF MUSIC morrow? The best in civilization of all DECATUR, ILLINOIS present lands must be salvaged from the music. Courses leading to Offers tl.oro training in Diploma and Certifi- unthinkable conflagration to form a Bachelor of Music Degree. Organ, Public School build. In cate in piano, Voice, Violin. foundation upon which to and Music Kindergarten Methods whence Music Methods America we must remember Bulletin sent free upon request came courage, our forti- Director our ideals, our W. ST. CLARE, MINTURN, tude, our faith. These, then, are the Plinths upon which rests the future of our the ideals that country, as these are BALDW1N-WALLACE have given power for righteous de- us OF MUSIC velopment. Pope Leo XIII said in his CONSERVATORY of OHIO (suburb of Cleveland) famous letter “The Conditions BEREA, on College, with a first class Liberal Arts society is a fniinfed degrees Faculty Labor’’ in 1891: “When a five year courses leading to nw and informa- those Teachers. Send for catalogue or perishing, the true advice to give or Artist the Dean, Berea, Ohio who would restore it is to recall ALBERT RIEMENSCHNEIDER, principles from which it sprang.” At the present time the demand for in music is greater than at any time ROBERT WHITFORO the history of the world. It is one of the Break Sheets for Piano most inspiring and fortifying tilings the greatest jazz patterns yet! Writ- coming out monstrous holocaust. Revealing and of this cn the latest hit and standard tunes the ten 25 for sample Dr. Malcolm Sargent, conductor of nublished twice a month. Send C These don’t take up coun- London Philharmonic, said at a luncheon copy .Dealers write. ter space long. tendered to him by the National Broad- casting Company recently in New York. PIANO TEACHERS in piano method “Our Orchestra was giving a concert A new sheet music style popular for teachers catalog which upon that is for you. Send Manchester. bomb dropped other interesting mod- A robot describes this and many smashed it. a neighboring building and ern piano publications. cannot go I said to the audience, ‘We ROBERT WHITFORD PUBLICATIONS stay Square out to the street. We had better 18 North Perry What Depf 5E here and have a bit of music.’ Erie, Penna., U.S.A. they Modern Piano Material" composition do you suppose Publishers of Exclusive wanted? The ‘Seventh Symphony’ of CADEMY of VOCAL ARTS devoting its resources exclusively to the complete -nrnfil organisation Admissions by The only non l American Singer. Studentstil nden.ts acceotedaccepted onoil ScholarshipSchnla.rshin basishnsis nn.lv.only. Competitive Auditions training of the, talented I H A 3 , PA. A P R y c E S tkeet, phsladel 1 9 2 0 'FORWARD MARCH WITH MUSIC May. 794 5 ”

and their flocks and their chatter class myself,” said Donald. and laughter, and blue sky and white “Oh, but you can’t because you are clouds.” not in the class. But maybe Miss “Maybe,” agreed Don. Brown would let you come. I’ll ask “And thanks ever so much for look- her. We are going to have a recording it up for me, Don. I tell Now can ing of a madrigal, too,” she added, as the class all about the madrigal.” Donald went in to the next room to “I believe I’d like to come to that do his algebra.”

~~Quiz No. 8~~

1. If a major signature has four viola? flats, what are the letter names 7. What melody is this? of the tones forming the dominant seventh chord in that key? ELIZABETH A.GEST 2. When did Schumann die? 3. What term means as loud as possible? 8. In what opera does a song-con- 4. Who wrote To a Wild Rose? test take place? The Madrigal 5. What was the nationality of 9. How many half-steps are there in Tchaikovsky? an augmented fourth? 6. is the lowest string L eon orci chiton What on the (Ansiuers on next JU S;M page )

UE had broken her spectacles, write and compose music and take Circus Day in Music Land and without them she was not part in its performance. Of course S allowed to read. this was all vocal music in those days. l, 3,•a need Qo,'man Aer “What do you know about the mad- And they became quite famous and rigal?” she asked her brother, Don- to this day, their organization is My musical circus is very gay, bats fair ald. “You see, I have to tell about it known as the School of the Nether- And there's a performance every day; Who caper and twist high in the air and some of the madrigal composers lands.” Chords are the elephants, sturdy and Mistakes are clowns, at our who come turn- next class meeting. And really, “I remember reading something slow, bling out, I don’t know a thing to tell. I only about that in my music history,” said So rhythmically marching, to and fro; Never quite knowing what it’c know it is some kind of a song, or Sue; “but what has all that got to do Arpeggios, nimble and light and fleet, My hands are ring masters who iedliy something. I certainly wish my with the madrigal?” Are horses with gaily prancing feet, know Sly glasses were fixed.” “Just coming to that,” answered Grace notes and trills are the aero- Just how to run this musical show! “Well, Sue, you’ve got me there. I Don. “One of this group of musicians don’t know about madrigals, either, wrote the first madrigal and devel- but I’ll be glad to look it himself. name was up for you oped its form His ic and Sports and tell you what I find,” answered Adrian Willaert and he is considered Don. He was born a great early composer. L, £. ji. Q. So that very evening he told Sue in Flanders in 1480. Besides being a what he found out about madrigals. composer he was a teacher, and or- Do you like sports? Nearly every over and putt by the hour to pmectperfect does. What sports do 1 _ Don always was a good looker-upper, ganist, and he gave the name madri- American you vouryour stroke,st.rnfco allr»n by yourself, in "skat- and in this way he came to know gal to his composition for chorus to take part in, either in school or out- mg _y°u will practice a curve or lots of church music.” side of school? figure, a interesting things. distinguish it from so your 7ka ting win „ the sport, 6 T g 0d “You were right, sis,” he began, “I wonder why he called it that. No matter what you enough to be 1!™® ? admired If swlm “because the word means,” must practice some technic so you you will - a madrigal is something to I wonder what be willing to' as good as you can. If you play your be sung; but that’s not all. It is a mused Sue. will be crawl and time vour hfti®® ln sort of it comes from tennis you will be willing to practice baseball g; chorus and it has no accom- “The book says you will i m.,«T swing and your back hand pitchmg paniment of any It can have ‘mandra’ which means flock; and your and hitting If.® kind. whenever ,, U contented music,” against a high wall all by yourself, some flnd three, four, five or six parts and that it is happy, one to do it witw tt” — In golf, you will stand on a small football and sometimes Don told her. are the two sunl-tt practice your drive, or bend “S that are “Wait a minute,” interrupted Sue. “Maybe he thought of shepherds spot and better practiced with „ hockey “Do you mean it can have that many you will practice"™™",‘“p recitals sections, and e?ch part is a section, two-piano hockey y0Ur or do you mean it can have that 'stick hf basketbkn spend v" many voice parts—all singing at Give me music, more and more, hours alone in the score; doors aiming gym or out" once?” Give me concerts by the for the basket and duets, “Oh, it means separate voice parts, Give me solos Give me trios and quartettes; ™ singing at the same time, like in a practice hy^ou^ ‘ Give me organs, harps and. lutes, ifttS Bach fugue, more or less. It says, too, that sometimes one voice part imi- th® tates another, and some critic called technic of the game music, Andnd "i"®111 your it a musical conversation with differ- your fhieer ent people talking at once.” scales' and lltt*2 “Go, on,” coaxed Sue. technicalities that you are im f practice 1 B to “Well, the story about the first all by yourself to a better “ you madrigals is very interesting. It says player than fifteenth and six- who neglects ClRe here that in the this practice" The teenth centuries there was a group satisfaction in a job well doife of great musicians living in the Neth- And the better and studied all you are earnest erlands, who not only in your practice it, which had been devel- be sports or ^ U about music music, the better'th' but they suits Mei the re~ oped before their time, will be. Music is » writing it them- hard sport studied new ways of because it all around little ** Stays a selves. And they traveled ahead of us ami It Europe, establishing music schools to catch up with ®aS it andna makemalt a ? where they taught people to read, score. good

~~296 THE ETUDE ;,~~

Junior Etude Contra! your The Junior Etude will award three at- you enter on upper left corner of your address on upper EASTMAN SCHOOL OF MUSIC tractive prizes each month for the neatest paper, and put and best stories or essays and for answers right corner of your paper. Write on one side of paper only. Do not to puzzles. Contest is open to all boys and of do not have anyone girls under eighteen years of age. use typewriters and for you. Class A, fifteen to eighteen years of copy your work must contain not over one hun- age; Class B, twelve to fifteen; Class C, Essay University of Rochester be re- The under twelve years. dred and fifty words and must the Junior Etude Office, 1712 Names of prize winners will appear on ceived at Howard Hanson, Director Pa., by Philadelphia . this page in a future issue of The Etude. Chestnut Street, (1) Results of contest will Raymond Wilson, Assistant Director The thirty next best contributors will re- the 22nd of May. August. Subject for essay con- ceive honorable mention. appear in composition.” Undergraduate and Graduate Departments Put your name, age and class in which test ‘‘My favorite SUMMER SESSION Stone Wall Puzzle Junior Etude Questionnaire Answers to answered Trumpet; drum; tuba; horn; oboe; June 25—August 3, 1945 Greetings to all who have Some of the answers the Questionnaire in the January violin; viola. many additional instru- issue. As the answers are still coming sent in had but in such cases the rule was FALL SESSION in when this goes to print, we will ments, observed which said that the wait until next month to tell you not moves were to be made from one September 11, 1945—May 25, 1945 about it. letter to the next in any direction; did not say to skip around here it For further information address and there. ARTHUR H. LARSON, Secretary-Registrar Prize Winners for Stone Wall Eastman School of Music Puzzle: Rochester, Class A, Doris Roetter (Age 15) New York Wisconsin. Class B, Mary Leach (Age 14), Maryland. Class C, Robert Rogers (Age 11), ^)hr Qbbrlaui)Jnslitutr of(Duoir Tennessee. Bachelor of Music Degree, Master of Music Degree, Artist Diploma BERYL RUBINSTEIN, Mus. D., Director 3411 Euclid Ave., Cleveland, Jumiled Composers Puzzle O. Charter Member of the National Association of Schools of Music letters in Mozart Junior Music Club Somebody scrambled the straighten West Point, Pennsylvania these names. Can you them out? Each line makes the name Announcing the Ninth Season Stone Honorable Mention for of a composer. STEPHEN COLLINS FOSTER MUSIC CAMP Puzzle: Wall EASTERN KENTUCKY STATE TEACHERS COLLEGE, RICHMOND, KY. Marianne Reider; Doris Louise 5 WEEKS — JUNE 17 TO JULY 21 Roberts; Laura Peck; Nancy Green; Matson; Barbara Sue May; Virginia Band • Orchestra • Ensembles • Instrumental Classes Stella Nelson; Kathleen Bell; Irene Johnson; Patricia Daly; Joan Treu- $i ber; Carol Jean McBroom; Donald Only *60.00 Stollman; Ross Hunsberger; Norma For Instruction, Board, Room, and Recreation Mary Helen Tate; Florence Leitzke; COMPETENT STAFF : : EXCELLENT FACILITIES Louise Wilma Jean Wyatt; Mary COMPLETE EQUIPMENT Gioia; Yoko Kawasaki; Hilda Hoyer, Private Lessons at 75c to $1.00 Each Extra Grayson H. Gowan; Betty Maier; For Details ivrite James E. Van Peursem, Director William J. Lafleur; Kirby Gowen; Prances Moncrief; Zona Gogel; Cal- In the Beautiful Blue Grass Recion of Kentucky vin Seerveld; Elaine Theim; Barbara Thomp- Gail ' Castle; Betty Smoot; - JUILLIARD SCHOOL OF MUSIC== = son; Barbara Imbierowska; Mary Roberta Schnell; Mary Agnes Clark; ERNEST HUTCHESON, President to Qais Key; Barbara Ann Curtis; David Ray Answers Margaret B-fiat, D-flat (dominant Puryear; Doris Smerkar; 1. E-flat, G. Olson, A-flat) JUILLIARD SUMMER SCHOOL Kelly; June Mason; Jo Ann seventh chord in key of Kermit Kimble, 4, MacDowell; Joan Barbara Gorin; 2 1856- 3 Fortissimo; GEORGE A. WEDGE, Director octave below Jr.; Frances Clarke, D. Jaszka. 5’ Russian; 6, C, one movement ol middle O' 7, Second July 2 to August 10, 1945 Symphony; Letter Box Schubert’s “Unfinished” Junior 9, Eight. Instruction in all branches of music and music education letters care of Tannhauser, by Wagner ; (Send answers to 8, In Etude)

Dear Junior Etude: ..-.a Professional Courses _ „ a I have just been reading The Etude Rico, lo study in Puerto Radio Technique. tided I would write to you. I miss a , TbSTifSia Music in Industry. Opera School. Church Music. Washington na Then two years ago the because I live in the State of I was’born. where father . Arranging. my Elude does not arrive in time W interrupted my lessons, as my Operetta Production. Stock mu an(j wir be love . had to enter the contests very often. I . and our family twirl batom J Naval Officer tekhig Piny the piano, flute, violin and Etuae from the island. I ^m now 1 would like to hear from some Junior evacuated Catalogue on request Readers. S4TTA From your friend. SouK EPS fit York Junior Hign. 120 Claremont Avenue Room 122S New 27, N. Y. Jov Am leader in our From your friend. Marjorie Waltse (Age 13), (N andtellsomething B. Write again. Joy, batoning. Nebraska. about your baton twirling, or twirl Which is it?) "FORWARD MARCH WITH MUSIC ' 297 may, 1945 — .

THE COVER FOR THIS MONTH—In north- Lasy piano solos in the book will be ern Indiana on 1,000 acres along Lake the Minuet in G; A Country Dance; Maxinkuckee is - the Culver Military Theme from the Andante con Moto of Academy which was founded in 1894 by the "Fifth Symphony;” The Metronome Henry Harrison Culver. This Academy Theme from the Eighth Symphony; and since 1933 has been under the admin- a Choral from the “Ninth Symphony.” istration of the Culver Educational Foun- The Allegretto from the “Seventh Sym- dation. Features of military training are PUBLISHER’S NOTES phony” will be included as an easy piano utilized at Culver in developing character duet. and teaching the value of discipline and A Monthly Bulletin nf Interest to all Prior to publication, a single copy of cooperation. The Child Beethoven at Captain Payson of the Culver faculty ssgSBs may be ordered the special Advance of took the photograph of the group of boys Publication cash price of 20 cents, postpaid. with their musical instruments which has been incorporated in the make-up of TWELVE FAMOUS SONGS ARRANGED FOR CLASSIC AND the front cover of this issue of The PIANO—This collection brings to pianists FOLK MELODIES, in the Wa 1945 First Position for Cello Etude Music Magazine. This picture, of average ability the opportunity of and Piano-Selected, which so graphically tells of happy nd Arran ed *>y Charles Kranc— mu- playing and hearing twelve famous songs Txf-M? w 9 with the increasing sical moments at Culver, Captain Payson ADVANCE in complete musical form. The arrange- number of students OF PUBLICATION of the cello in has entitled “In Lighter Vein.” ments have been well edited, and much private studios and the public schools, care has been given to the melodic there also comes an in- and creasing PIANO TEACHERS’ WAR-TIME PROBLEM- OFFERS harmonic content. These numbers make need for easy teaching material, well designed to Despite publishers reduced paper quotas good study and recreation pieces for bring out the tonal beauties of the under War Production Board limitation piano pupils who are capable of playing instrument. Here is such All of the books in this list are in a collection, orders, there are just as many copies and third and fourth grade material. selected, compiled, and ed- preparation for publication. The ned by an often more copies being made available Mighty Lak’ a Rose by Ethelbert authority who has won an lout Advance Offer Cash Prices ap- enviable name now of the highly favored first instruc- ply only orders placed Nevin; Westendorf’s I’ll Take You for himself as instructor to NOW. Home at Teachers tion books in catalogs of Delivery postpaid will be made Again, Kathleen; Reginald De College, Columbia Univer- the Theodore ( ) Koven’s sity, and the Presser Co., the Oliver Ditson Company, when the books arc published. Recessional; Panis Angelicus by Cesar Institute of Musical Art of Paragraphs describing each pub- the Juilliard and The John Church Co. as were avail- Franck; MacFadyen’s Cradle Song; The School of Music. lication appear on these pages. Classic and able in pre-war years. This is made pos- Green Cathedral by Carl Hahn; and Folk Melodies, with its contents of sible. by the discontinuing of printing Mana-Zucca’s I Love Life form a repre- twelve delightful numbers for y giade new editions of numerous paper consum- sentative list of the contents. Among the cello students, will consti- The Child Beethoven—Childhood Days of arrangers are tute an excellent ing publications for advanced piano, Famous Composers—by Bruce Carleton, William contribution to the Lottie Ellsworth Coit and Ruth Bcmpton .20 1G CeUo voice, and violin students and other pub- M. Felton, and Henry Levine. literature. Among its contents Choral Preludes for the Organ, Bach-Kraft .50 f,SHI u single copy of this be a Bach Air; lications such as cantatas, operas, gen- Classic and Melodies in the First A collection may a Melody by Mozart; Folk be the Position for Cello and Piano Krone .60 ordered at lovely Lullaby eral musical literature, etc., for which now the special Advance of by Brahms; and the Junior Choir Lawrence Keating's Second Publication cash price of folksongs, Au Clair there is not enough of a demand to use Book 25 60 cents, post- de la Lune (French) within one musical Mother Nature Wins—Operetta in Two paid. a" d st als0 faced in war-time, trqe Bac 1 tradition, hasten em°, iences that must be melodies in new arrangements for pi- f twenty '^ “ this neW book ° but where one best seller may be sold out A smg copy may be ordered Okgan't anists of average ability. The result is a . now at Transcriptions op Favor- may be available, so it would be th spf c al Ad ance of Publication Hymns another collection of those gay, infectious tunes f t !. cash nce of 50 centsy well for every teacher to have a refer- kept the world a-waltzing P > Postpaid, which have D ade * n response t0 an piano methods mstent°denSSd . ence list of best selling through times of stress and days of peace f Their response m orBanlsts - and studies, and for such lists just send and plenty. THE CHILD to th BEETHOVEN-Childhood Dors book announcement of this postal request to the Theodore Presser hs s a The contents of The World’s Great of Famous Composers-by Lottie 6n most enthusiastic, hun- Ellsworth dreds senrii, . Co., Philadelphia 1, Pa., for a copy of thoughtful attention Ruth Waltzes reflect the Coit and Bampton—This informative ln tbelr orders for single copies at the' K-40 and K-4B. of the compiler to editorial detail, for little book will be the fifth " in the excel Cation 0131 Advance ot Publi these arrangements, though only about lent Childhood Days of casV tf Famous 50 cents postpaicI - 'com" Tkis may be ' PEER GYNT, by Edvard Grieg, A Story with grade three in difficulty, fully retain the posers series, which already “ theth?',last embrac Offered hL tlme if "'ill be by Ada Richter lilt, rhythmic urge, and melodic charm Child Bach; for Piano , Arranged The The Child ' Music ’ Handf^ diate order S° “ imme is familiar with the delightful of the originals. Among the fifteen world The Child Haydn; and is'sSggettei Everyone The Chi^° it will music of Grieg’s Peer Gynt, and favorite waltzes to be found in this col- Mozart (each 35 cents). It will have tl 6 inspiration for young lection are: A Waltz Dream, by Oskar same delightful be a special features, including sev « pianists to find it in this new simplified Straus; My Treasure, by Becucci; Gold eral easy arrangements of pieces by it"S Libretto Mao Richter. All of the Silver, Skaters, Glen ton Sl by arrangement by Ada and by Lehar; The by subject-hero, and attractive 'lk bi ''T*"’ illustratioi S Wana ’ MuSic Annabel S. melodies are included: Morning Waldteufel; Danube Waves, by Ivanovici; throughout. The story element cl_TPQ TG1S original will makG ° f younSsters from 5 Lament, In the Hall of and several by Johann Strauss, includ- fascinating fare for young t0 13 years Mood Ingrid’s readers nf Sh0l aC ' Song, quainted d becomS the Mountain King, Solveig’s ing The Beautiful Blue Danube, Artist's given aloud, will make a connecting with thif ? ii°k1 opel'etta. It tells an Death, Arabian Dance, Anitra’s Life; and Tales from the Vienna Woods, for the music when played as a interesting 5™.. Ase’s recif ’ S qUite unk ue and tbe Peer Gynt’s Return Home. A single copy of this album may be unit. Directions for giving the characters aff l ' Dance, and work as cePHonal opportuni- retold reserved at Advance of playlet will be included, ties for ®A“ The story of the play, attractively now the special and also ther young' P mers - pive “f fche sB not only benefits the Publication cash price of 40 cents, post- will be instructions for making leading parts r by Mrs. Richter, a minia Ure smging twelve Singing ' and study, but also aids the teacher paid. The sale, however, is limited to the ture stage model from a scene voices „ rT child in in the of 6 required for the chorus the book for recital use. United States and its possessions. composer’s life. trees. Dnnot^ in adapting be mg groups of any size may Advertisement utilized 298 TRF ETUDE “

The music is tuneful and not -too dif- This book will not duplicate the con- ficult for children of these ages. Part of tents of either of the solo collections re- it is arranged for unison singing, some is ferred to above, but will contain hymns in two parts, and the piano accompani- of equal popularity in duet arrangements ments offer sufficient support for youth- of medium difficulty, expertly devised for ful vocalists. church and home uses. Suitable keys for In order to afford teachers an oppor- congregational singing have been used, tunity to know this book, orders for with the practical result that they can single first-off-the-press copies may be be played as accompaniments for con- placed now at the special Advance of gregational singing, if desired. Among Publication cash price, 30 cents, postpaid. the contents will be: The King of Love My Shepherd Is; Nearer, My God, to SINGING CHILDREN OF THE CHURCH, Thee; In the Cross of Christ I Glory; Morning Gilds Sacred Choruses for Junior Choir, by Rob O Perfect Love; When Rock Ages; Abide with Me; Roy Peery—This practical new publication the Skies; of the Night is Coming, and consists of twenty numbers in unison Work, for and two-part arrangements for Junior twelve others. Twenty Piano Duet Transcrip- Choirs. The writer’s highly successful While Favorite Hymns is in prepara- Young People’s Choir Book for Inter- tions of single copy may be reserved at mediate Choirs (S.A.B.) is familiar to tion, a special Advance of Publication cash directors of junior choral groups. the 60 cents, postpaid. The sale, how- The distinctive choral transcriptions in price of be limited to the United States this book are based on favorite hymns ever, will possessions. and Gospel Songs. They are not arrange- and its ments but highly original settings in a MELODIOUS OCTAVE STUDIES by free style of songs such as Sankey’s For SIX Lindquist—A recent addition to You I am Praying; My Jesus, I Love Orville A. Music Mastery Series is Orville A. Thee by Gordon; Sweet Hour of Prayer the Lindquist’s useful little book, Six Me- by Bradbury; Softly and Tenderly by Octave Studies. Mr. Lindquist Thompson; and We’re Marching to Zion lodious done a laudable piece of work in sup- by Lowry. Perhaps the outstanding ar- has plying “musical” octave studies to add rangement is the two part setting, of the octave material now available. Twelfth Century hymn, Beautiful Sav- to the book offers an unusual analysis of iour, based on the harmonization by F. The various types of octaves together Melius Christiansen. The accompani- the suggestions for the correct practice ments are equally effective for piano or with exercise.- Mirth offers work for organ. of each chromatic octaves for both hands. Inter- Advance of Publication orders may be locking octave passages figure in The Placed now at the special price of 25 Chase; tremolo octaves, in The Spinner. cents per copy, postpaid. The Xylophone Player contains practice hands in repeated octaves in MY PIANO Three-A Method for both BOOK, Part while Solitude gives at- In- sixteenth notes, by Ada Richter for Class or Individual octaves —— JU1LLIARD — to right hand melody SCHOOL OF MUSIC struction of teachers of tention —A great number also playing the cus- with the right hand Ernest Hutcheson, President youhg piano pupils have found My chords. Ada tomary syncopated accompanying Piano Book. Parts One and Two, by played with both Forte octave passages Courses for Piano Teachers Richter, so satisfying that they have hands together receive emphasis in Vic- requested a third book for continuing the same As a result, BERNICE plan of instruction. of this new contribution to FROST Mrs. on One copy Richter is working painstakingly octave playing, may be that the mastery of at the putting into book form material for 25 cents reserved prior to publication covers procedures, original pieces, and cash, postage prepaid. juilliard summer school arrangements utilized by her in her own the stages 2nd to August 10th, 1945 successful work with pupils in tWRENCE KEATING’S SECOND JUNIOR July just following the work covered in My publications have IOir BOOK—Few George A. Wedge, Director Piano Book, Part Two. has Law- noyed such great success as My Piano Book, Part Three will take Choir Book (600 120 Claremont Avenue New York, N. Y. nce Keating’s Junior care of the second full year of been on about brief space of time it has study, hav- the the first two books already Originally intended as a coi- ing study. e market. covered the first full year of tuneful numbers for junior We teacher tion of are sure that every practical in two parts, it has been will ioirs, singing, who has utilized Parts One and Two admirably are und that its contents be delighted with the contents of this in these [apted for use by choirs who Book the mar- Three when it appears on are deprived of tenors and just n- days ket. Work is being pushed to have it made after the sses This second book, as soon as possible, but in these difficult include not only some pattern, will REGINALD STEWART, Director war-time engraving, paper, me Keat- days, when original compositions by Mr. printing, are ever ie and binding problems skillful settings of beautiful J 2 pa- g but also with the publishers, we must ask Bach, Beethoven, Brahms, Summer Session AUG. 4 el'odies from tience while the work is in preparation. Haydn, Men- •anck Gounod, Grieg, FREDERICK R. HUBER, Manager In accordance with our custom, any Schubert. The texts ilssohn, Mozart and musicians teacher advance for a carefully to Faculty of distinguished may subscribe in been selected most copy delivery to ive at a special low price, appropriate verses for church Tuition in all grades and branches be Advance ovide made when published. The Teacher's , Credits may be offered toward both the Peabody of 35 cents, rvices. Publication cash price is a single copy may be By ordering now Certificate and the B. Mus. Degree postpaid. issued at the tained when the book is cash price. Advance of Publication Special courses in Public School Music and twenty piano transcriptions ecial duet Group Piano Instruction of FAVORITE HYMNS, by Clarence Kohl- mann—The notable success of Mr. Kohl- Tuition $20 to $60, according to grade and study mann’s Concert Transcriptions of Fa- JASPER DEETER.flireclof available vorite Concert Practice pianos and organs Hymns and his More HEDGEROW Movement, interpre- Transcriptions has of Favorite Hymns tation and expres- Arrangements for classes now being made created for a sim- Summer a persistent demand sion for Vocal Mu- CIRCULARS MAILED ilar book of piano duets. Now, in response Courses sicians and Students to this demand, we are preparing for the July 5 August 18 aoiIi publication this collection of duets by Moylan, Pa. II ALL IeKM dluIIio oci’IeIVIdcK same successful arranger. — Advertisement 299 5

Master Classes July and August " WHERE SHALL 1 @y¥ MAI 1 H GO -rfO STUDY? at Juilliard, Eastman, Sherwood, MacPhail and Atlanta (Helen Knox Spain, Hotel Atlantan) Private (Western) ieachers Private Teachers (New York City) FRESH PERSPECTIVES ON TECHNIC AND MATERIALS FOR PIANO TEACHERS H. FREDERICK DAVIS CHARLES LAGOURGUE STUDIOS Five morning sessions Teacher of Many Successful Singers VOICE PRODUCTION—SINGING- ... a concentrated exposition of basic technic, discussion of recent materials for in- All Branches of Singing Taught. Beginners Accepted COMPLETE MUSICAL EDUCATION termediate grades, latest trends in teaching methods, practical suggestions enlarging Studio: 606 Templeton Bldg Salt Lake City, for Utah g 0lJ ue w '" resume his Summer Classes in Phone 3-0316 ÎVtl:Pr r ^ teaching Horizons. Fee, $20.00 (or 4-5746) for appointment L.ANNES. famous resort of the FRENCH RIVIERA Write for Free ror Circular information ond registration apply to N.Y.Studios REPERTOIRE AND ANALYSIS FOR PIANISTS afternoon sessions 35 West 57th St.. New York City Five HAROLD HURLBUT . . . Each adult player or auditor is privileged to bring one student (under 18 years) to Paris—New York—Hollywood each MARGARET HENKE class. Additional youthful pupils may be entered at special rates. Fee, $20.00 Developer of singers of Metropolitan Opera; Chicaqo Voice Opera. So, Californio Opera, Radio, etc "VOlCF Physiologist Teacher FUNDAMENTALS” (J. Fischer & Bro!, N. Y Pub of the "Bel-Canto Art of Singing" Supplementary courses by associated teachers; Private and Group lessons; ) endorsed by W. J. Henderson, Bispham, Amato and Beginners and advanced students Special evening events. othec great authorities. Overstrained, defective voices adjusted 26 Beachwood Drive Hollywood 610 Riverside Early registration advised. 28, Calif. Drive—New York-Edgecombe 4-2388 LUCIA O'BRIEN LIVERETTE EDITH SYRENE LISTER VOICE AUTHENTIC VOICE PRODUCTION 1,05 to Writing Graduate of Samoiloff s Teacher's Course . Carnegie Hall, Now York City How Spell in Reasonable terms. 0 0r ancjAss °ciate Teacher with the late W. w'ar?Bnvarren showc;u* Phone NO 2-1030 EX 1141 and Endorsed by Dr. Floyd S. Muckey 616 N. d a Tr Normandie Ave. Los Angeles. Calif. Up Mus!c Studio. Lancaster. Pa. Music Thursdoy:Ttnjfs H!f^ -mc. n 309 Presser Bldg., Philadelphia, Pa. EDNA GUNNAR PETERSON (.Continued from Page 256) LAlYcnnor (ERNESTO) Concert Pianist—Artist Teacher FORGE-BERUMEN STUDIOS B1 So. Harvard Blvd.^ Los Voice becomes an E-sharp (again identified by Angel,,, Calif. —Piano t ev/ho f ave s,ud 'ed with Mr. La Forge are: its behavior) and gives us an unusual Madnn AnHnd \ a r enCe TibbeU Rich ° rd Cr00kS • and Mme Mahena ’ position of the chord of the augmented LAZAR S. SAMOILOFF ue r 1 100 Park Ave. Corner 89th St., New York sixth. Here the charm of the unexpected Voice teacher of famous singers Tel. Atwater 9-7470 lies in the surprise occasioned by leading From rudiments to professional engagements Beginners accepted. Special the instead of the conventional teachers’ courses RICHARD F up Dr. Samoiloff will teach all summer at his Studios McCLANAHAN , "down.” Play these little models at the Write for catalog—Special rates for Re entat Ivo the duration' Pr;vot u«* TOBIAS MATTHAY P son , 610 So. Yon Ness Ave., Los Angeles. j’ cl °« lessons in Fundamentals keyboard. They should be heard as well Col. 1 „ r( Lecture-demonstrations for teachers 1 as seen. For an artistic use of this last 801 Steinway 01aman ELIZABETH SIMPSON Bldg., New York City device by Frederick Chopin look up the Coda of his Nocturne, Op. 32, No. 1—the Author of "Basic Pianoforte Technique" ANTHONY SINIGALLIANO last eight measures. Teacher of Teachers. Coach of Youna Artutc Pupils Prepored for Concert ' INSTRUCTOR CoilitZl'alotlf Work. Class CourSe5 in lechmque. Piamstic Interpretation art of violin 1 1NormaNormal playing Spelling Non-Chord Tones Methods for Piano Teachers. ' Chamber p ra Music Traininq 609 Sutter St., San Francisco; P at f° r Anything like a full treatment of non- |' Concer, s ond Recitals 2833 Webster 18? w .u 0°L j ojJllaMc St., Berkeley. Cnl East - ° ran e New Jersey require of Ne'w* 3 . chord tones would a study êw YorkôYork andH*’’ • vicinity by appointment. musical composition accompanied by DR. FRANCIS L. YORK A Division of Brenuu College Advance Piano Interpretation and the .of illustrative examples. Here we Theory work pages required fipr the degrees of Mus. EDWARD E. All branches of Distinguished fac- Bach, ond Mi,s TREUMANN music. Mas. Special Chopin U5 ‘ ulty. Splendid equipment. Preparation for must limit ourselves to a few simple interpretation DETROIT Recommendecfbv ci^PyÂrtist-Teacher careers as teachers performers. i CONSERVATORY or helps, a mere glance over the composer’s OF MUSIC ^° n âuer Moritz Moszkowski Symphony orchestra. Choral club. Military Detroit, Mich. and Josef Hofmann * band. Vested choirs (a capella and accom- shoulder, so to speak, as he writes: 1) SuUe Ave. panied). Smaller vocal and string ensemble T 837 57th St - at 7th C o 1 um 357"' ’ units. Performance of two operas. Frequent The Chromatic Scale, 2) Some forms of Private York City Teachers (New York Summer Masterr New school music. city) Class—c,n« . student recitals. Public -—- June to Sept.—Apply now. Courses in conducting. Opportunities for the Minor Scale. artists. hearing concert 1. Scale. gen- The Chromatic The form * Moderate rate for board and room in HELEN ANDERSON giovanna College Dormitory on 350-acre campus. ei’ally preferred provides a good general viola Concert Te l 8 r DEGREES: B.Mus. or fl.B. with major in music. Pianist Of S n9; " ~ >" rule: In ascending raise all tones except E U rop 9 ,,Bel C ° nk Interesting 0a „ ! course—piano, “a n i „ o „nd For harmony Concert g j ex r, ® n.ce Opera, the sixth of the scale, instead of which | Qnc Hj;„ P® abroad in Many j Rc c Successful , °*' BRENAU CONSERVATORY Pupils placement. Z ' n9 correct v0,ce GAINESVILLE GEORGIA use the lowered seventh degree; in Write for aifd‘ BOX MS 166 W. 72nd St., N. Y. C. °°“ except the Tel . Sc 4-8385 e: T J descending lower all tones > West ^” “'a”' 7-8230 St fifth degree, instead of which use the MARIA CARRERAS New York City and (b). raised fourth, see Ex. 5 at (a) Renowned Pianist crystal "INTERPRETATIVE AUTHORITY” waters THE MANNESn j H. 't- Teacher of Ex. T i , . . Herald-Tribune Voice Teacher of successful concertising a 0 pianists ' ^ creen MUSK SCHOOL Accepts J ’ Concert talented students r PerQ Teachers, complete ' Study with Artist courses lei 169 E. 78th St.. New York City ‘'OS E. S4th Pedagogy or TeacheFs^Certlflcate.^Spec Tei. Bu 8-0311 St. Diploma ! lug to Artist’s New York City Tel.T . ,,Vo. r Violin, viola, cello, harp, piano, voire, wind Instr S.ivw Depts. Wril is taken in descending plenty. Opera, Conducting. Chamber Music to lead the bass DAVID & CLARA MANNES. Directors NEW YORK 21, N. 157 EAST 74th STREET natural, “““ Chorals Ir0m now a chord tone it L'welHo"^ ' “g less° T descending from G-naturaT n - K 2. Some forms of the Minor Scale. In To react » smoothly Bach Ex. 6 at (a) the use of F-sharp a pass- could not use G-sharp. 0 Stuclles " fom-TolStm - write such BOSTON (JNBWERSITY U?C ing tone, leads smoothly to the chord hot,not, yoU needn™1 help;Help; “if yyououwo,Swould ni , la bhi boreclZ™. (bffet/e o/J/m/c tone G-sharp taken in ascending. At detail. with this minute (b) the F-sharp, again a passing tone, Piano, Voice. Organ, )ffering complete courses In ’ Woodwinds, and Percussion Instru- 111 ' 'loiin Cello. Brass, Composition, Church classes Gustav Schl eck s ments Public School Music, 'in'heipzig’t Glee Club Orchestra Band, Ge lusief Musicology. Chorus, but ™any, a zealous skeptical . of Boston Symphony. Bache- BONDS AND acuity includes members BUY WAR attem in all musical subjects. Dorms, the Pted to "show irs and Masters Degrees Professor” 73 Blagden St.. Boston. 10W ataiog. COLLEGE OP MUSIC. STAMPS FOR VICTORY himself. Bach contradicted Showmn. i a Bach certain measures from choral f 6 “ *!aid has done ’ See what Bach Book in Two Parts hei-P-’^ A Revealing New reply, olUcl Y°u do that?” The COUNTING -Bach RHYTHMIC ' PARAGON OF Saint but would Pl 0(ess01 ALL RHYTHMS Mary -of -the -Woods you y/JF FOR dothat?”t? Wlthwm’ iuzzlcal; COLLEGE smile the onlv rLi a q PARAGON OF HARMONIZING 5 '' Conservatory of Music for girls. Applied Music, Study, ’ Ba0h d0eS applied to Theory. Public School Music, study leading to B.A. and analvT* Practice writing, KINDS OF HARMONIZATIONS B.S. with a major in Music Education. Plano, voice, question the 9 a FOUR organ, harp, violin, other instruments; * 0ce circular composition, spelling- dure in this or that I Send for explanatory harmony. Beautiful, well-equipped buildings, spa- M find t Mt pcc a ELLIS PERFIELD rule that no brief York City_ * Park Ave-> New 86th St. ra , IF 1 03 East those in °^ “ tioh. not even (4 iitHe "FORWARD MARCH WITH MUSIC ; 300 PROMINENT ON THE PROGRAMS OF LEADING VOCAL ARTISTS

~~All Music Shown on This Pigs Copyright by The John Church Company r*xt by p .~~

THE JOHN CHURCH COMPANY The Catalog Devoted to the Progress of American Music THEODORE PRESSER CO., DISTRIBUTORS, 1712 CHESTNUT STREET, PHILADELPHIA 1, PA. Art For Study -—-for Reference —Ten Full-Color Prints of Dramatic Incidents in Lives of Immortal Composers” and "Portraits of Famous Musicians’

educational pro- series of national advertisements ERE is a supplementary to foster member of greater musical enjoyment. H gram that will interest every Requests for reprints were so numerous the your music classes. Featured are famous com- portfolio of ten was created to sell for fifcy posers and contemporary musicians, lists of cents. Instructors will place special value on this their most famous works and short biographical series for its contribution in stimulating sketches. Ideal for framing or study. a greater interest in the study of music. Mail • • Originals, painted for the Magnavox col- coupon below for your copy. in a The Magnavox Company, Fort lection by gifted artists, were reproduced Wayne 4, Ind.

Send for Reproduction of Paintings SUBJECTS PICTURED The Magnavox Company, Dept. ET5, Fort Wayne 4, Indiana Grieg Schubert is Enclosed 50* for portfolio of Magnavox art prints. Rimsky-Korsakov Kreisler Foster Toscanini Wagner Rachmaninoff Address— Tchaikovsky Koussevitzky

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