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

3-1-1936 Volume 54, Number 03 (March 1936) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 54, Number 03 (March 1936)." , (1936). https://digitalcommons.gardner-webb.edu/etude/842

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WHAT DOES IT TAKE TO MAKE A SINGER?" by Richard Crooks /Jte a &fieturte Toveas) rrvuAic NEW DITSON PUBLICATION

MORRISON ORCHESTRAL UNIONS

By DON MORRISON A Musical Revue A system of Relay Solos for train¬ By GERTRUDE VAN AKIN ™.TH ^ ^ ing young orchestras

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359 Boylston Street. Boston, Mass. MARCH, 1936 127 YiHETnJDETiljsiC^iACAZINE PIANO TEACHERS! THE E FoZ.a.i r;rbodV' "Music tor tv 7 ' S2.oo»v..r The Willis Music Co. is happy to announce the long awaited VOLUME LIV, No. Editorial and Advisory Staff of

Dr. Henry S. Fry D. Victor L. F. It. bm.nn Karl W. Gehrken. peter Hugh Reed Elizabeth A. Gest Henry S. Sawyer Mabelle Glenn ^ Frederick W. Wodell Rob Roy of Th. Etud. William M. Felton, Editor of Mu. c CONTENTS . 130 John Thompson World of Music.. 131 Editorials .i",. .It. Crooks 133 What Does it Take t0, M._P. J. Croton 134 his many years of first- :::::.;JSS experience as concert Memory Work..A. V. (Juinlun 13(1 t, composer and teacher, The Key of C-. . 13(1 A Novel Musical W atch ...t i.inuelbuck 13(1 Thompson has de¬ Left Hand Sustained Notes... ■•■••• • .M i,uinr,ntl 131 The Picturesque Youth of Aiassturn.,• „ J{ubbe i:l> certain definite and Making the Pupils Recital Interesting. . 0ot.ltchiu, ut teaching ideas. His Beginnings and Endings. . . .. 144 The Covered Wagon successful books and I^?esYstarMu?icalhRh^°hmhwiih the ■'' ■'‘ L «• J }« fill give you an idea as Wh^Every^hild8Should Have Musical 'i ruining • . • - • - j{n.j J41 A Miniature Suite what to expect in these tie CentuHos/.-.-. : • ! ! i »= for Piano Solo Thompson offerings. A Piano Musical Review 1 urty.’; y ; jibach 14 Thompson is now on a This design patented by The Baldwin Piano Co. A Solitary Practice Huiu. , Five new John Thompson pieces Keyboard Geography.. ...,S it- II,,1,110 14 musically descriptive of early nation-wide lecture tour. Pi¬ OUT OF THE WELTER OF Listening as an Aid to Flnger Control. . » S 11 ano Teachers are welcome to Mastering the Thumb-Under Movement. ■ /lrab"i j4 American days. For Grades I THE NEW BALDWIN-BUILT Bands and Orchestras.\. Jy Ytrlbct JJ and II. Explanatory stories, these lectures without charge. Resounding Cymbals...... Vk0mnM n UNCERTAINTY, ONE Music Study Extension Course.■' inomjtsoa attractively illustrated.60 Watch for him in your terri- Teachers’ Round Table.• • • • ■ • • ..y R (Irant 14 ROCK OF CONFIDENCE A Visit tOgWagner’s House of Dreams . . . . .jj 17 'Hmimrh Singer’s Etude. ...7.7.0.'Orori 17 wSPMust8CI study Five Years ’ .. ." IIcmlry 17 THE FIRST GRADE BOOK ’gsma Choosing Exercises that Do the Work.* or* An easily-grasped, correct and complete foundation for piano Getting Most from Volunteer Choir. * *. XT*1* Pipe Organs for the Home.U. J. merman 11 study, enabling the pupil to think and feel musically. Melody Stereotyped Registration. . . .. 11 if jf 1* Patterns, Rhythmical Patterns, Harmony Patterns and Finger Organ and Choir Questions Answered.'«• o. try 1. A Musical Question.y ■ • ■•; {. Patterns have been exemplified in simple and melodious pieces Violinist’s Etude.“ } in the FIVE FINGER POSITION. Every page teaches some¬ Left Hand Adjustment.•■ • •■1 • !• Seeking Tone Treasures thing new in either phrasing, key signature, wrist staccato, Accidentals in First Position for the Violoncello . J. sutrr 1 attack, etc. Price, $1.00. A Musical Blackboard...... B.i *2252: J The Acrosonic Scale, the piano sensation of the decade, and BALDWIN ... of the glorious tone; of tradi¬ Violin Questions Answered..{’rr,!"S J Among world-famous ar¬ What Happens in the Prompter’s Box ..Srw 1 orkcr 1 an exclusive feature of the Baldwin-Built Howard Acrosonic tional quality. Choice of artists. Leader today Etude Historical Musical Portrait Series.• • • • • • J THE STUDENTS SERIES tists who use and en¬ Questions and Answers.h \\ tirhrkcn* 1 Piano, provides a new and perfected tone balance, exquisite Cutting Those Gordian Knots.L. R BaiOme 1 With Lesson Analysis dorse the Baldwin are— as at the turn of the century. A Question of Proper Credits.- ... C. fw 1 tone quality, and remarkably responsive action—an instru¬ Voice Questions Answered.* W . Wodell 1 GRADE I GRADE II No wonder that the name Baldwin is every¬ The Guitar and the Child.V \f llaycman 1 ment that charms the ear as it delights the eye. WILHELM BACHAUS Passing Notes.P. Leonard 1 Swaying Silver Birches—Leslie .30 The Swan on the Moohlit Lake where recognized as representing the highest Junior Etude.E- Oe*t 1 Forest Dawn—Thompson.30 HAROLD BAUER Home Studios.O O. Walker 1 Moccasin Dance—Long.30 piano quality. Note the pride in the voice of Letters from Etude Friends. 1 Hiawatha’s Lullaby—Ward.. . .35 In action, tone quality, color, responsiveness, the Howard MOISSAYE BOGUSLAWSKI Musical Books Reviewed.1 Marche Slav (Tschaikowsky)— Captain Kidd—Waldo.30 LUCREZIA BORI the owner when she says, “This is my Random Thoughts of Technic.E. E. Harri« 1 Thompson.30 Drowsy Moon—Long.30 Acrosonic Piano is NEW. At its extremely moderate cost, Baldwin!” Observe the confident assurance Lullaby (Brahms)—Thompson.. .30 The Banjo Picker—Wright.35 it represents an almost unbelievable value. Full 88-note ALFREDO CASELLA Music Procession of the Seven Dwarfs The Brownies Carnival— FEODOR CHALIAPIN of the artist at the Baldwin keyboard. Watch Fascinating Pieces for the Musical Home —Long.30 Thompson.35 scale, greater volume. Wherever used, it will become a Mon Desir.F. Srrio 1 On a Summer Sea—Ketterer.. .35 SEVERIN EISENBERGER the increasing pace of enthusiasm and skill Souvenir of Stephen Foster.It. II. Stnlu-itl 1 In the Barnyard—Waldo.35 favorite and beloved instrument of musical self-expression, WALTER GIESEKING when the pupil has access to a Baldwin. Valse in A Flat.C. F. Paris 1 Hoe Cake Shuffle—Leslie.30 GRADE III Meditation.P. Conte 1 The Dutch Twins—Ward.35 so beautiful and rich in its own right that it belongs with JOSE ITURBI Silvered Mists.C. Harrier ! March of the Champions— Visit your Baldwin dealer. Learn how Master Works Cobbler, Cobbler—Rebe.30 Waldo.40 the finest you have. EDWARD JOHNSON March of the Spooks—Haines. .30 easily you may own an instrument in which Dance of the Candy Fairy.P. I. T.rhntkotrsky Tango Carioca—Thompson.30 Of Foreign X.ands and People.It Schumann WIKTOR LABUNSKI The Bogey Man—Long.30 By a Roadside Fire—Rodgers.. .30 By all means see it at your Baldwin dealer. Try it. JOSEF LHEYINNE you will take life-long pride. Baldwin Grands Menuet from L'Arlesienne Suite, No. 2.0. Jli:el Outstanding Vocal and Instrumental JS’orelties Compare. Learn how easily you may own one. A pleasant CHARLES NAEGELE are priced $995 up. Ask your dealer or write Give Me a House on the Hillside (Vocal).A A. Penn PIANO FOUR HANDS us for booklet, “Planning For Your Child.” A Prayer (Vocal).T. I.icarancr surprise awaits you. LILY PONS Nocturne (Organ). R s Stoughton In the Early Morning—Jenkins Reverie (Violin A Piano).a u Frdrrlrin Down the Shady Path—Jenkins .40 E. ROBERT SCHMITZ Approach of Spring (Four Hands).C. Lindsay The Strolling Players—Jenkins Flame Vine—Bilbro.50 RUTH SLENCZYNSKI THE BALDWIN PIANO CO., CINCINNATI Violin Ensemble EMERSON WHITHORNE Little Briar Rose. •BALDWIN . BUILT- Also Built by Baldwin, Delightful Pieces for Junior Etude Readers PAUL WITTGENSTEIN The PolliwofL ..g Forrr„ HAMILTON - HOWARD - MONARCH FRANCISZEK ZACHARA Hamilton, Howard and Monarch Pianos Afoul Tun'.mv;;;;;.« « 1«S The Willis Music Co. Cincinnati, Ohio The*cuekoo' HiH;;;;.7 %*•’»* You may send detailed John Thompson Modern Piano Course USE COUPON FOR THE BALDWIN PIANO CO.. Awake. Awake !.C.‘ W. Caiman 170 1813 Gilbert Ave., Cincinnati, Ohio. information to: FREE BOOKLET . . . Send me your booklet “Planning For You f**K**,<< yyMr hy TBEODOMM hubb CO. r. fully describing your new Howard Acrosonic NAME. under the Art of Marrh 3.1870. Copyrlghl, 1034. by Theodo^’ Pr77r for U. s. A. and Great Brilam. ADDRESS . ... JSalfitoin EM 36 CHOOSE YOUR PIANO AS THE ARTISTS DO MARCH, 1936 THE ETU# 129 Editor JAMES FRANCIS COOKE

THE ETUDE Associate Editor EDWARD ELLSWORTH HIPSHER Published Monthly By Music Magazine THEODORE PRESSER CO. STUDENTS AND ALL LOVERS OF MUSIC 1712 Chestnut Street A MONTHLY JOURNAL FOR TEACHERS, PHILADELPHIA, PENNA. Vol. LIY No. 3 • MARCH, 1936

The World of Music

Interesting and Important Items Gleaned in a Constant fF ^ Happenings and Activities Pertaining to Things Musical y

RIO DE JANEIRO has LEOPOLD STOKOWSKI, for twenty-two THE uctor^ann^unfe’s'Vhe ^ ‘'venty-seven years been enjoying a series of years the conductor of the Philadelphia Or- ^ The Friday pr0. cditor-m-chiet ol ear. Fischer, Inc., music pub- orchestral and choral con- chestra, which he has raised to a premier p ™ms May 22nd, will be given over to a Ushers. * died ^ certs with the cooperation among similar organizations of the world, gra , * . ancj the great “Magnificat. ^hcrs Villa-Lobos 0f the Municipal Orchestra announced on January 2nd his resignation g P ' Cd the monumental “Mass in B 10,. 1935, l under the baton of Villa- He gave as his reason a desire to be freed unsung ormed for the twe„ty. City. Born in New York in 1865, he studied the violin and entered the Metropol.tan Opera Lobos. Among the works announced for their from the t;L to rive to cer- ninth time at thb Festival, first hearing in the Brazilian capital are the order that he may have time to give to cer House Orchestra in 1883, its first season. For years he was also a member oi the Phil- ”Mass \in |B mminor”“°f” by Bach; ‘bethe “Missa tamtain musicalmu^ca researcresearch in which edhe hasHe beenwiU y D>HARDELOT (in private life, Mrs hLa ic and thc New York Symphony Or- Solennis by Beethoven the Vuutj* lead ?eTweeks of the season 1936-1937, as Helen Rhodes), one of the most popular of 1P01 he became edUor o. "The

some years^leader of The Minneapolis Or- borne in London, on January 7th, at the age iQ08hc became editor of “The Musical ballet, Uirapuru, by Villa-Lobos. chestra, has accepted a three year contract for of seventy-eight. Among her most succcssiu observer,” both of which he served till 1«8. the vacant post. songs were Sans Toi (Without Thee) and Rc WM also compoSer of several widely PUCCINI’S “LA TOSCA” had •3--8‘ Because, the latter best known of all in known violin works as we is the maker oi GLORIFICATION BY THE ANGELS THE NEW YORK LIGHT^ OPERA America. ^ many arrangcmcnls. A famous Painting by the Flemish artist, Hans Memlinc, now in the Museum at Antwerp. first offering of the Detroit Symphony Or- GUILD has been incorporated with the pur- chestra collaborating with the Detroit Civic pose of presenting the better of *bose THE ATENEO of Madrid has celebrated 0PERA IN ENGLISH is having its rec- Onera Soc ety Serafina di Leo, a young operettas of a past generation, which filled a 5 centenary with a concert of romantic ition in Cincinnati where, through the American soprano p?oi Italiannanan parentage,paicuu>Sc, was ^so large place in the entertainments__ atpHof that hv music, byDy theme Symphony Orchestra, with- initiative olof Eugener.uzcnc uoowto,Goossens, two of- the- the Tosca; and Wilfred Pelletier conducted, period ‘The Fencing Master, created by CubileSj the plamst> and Imesta, violinist, as f presentations of Wagnerian opera, •®-—-* , the collaboration of Regmald_DeKoven and soloists. “Tannhauser”‘Tannhauscr” and “Die‘ Mefeteninger,” are ANDREW CARNEGIE, one of the most the late Harry B. Smith, to display the par- being sung in our own tongue. The Speech of the Angels princely patrons of music which America has ticular gifts of the talented Marie Tempest, YEHUDI MENUHIN has announced that possessed, was honored with_a - festive rcele- his January concert in Albert Hall of Lon- .e hundredth anniversary of ALBAN BERG, Viennese composer m n November 25, 1935, a gala AMERICAN COMPOSERS had fourteen don, which completed a world tour «. *«• £0r his rather rabidly modernistic musical WHEN Napoleon was asked what was his religion, sensual gratification in which mankind may indulge to ex¬ concert was given in”Carnegie Hall of New of their works on the programs of the season “art’a ve^r on a ranch works, died in the Austrian capital, on De- he is said to have replied, “I was brought up on cess without injury to their moral or religious feelings.” concertYork Citv was jsjvcuThe program m_— was selected mostlycfl„ „off iola_io«1934-1935 of tLpthe PhiravnChicago SvmnhonvSymphony Or- a retirement ol at least a year on a ranen cember_, 4. 1935.,„!C HU “Wozzcck. had itsitsi Amer¬ from works performed at the festival for the chestra under Dr. Frederick Stock, ican premiere when produced in Philadelphia, the religion of war.” The writer, on the other This may account for the orgies of oratorios for which dedication of this hall, on May 5, 6, 7 and 8 n March 19, 1931, by thc Philadelphia Grand hand, was brought up on the religion of music; and he England is famous. Certainly the Quakers had a different ofot 18911891, wnenwhen lacDr. Walter Wu~,Damrosch, ... LUCREZIA BORI who as the “Good OTTORINO RESPIGHI’S,‘‘LA FIAM- ^Company with the assistance of the has not known a day since his childhood when he has not view of it. Music to them was far from being “The speech charge brought Tschaikowsky from Europe Angel” of the Metropolitan Opera Company, MA” had its American premiere when pre- p{dIadr|phia Orchestra and with Leopold been in contact with music in some way. Still, though he ' conduct several of his works. has done so much to perpetuate that organ- sented by the Chicago City Opera Company Stokow£i conducting. of the angels.” It was the voice of Satan whispering moral -n ---»• ization, has announced that with the close of on the evening of December second. The_j. has read thousands of definitions of music and allusions and spiritual ruin in their ears. THE METROPOLITAN OPERA COM¬ this season she will retire from the operatic story is one of seventh century witchcraft; „,„rr,nrrai „ to music, he never yet has found one that was adequate. Napoleon, with his massive and far reaching grasp of PANY opened its fifty-first season, on the stage, though she will remain on the Board and the score is said to be “melodic, with a THE AFRIK VANS EISTEDD. tm re- Carlyle called it, “The speech of the angels.” A very pretty of Directors at the Metropolitan. Puccinian ardor.” Rosa RaUa, as Silvana, cently held at Johannesburg, South Transvaal, all things that related to the State, saw music as a valuable evening of December 16th, with a perform¬ tribute from a Scotch philosopher; but we are not at all means to governmental ends. He said, “Music, of all the ance of Verdi’s “La Traviata,” with Lucrezia of the greatest successes of her is reported to have had more thin tun* Bori as Violetta, Richard Crooks as Alfredo, MUSICAL OPINION, of London, one of career. The work left an impression of being thousand entries. certain that the angels will confine their speech to song. liberal arts, has the greatest influence over the passions and Lawrence Tibbett as the elder Germont. ___■ most esteemed contemporary musical ost important operatic novelty heard •«- Beethoven, who ought to have known, called music “The and is that to which the legislator ought to give the great¬ monthlies, reached its seven hundredth num- ice ‘Der Rosenkavalier.’ ” mediator between the spiritual and the sensual life”; est encouragement.” Napoleon went further than merely MORIZ ROSENTHAL, who has shunned ber with the January issue. When begun, though that will satisfy but few. The Italian poet, Maz- talking about the thing. He provided liberal subsidies and America of late years, has been winning golden 1877,■ - Wagner-JHf was scarcely.. -. than a name THE PHILHARMONIC ORCHESTRA librettists, died January opinions from the critics during his tournee the musical world, and The Ring was of Berlin) with Wilheim Furt wander con- 1st. at Atlantic Citv Born zini, came a little nearer when he said that “Music is the buildings which have been of unlimited value to French of the British Isles. be heard in London for another five ducting) and the Philharmonic Orchestra of in Buffalo. New York. De- harmonious voice of creation; an echo of the invisible musical development. - - n this so uselul col- prague, with Vaclav Talich as leader, have ccmber 28, 1860, his par- world; one note of the divine concord which the entire Some years ago the writer devised a symposium which VICTOR HERBERT SCORES, been giving concerts in London. ents s—..—ived i Chi-— universe is destined to sound.” was inspired by the lines of Keats: amount of seven thousand and five hundred cago, where he entered pages, have been presented to the Library of ARTHUR FOOTE’S compositions filled Sidney Smith thought that musical people were in¬ WILLIAM WALTON’S “First Symphony” newspaper work, met Reg¬ “Let us have music, dying. Congress, Washington, by theu ___famous ™m-1- the first half of the program on December variably happy and attributed this to the fact that “Music heard in London for the first time, com- inald DeKoven, then a dry’ And I seek no more delight.” DMepr daughter*6 Ella Herbert ~Bartiett of 8th, of the People’s Symphony Orchestra of heard in London for the first tim is almost the only innocent and unpunished passion.” New York City. The gift includes the scores Boston, with Fabien Sevitsky conducting, plete, when on November 6th, it w;was on a goods clerk, and together Mr. Foote, n a his eighty-third year, program of the British Broadcasting Com- they created “The Begum,” Wise Sidney, but we have known enough unhappy mu¬ Some fifty eminent men and women were asked, “If you of some of his most popular operettas. operetta which made a still alert and active. He has that rare dis- Pany Urchestra “Another important work! an operetta wmeo m**- othtis, sicians to prove the exception to the rule. knew that you had only twelve hours to live and had the MARIAN ANDERSON, tinction of being a successful American com- Brilliant, relentlessly ironic, bitter, sad, elo- N't* York success-Followedlehwn^ With Victorian cocksureness, Mrs. Harriet Beecher poser, entirely American educated. quent—it is all these in turn; but it convinces including Robin Hood . /j t0 choice of hearing but one composition, which one would eminent American con¬ Stowe and a raft of others, culminating in the Rev. H. R. you select?” The response was amazing. Only one man tralto, lately returned from 4-»• as being inevitable music.” So says an emi- deathless O Promise Me, interpolated ^ nc j'- , Haweis, saw music as a moral force. Mrs. Stowe wrote, European triumphs,_t„_, =gave,_._, THE DON COSSACK RUSSIAN MALE nent critic. Still in his early thirties. Walton P,av.lhc, tVlU'nt,.01' thcr Herbert. P°PU .T’l'tfL. he wrote foWiour- answered that it was a matter of indifference what he January 16th, a recital CHOIR, composed of exiled Russian singers, Las shown^a talent, in this work, along with J^V1S With Viet. “Where painting is weakest, namely, in the expression of heard. Nothing could have shown more definitely the the highest moral and spiritual ideas, there music is nearness of music to great men and women. In their last of Music of Philadelphia, appeared in Carnegie Hall, New York, on the string quartet, from which the musical world ‘The Serenade,” “Thc Fortune Tu-- the home of her birth and evening of November 29, 1935, as a benefit may expect much, “The Wizard of the Nile.” Others with sublimely strong.” But music is neither moral nor im¬ moments on earth they would want to hear music to their childhood. For four years for the Cecilia Music School Settlement. The ■«-j> he collaborated successfully were John r moral, although in association with moral objectives it may liking. she has been winning a exiled Grand Duchess Marie read a brief his- LIVERPOOL is about to build a Civic Hall Sousa, Irving Berlin, JeromeJVT— Kc™the- Ur emotionalize and intensify the thoughts of the individual No one has ever divined the mystic nature of music. L-cuai Jim oituiuuu ixui',^— _. -—nf place among the most pop- tory of the organization. of Music to replace the old Philharmonic Hall L ,r.;!nd Sigmund Rombcre. ro so that higher aims may be achieved more readily. Somewhere in the cosmic dawn, shafts of tone began to ular concert vocalists of •« —which was destroyed by fire in 1933 It is ing 1LillianR Russell"cc“ ' *“he■ wrolewrote ’TheTh Addison, like Sidney Smith, felt that “Music is the only blend with the day of the world. Human souls reached the____ Old World;__ and__ her SOPHIE______BRASLAU, former contralto star said that the^ new buildinguullulll willWIU costcon twow hun and for the svelt Marie Tempest the success on this occasion confirmed all the of the Metropolitan Opera Company, died in dred and fifty^thousand^poun.te^aboutHone ‘Thc Fcncinc Master.” one of encomiums of foreign critics. An extended New York City, on December 27, 1935, at the and a quarter^ million doS 'and m»V^e ‘rlumPh?- A" in a" he J un^ ovation followed the regular program, while age of forty-three. Miss Braslau was of Rus- hope that it will eaual its nrerWoccr urettos or lyrics for more than tnree u r, _ , _--1 4-L a a.a- ^a-a«Ia^a -J JLa-a£ _ . , equal7 its piCUCCCSSOrpredecessor whichwnicn A.AAA - floral offerings filled the stage and the artist sian parentage and, at the age of eighteen, was rated_acoustically one of the most per- stage productions. gave a series of varied encores. made her debut at the Metropolitan. feet buildings of the world*' (Continued o Page 188) Music Axiom for March MARCH, 1936 Music lifts the load from Labor 131 ble its size The jzfl ^n^thnvm^and ^ up for higher spiritual sustenance-higher evidenccs of What Does It Take to Make God than can ever come through words—and that was music. Heine was conscious of this and he made this essay ble in a few years Tte cnm What wiU unprofitably to convey his meaning: T almost down at sixteen billion f * ^ ^ affalrs? The one a Singer? “There is something marvelous m music. I might almost employed leisure do tojhast V ^ q{ this tidal waVe of say that it is, in itself? a marvel. Its position is somewhere great defense we have agai-t tJMkisure The boy Qr ! between the region of thought and that of phcnomcn , crime is preparing our y pursuits, such as music and glimmering medium between mind and mattei and y who is at home engaged in ab g P caught in the crime By Richard Crooks differing from either: spiritual and yet requiring rhythm, other subjects, is really dto schools or ,ails, material and yet independent of space. <• h flood. What do you wan , Y_ j would like to ask our LEADING TENOR OF THE METROPOLITAN OPERA COMPANY One of the greatest offices of music is refreshment of th education or crime. music ^ those yeggs broke soul. Those, who have had the wisdom to study the art, cEnelS^ twenty-three thousand can find a solace in playing, which seems to come m other way. Tired, worried, beset with fears and cares, a half hour at the keyboard will take the mind-away for the An Educational Conference Secured Expressly for time bein-, to a world of enchantment and delight that The Etude Music Magazine provides a relief that is incomparable. The German poet SdTrSrid“w!a“d you can-, tool a busmess can. Auerbach, has said this admirably in “Music washes away from the soul the dust of everyday life. Carlyle went deeper when he wrote his famous lines, The meaning of Looking Ahead By R. H. WOLLSTEIN song goes deep. Who is there thf , in logical words can express the effect music has on us? A kind of mamcul te r-7 1HF.N foreign architects visit the United States, one of unfathomable speech, which leads us to the edge of_ the ^Tojthe, first structures they ask to see is the City Hall of New infinite, and lets us for moments gaze into that Perhaps York City wWch is considered one of the most elegant achieve¬ RICHARD CROOKS AS CArARADOSSI IN "LA TOSCA” that is why he called music The speech of the Angels. ments in American building. This exquisite classic was finished in 1812 and cost $538,734.00. It is regarded^ one of thetet But a steady growth by successive speciali¬ one thing, but pampering is another. It is examDles of the beautiful American coloma type. i nrce ONE OF THE MOST SUCCESSFUL impression we create in comparison with of American tenors, Richard Crooks, the artists of other lands. zations builds musical worth. a splendid thing if you can win a scholar¬ facades of the building are built of splendid white marble, Music and Your Taxes was born at Trenton, New Jersey, where, All of this may give the impression that Let me illustrate from my own experi¬ ship at some conservatory of rank, or if quarried in Massachusetts. The fourth faqade, however at six, he was soloist in the choir of a studied artistry is the secret of fine singing. ence. Up to the time of my first concert friends are willing to smooth the way for monument to one of our most amusing of mumcipal Hunde^ you. But do not allow the lack of such “rr=> HE MEETING will please come to order.” leading church; and at twelve he appeared Oddly enough, this is only about fifty per engagements, I knew little of the orthodox advantages to worry you. You may have The town clerk laid down his gavel somewhat gingerly, The architect’s plans called for white marble, but thc Board with Schumami-Heink, at a great Music cent true. Artistry serves as the polished concert repertory, and nothing whatever of of Supervisors of the city, desiring to show their foresightedness Festival at Trenton, Nciv Jersey. Experi¬ ornamentation of the musical structure. opera. I was a “specialist” in sacred music. an advantage of a different order—the ad¬ as though there might be trouble ahead. vantage of fighting your own way. That and economy, decided that white marble throughout was not ence in an Aero Squadron of the World The chief factor, though, remains the foun¬ Today I sing this sacred music no more “Mr. Chairman,” said Kenneth Baker, something will have is a wonderful feeling. Every public per¬ necessary because it was beyond the realm of possibility for the War was followed by employment in one dation. We Americans ought to stop and frequently than any other concert or oper¬ to be done to cut down our taxes. We can’t stand it. Here 1 think about that. atic singer, but I consider the time I spent former will have to stand on his own feet growth of the city to extend up the island further than the re¬ of the large insurance companies of New am working my head off to earn a living, and yet I see in the York City; and while so engaged he se¬ The first requisite for a singer is a voice. on it a decided gain. First, it gave me a sooner or later in his career, and early mote site selected for the municipal headquarters. They there¬ new budget an item for a piano costing $1,150.00 Pianos are cured the coveted position of tenor soloist I honestly believe that the physical accident sure sense of one branch of musical style, practice in this art will add inches to one’s all right for millionaires, but we will just have to strike out these fore substituted ordinary local brown stone, at a much less cost, of the Fifth Avenue Presbyterian Church. of voice itself is eighty per cent of the and such sureness is always a good thing. mature stature. There were times in my own career when frills and fancies or go to the wall. for the rear facade, which naturally would be seen only by the It was in 1923 that he sang for Walter battle. The finest schooling applied to a Even if I were never to sing a sacred song I looked with positive envy on young Immediately the meeting was thrown into the greatest com country yokels living beyond. Damrosch, who at once gave him a con¬ small, colorless, mediocre, natural voice will again, I would be the richer for having Now the City Hall is in the remote down-town section—on tract for nine performances of Act III of result in nothing but disappointment. If I mastered a form of musical truth. And, in singers who seemed to have it all their fusion and arguments started in all parts of the hall. own way. I had to struggle for every thing “Order!” shouted the clerk. “If anyone has- an idea that we Manhattan Island. A densely populated city, housing millions, Wagner's "Siegfried," with the New York were advising a young aspirant to vocal second place, it has put an added means of Symphony Orchestra, at Carnegie Hall and fame, I should counsel him to spend a expression into my hands. When I sing I got. Today I am grateful for that very have come here for a fight, he had better go out on the street. has marched beyond the venerable landmark for at least ten on tour. Subsequently he has made four month or two simply in listening to the in one of the great Masses today, I am struggle. I have gotten something from it miles northward, and that brown stone faqade has become a The Chair recognizes Superintendent of Schools Oiarxe. tours of Europe, where, in addition to many natural quality of our ranking voices, and not treading on strange ground. I have that I should never have had simply from “Mr. Chairman,” said Dr. Clarke, arising, last year you ridiculous illustration of the stupidity of the Board of Super¬ concerts, he has sung successfully in in making an honest comparison between only to think myself back into the old days, saw fit to cut my salary very materially, to meet the tax situa- visors. “Faust," "La Tosco” "Rigoletto,” “Martha" those voices and his own. The voice quali¬ when I sang little else besides church music, My family was poor, and I had no ad¬ tion- and I am sure that no one in this room has heard me demur Foresightedness is one of the most valuable of human acquisi¬ and other operas. At present he is doing ties that earn a singer attention are: first, to get the feel of the thing. vantages whatever as a child. My d.ear ' since that time. We school people feel that we are entitled to tions. Some musicians have it in splendid measure; and this, leading roles with the Metropolitan Opera natural timbre; then volume and color. All mother loved music and encouraged me to As a Singer Grows express myself in singing. My voice as¬ far larger incomes than we receive; but in a time of emergency, combined with facility, talent and energy, is what the world Company of New York, where, on the three are necessary. While I ardently be¬ serted itself as a high soprano when I was such as this, it was quite right that my salary should go down calls genius. However, in viewing the business attitude of hun¬ occasion of his debut, he won thirty-seven lieve in widespread music study and en¬ BEGAN my career as a child of nine, couragement, I am equally insistent on the singing as soprano soloist at the great about six, and my mother thought it was a with the rest. However, I requested the purchase of that piano dreds and hundreds of musicians during the late unlamcnted curtain calls. With all this experience, Mr. Crooks’ viezvs are of especial value to point of discouraging from professional Ocean Grove Auditorium. Such an early good voice. Since she lacked the money and I would like to have my employers, you, the people of this depression, we are not at all surprised that many of them have American students of singing.—Editorial activities such voices as are not endowed start was wonderfully helpful to me—except to engage a teacher for me, she taught me town know why I think that you should support me in this. been in such difficulty, as they have shown such an appalling Note. with the natural, unacquirable qualities that for one thing: today, when kind people herself. What little salary I was able to The piano is merely one of the symbols of a very necessary sta¬ lack of foresightedness. Despite the fact that our sympathies alone make for success. remember me and tell me that they enjoyed earn as a boy soprano was needed at home, biliser in a great revolution that is going on in our country. and, when possible, our assistance have gone out to some who WITHIN THE LAST ten years, my work twenty-five years ago, it gives and I never got individual lessons. My Thank God it is a bloodless revolution, but a revolution it is, have found their positions utterly impossible, we cannot fail American singers have earned for Polishing the Jewel me a rather rude jolt. I sang in church solo performances were usually accompanied by a choral background, and the only les¬ and a very’definite one. People are beginning to see things noting that others, with similar obstacles, have compelled aston¬ themselves the proverbial place in NCE A YOUNG SINGER is sure of choirs as a boy and got my first positions sons I got were those of the general choral differently, and that is that our greatest problem is not as it ishing success at a time of disaster, by a more intense activity, the sun. It is no longer considered freak¬ his natural vocal equipment, the big as a tenor in All Angels Church and the seems, earning a living, but learning how to live. When 1 first ish for an American to be “musical.” Opera question is, how shall he study? That is Fifth Avenue Presbyterian Church in New training, intended for all of us. initiative, invention and foresight. When I was twelve, I sang at the annual started in educational work, the so-called practical men laughed rosters and lists of our foremost concert entirely an individual matter. It remains York. Up to the time I began my serious We forsee now that energetic teachers will have, with the studies at the age of twenty, I had little Music Festival in my home town of Tren¬ at “culture ” Education to them meant teaching someone the managers are showing more and more plain for a reliable teacher to test his voice, to present resurge of prosperous business which is undeniably American names; and the public attitude discover its weak points and its strong experience in anything except church work. ton, New Jersey. Madame Schumann- ' three R’s, which were supposed to reveal magically how to get sweeping the country, an unprecedented opportunity for ad¬ towards our own singers has become one points, and then to proceed to build it in Next I specialized in lieder and the songs Heink sang on the same program. She a job that would provide an adequate living and how to keep vance; but this will depend upon three things. The ambitious of encouragement instead of incredulity. the way this voice needs, and which may of the classic repertory. The foundation heard me and said encouraging things about that job. What the pupil should do with his spare time in the musician, who would succeed, must: That is quite as it should be, and it offers not be needed by any other voice in his of church work was a help, but I found my voice. But she also said that if I hoped future, was not the problem of education. an encouraging beginning. It now remains studio. In my own case, I rely entirely that I had an entirely new style to master. to amount to something, I would have to Work! Work! Work! “Now, whether we like it or not, the pupil of tomorrow will for us Americans to take advantage of the upon natural methods of production. I For years I worked exclusively on lieder work. I was more than willing to work— be confronted with a situation which asks that he shall work, let Plan! Plan! Plan! new opportunities offered and to prove that never force my voice under any circum¬ and concert songs; and when I felt I had but I needed the money for a teacher. So us say thirty hours out of the one hundred and sixty-eight hours Dare! Dare! Dare! national vocal artistry need no longer be stances, and I feel best (and therefore sing this style well in hand, I had to begin at I got myself odd jobs during the summer of the week. If he sleeps eight hours a day, he will still have Remember the farcical stupidity of that New York City considered as “news.” best) when my vocal organs are “open,” the beginning again, learning operatic roles. vacations, to pay for lessons. twice as much time for living, or “leisure time,” as he has job Board of Supervisors. What a pathetic picture of a blundering Naturally, the future of American musi¬ natural, and free. I always try to watch I find, now, that my own training fell into The first job I had was painting the cal art is going to depend entirely upon the out for a sensation of vibration in the re¬ these three separate periods of specializa¬ great reservoir tanks of the local gas com¬ hours ” What he does in this leisure time will have just as bunch of fools they would make, if they could come back and artistic integrity of the professional musi¬ gion directly back of the soft palate, com¬ tion; and, for my own case, I think this pany. Those tanks are immense structures, look at the city of New York today! Yet they were merely the much to do with determining what he becomes and his value to cians we produce. It may be argued that parable to the inrush of air when yawning. has been an excellent thing. At no time and the pay for painting them varied ac¬ the State, as what he may do during his work hours. prototype of hundreds of similar bunglers. Sometimes those the comparatively small proportion of pro¬ Shall one specialize? Decidedly, yes! was I confused by the possible interference cording to height. They paid “time rates” “Two years ago our fellow citizen, Mr. Baker, who has just who think themselves the smartest are the most stupid. fessionals ought not to determine the musi¬ Specialization means giving one’s best at¬ of different styles of singing; yet, by the for painting the bottom and “time-and-a- spoken, addressed one of our meetings upon the need for a The calendar is not going to stop six months from now; but cal worth of a country, and there is a good tention to some one form of work. Try to time I was ready to take my place as a half” for the top. I chose the top, and newer and better jail. We built that jail; and I notice in the you may do so, if you do not realize this—and plan, work and basis for this argument. But, practically do that at each stage of progress. Then, public singer, I had three different branches earned two dollars a day. Next, I went to budget for this year a proposal for an addition which will dou- dare. speaking, the artistry of the professional when you feel sufficiently secure in that of vocal work well in hand. work in the ice plant. My job was load¬ group, rightly or wrongly, does serve as a one field, go on and “specialize” in another. ing the big ice blocks on the delivery gauge of a nation’s musical standards. For That is how the artist grows. It is im¬ The Strength of Initiative wagons that started out on their morning that reason, we have a double responsibility. possible to learn everything at once. A WHAT THE ASPIRANT to future routes at seven o’clock. My “gang” had We must make a success not only for our smattering of the various styles of singing honors needs most of all is a sense of to report for work at three in the morning. own sakes, but also for the sake of the makes for will-o’-the-wisp musicianship, self-reliance. Musical encouragement is I got twelve dollars and a half a week.

MARCH, 1936 133 132 THE ETl where earnest young beginners might try , „ Well as a matter of fact, a singer’s their wings in practical performance. That put in the high notes. In time two ex¬ Judy isWr done. It requires as much How to Organize and Manage a Successful Pitching those ice blocks gave me a chest is what we need most. No matter how tremely tempting offers came and caused expansion that any singer would be glad fare to maintain vocal technic as it to encouraging one might like to be, it is use¬ to have. I can recommend work in an ice me much thought; one was a chance to go less to fool ourselves; no studio, be it ever plant to our coming generation of tenors. into musical comedy, and the other was tne so capably conducted, can give one the Junior Music Club offer of a loan from a great music patron keep the singer constantly on his toes experience in acting, in stage tempo, and The Rubicon is Crossed to go abroad and study. Finally, I refused in this connection, perhaps, that we stage emergencies that two or three pro¬ WHEN I WAS READY, at last, to both* of them. I felt that if I went into American singers must be especia y w fessional performances will bring. We By Gladys M. Stein come to New York to study I shared musical comedy, I would be spoiling my have had “little theater” groups, for the a room with four other Trenton fellows. chances for concentrated study and for the fulHave you ever stopped to realize that, encouragement of dramatic acting. Why The room cost five dollars a week, we higher forms of art that meant more to me. compared with other lands, we have can we not inaugurate a similar movement And I had the greatest hesitancy about cookies, candy, or ice-cream will be quite each “chipped in” one dollar, and we slept B-olden age of vocal traditions ? I hat it for “little concert halls” or “little operas”? E READ and hear a great deal developing myself at another person s ex¬ W sufficient. This may sound stingy; but, in relays. My lessons, at ten dollars each, denends on us, today, to help build such a That is a point worth thinking about. about junior music clubs. Almost pense. It seemed infinitely preferable to when you stop to think that the club may soon ate up my savings, and I got a job tradition? This means an immense re- Perhaps some eager student, who is panting every music teacher , has thought of keep on working my own way. So I went m-i-i. t am an ardent advocate of contain twenty-five or thirty members, even with the Aetna Insurance Company to for an opportunity to show what he can do, starting such a club for her younger pupils. back to small engagements for another this simple refreshment would cost con¬ keep me going. The job paid eighty dol¬ singing all roles and all songs in English ; may be the lucky one to get such a move¬ For teachers who have many pupils be¬ year; and it all came out right in the end, siderable. In every class there are those lars a month, which did'not take one very but until a great many more PeoP,e tween the ages of seven and fifteen these for I was given a New York debut with ment under way. who are well-to-do and those who are poor. far, considering the price of music lessons. to agree with me, we Americans find our clubs are excellent means of promoting the New York Symphony Orchestra, and These, then, are the things that I believe If no rule is made, the poorer pupils will I was determined, though, to get a musical selves in the unique position of having to practice and study. The novelty of the that summer I was able to take my wife to be the foundations of a singer. The put themselves to greater expense than education, so I saved on food and amuse- learn all of our classic repertoire in for¬ idea appeals to youngsters of this age, and abroad for six weeks of study on money glamorous things that may come later- they should, to keep up with the others. ments. eign tongues. That means a concentration the work generally starts with great en¬ that I had earned and saved myself. engagements and good fortune and appre¬ This is not fair to the parents; and it may Many a time I went without dinner, in on* language work—not merely the phonetics thusiasm. But unless some progressive I have never found that hard work, self- ciation—are simply the results of hard even cost the teacher some of her best order to stand up to hear Caruso. It was of a new tongue, but an intimate feeling program underlies the club it is apt to die denial, and the shouldering of responsibili¬ study and hard work. Never should they pupils. The host or hostess may furnish worth it! Never was there a singer com¬ for it. I find that I cannot really interpret a “mal-nutrition.” ties were things to regret. On the con¬ be aimed at as a goal in their own right. the refreshments, or a group may serve parable to him, and I honestly doubt if a song in a foreign language until 1 can The teacher usually wants to make the trary, they give one something—a sense of Be satisfied with nothing less than to sing each time. These problems should be there ever will be. The natural quality of go out among the people who speak that club very educational, while the children self-reliance, a lack of self-consciousness, well and to stand on your own feet. That worked out by the club as no fixed rule his tone was matchless, and the artistry language and talk it with them. German demand fun. To be successful, both will an appreciation of values—that are just as is your duty to yourself. The rest lies in will fit all cases. with which he used his voice put him in a waiters have been of great help to me in have to compromise. Most clubs are built important to the public performer as a the lap of the gods. If you are destined THE SHERMAN THOMPSON BABY ORCHESTRA The pupils may want ribbons and class entirely by himself. In those days, I learning to sing Beethoven. upon the history idea. This is a wonder¬ well balanced scale. That is why I have for success, you will have much for which colors the same as they have in their school little dreamed that I would own a costume ful ideal, but how many children or adults The tiny musicians, two to six years old, are conducted by Karl Moldrem that belonged to Caruso (the one I wear in let the story of my own beginnings find Needed Opportunities to be thankful. But success alone does not clubs. All the members should vote to its way into a talk on what a singer needs. make a musician. The stature of the musi¬ like history? s the “Tuesday Morning ascertain the particular colors desired. The “Manon”), or that I would be singing at THER FIELDS that are waiting to be “Too dry,” is the answer the average per¬ Requirements for the Third Pin He may find a “boost” very helpful; but O cian into which any one shall grow will be secretary then brings the ribbons and each the Metropolitan. stamped with the imprint of American son gives to an invitation to join a history All the major scales in four octaves he will find the ability to depend upon him¬ gauged by the quality and compass of his member pays for his or her own. They I got my first regular position as a tenor tradition are those of Lieder interpretation class. So, unless your pupils are very All the major arpeggios in four self more valuable still. own ideais and efforts. And the measure Hours and Dates wear the ribbons to and from the meetings. in church work. Soon other openings fol¬ and operatic acting. I heartily wish that studious, do not have history as your foun¬ octaves ACH CLUB will have to arrange Many inquiries will be received as to the lowed. I was engaged to sing privately at some of the federal funds allocated to art of his achievements will depend largely Ten lessons, again, without missing or E And Study Goes On dation. the time and place best suited for the meaning of them, resulting in a number of parties, weddings, and funerals; and I made development might be used in setting up upon his learning to get his best reward A credit system similar to the Camp Fire being late AM OFTEN ASKED what the young meetings of its group. Saturday mornings new pupils. some records; that is, another, better- I from the feeling of having done good work. Girls is a fine solution to the problem. It Average of 90% at each lesson singer should do once his “study is small opera houses all over the country, are fine as a time for meeting during the known tenor sang the songs and I simply Participation in three recitals is educational enough to please any teacher winter months, and the teacher’s studio Three additional pieces memorized. Games and fun for the pupils. usually is the most convenient place. The After the teacher has decided to form the MOST OF THE TIME at the meet¬ The more advanced pupils will be able meetings might last just one hour, due to ings will be taken up by the games. club a notice should be posted upon the to pass these tests quickly, but the beginners the heavy teaching schedule of the day. Prescriptions for Specific Faults bulletin board in the studio waiting-room. These should be both interesting and in¬ not so easily. It will speed up the work This brings up the question of whether or structive. There is a splendid book en¬ of the class immensely. After the club is not the teacher should be present at the Prescribing for Musical Faults as the Doctor titled “Games and Puzzles for the Musi¬ formed there will be little or no grumbling club meetings; and most assuredly she cal,” by Daniel Bloomfield. DO YOU BELONG TO “THE about playing in recitals, practicing scales should be. Prescribes for Physical Ailments Many of the every day games can be SHARPS AND FLATS CLUB”? and arpeggios and memorizing. Those, During the summer vacations the meet¬ changed by a little thought, into music You may become a member by taking who have formerly refused to memorize, ings can be held more often, and at the games. If the children are given a chance, By Paul J. Creston five lessons without missing or being find that they can do it if they really try. homes of the members if they wish. In they will invent new games, and good ones, late. Each lesson must have an aver¬ In one corner of the studio a paper ban¬ this way the teacher will meet the parents too. One kind of puzzle that is well liked In each case carry this as far up as Fort.A. With the realization of the analogy be¬ age of 90%. ner like the following may be hung. and see from what kind of homes the is that made of the colored covers of music possible, and then return backwards to the tween the music teacher and the doctor will pupils come. Very often she will receive magazines. These are cut up into medium beginning. come many ideas on the perfection of tech¬ an “eye opener” on questions which have sized pieces. Each member is given a The following pairs of fingers may also i ill puzzled her concerning different pupils. nic, rhythm, and so on, in the individual Do not be too anxious to have the pupils puzzle. Then they run races to see who be used: 2-3, 2-4, 2-5, 3-4, 3-5, 4-5. When the teacher is present there is less pupils. The purpose of medical science is join; but insist on their meeting the quali¬ can piece the picture together first. The Then try these arpeggios. And all that danger of the younger (and sometimes the to find the causes and cures for human fications first. They will value the club children have to study the pictures care¬ follow must be adapted to the left hand. older) pupils becoming boisterous. Such ailments; and, similarly, the purpose of the more highly if they have to study hard to fully to work the puzzle and thus they actions on the part of the pupils reflect on teacher is to find the faults in and^ cures get into it. Usually the pupils who want become familiar with the faces and names the teacher. Another thing to be con¬ (corrective exercises) for each individual’s This exercise can easily be adjusted for most to join are the fickle and careless ones. of the musicians. It is well for the host sidered is the tone that can be given to the playing. Such corrective exercises, to be use by the left hand. In the cases of scales, arpeggios, and After a few pupils have fulfilled the re¬ to take charge of the games. This helps meetings by the teacher. If she can teach of any real value, should be fundamental After this, the following, slightly more octaves, it will not do to give exercises quirements and the first meeting has been to give him poise and training in enter¬ some point in music or history, through an and direct; that is, they should at first be difficult, requires an extra dose of “pa¬ in those forms (scales, and so onl but held the teacher will notice a great im¬ taining. Children are quick to criticize enjoyable game, the parents will be less of a very simple kind and gradually be¬ tience” and “perseverence.” rather to give exercises to eliminate the provement in the attendance and playing each other, and seldom does a member, by Exercises Away From the Piano likely to consider the club as unimportant. come more difficult, while always being a cause of bad scales, arpeggios, and octaves. of the pupils. Few of them slump back some breach of manners, offend the second direct attack on the fault. Ex. 2 Bad scales are most likely a result of a (1) Extend the fingers and stretch into their lazy ways after realizing what Officers time. It is surprising what thoughtful Now, just as a doctor will, besides giv¬ them apart as much as possible. clumsy thumb, while bad octaves may be they can accomplish when they try. Thus hosts and hostesses the little children make. ing one a medicine, also instruct him to O GIVE the club a grown up air, it (2) Extend two adjacent fingers at a a result of either poor expansion or weak the teacher gains the first point, in getting T Prizes should be limited to six or less follow a certain diet, so can a teacher, is best to elect officers. This should time and stretch them apart as much as fourth and fifth fingers or a stiff wrist. better work. To further this, a graded for a meeting; and it is well to make a besides corrective exercises at the instru¬ be done at the first meeting. The members possible. At all times, the real cause of the defect system of credits may be worked out some¬ rule that no prize may cost more than five ment (which are in reality the dietetic por¬ write on slips of paper the names of those should be found and the most direct and thing like the following. (Each teacher cents. These prizes may range from pack¬ tion), give certain exercises away from fundamental means of eliminating it be they wish for officers, and then vote for will need to add to or omit certain parts them, one by one. When they get into ages of candy, pencils, toys, tablets and the instrument and which affect the mus¬ applied. cles directly—similar to medicine. It is of this to adapt it to her classes.) As a pupil completes each requirement a high school they will find these little ex¬ music prize cards, to trinkets and powder- Here are two exercises for the thumb: puffs. The children appreciate these just obvious that a pupil with a clumsy thumb star is added in the proper place; and sel¬ periences of help. cannot directly learn to play scales well by Ex. 6 Requirements for the First Pin dom will a day pass without some pupil The officers’ term should be fixed for as much as they would more expensive counting the stars on this sheet of paper. prizes. Whoever has charge of the meet¬ merely practicing scales—instead of im¬ All the major scales in one octave some definite time, new elections being held Mil Every teacher knows of young pupils ing furnishes the prizes. proving the suppleness of the thumb by The seven white key arpeggios in two at the end of this period. The club meet¬ simple exercises of passing that finger un¬ who are not sent to their lessons regularly; ings should be opened in a businesslike octaves Music Programs der the hand, both at and away from the Ten lessons without missing or being and yet their parents demand that they order. Dates for future meetings, pro¬ keyboard. In fact, many passages depend late learn to play quickly. The entrance re¬ grams, refreshments, and orders for pins ONE OF THE questions that may be on a certain muscular condition which can Average of 90% at each lesson quirements for the club members helps to should be taken care of during the business brought up by the club is whether be better attained by direct exercises away Participation in one recital form regular lesson habits in these young session. Let this part of the meeting be the music programs should be furnished by from the instrument, than by mere repe¬ One piece memorized. short and “snappy,” or the children will the club members or by the teacher. This tition of the difficult passages. When they have passed the tests for the soon lose interest in it. There should be may be settled by voting. It is perhaps Following are only a few of the common Exercises Away From the Piano first pin they can buy and wear it. The no club dues, if the teacher is to have the most advantageous to use both plans, the defects in piano pupils and a method of Requirements for the Second Pin 1. Extend the fingers-not separated- B-flat, B-sharp and B-natural pins, sold endorsement of the parents. teacher providing the music one week and “curing” them, to illustrate the doctor- All the major scales in two octaves by the publishers of The Etude, are ob¬ the pupils the next. However, if some rule Pass the thumb under the palm and 001 teacher’s method of abolishing a fault: The seven white key arpeggios in four tainable at different prices and are not too Refreshments is not made, children will shift this re¬ ward—alternately—many times. _ __ octaves expensive for the pupils. F NOT watched carefully the “eats” sponsibility to the teacher. Programs 2. Extend the fingers as before. 5ep» I Weakness of Fourth Finger Ten lessons, again, without missing or The name chosen by the club may be, rate the thumb from the fingers, by mov question will break up the club. Chil¬ should last not more than fifteen minutes. The following exercises a few minutes being late for instance, “Sharps and Flats,” because dren need only simple things, and it should ing it sidewise—then back to position. K Sometimes they can be devoted to one com¬ each day, for several weeks, together with Average of 90% at each lesson of the pins. Other good names would be be clearly understood at the beginning that poser, with a short talk about his life and a dose of “patience” and “perseverance,” peat. . , Participation in two recitals those of well known composers. Many With a little thought many exercises oi all elaborate and expensive refreshments compositions. Programs should be short will bring encouraging results. Each is to Two additional pieces memorized. clubs are named after the day on which are to be eliminated. Lemonade and and very entertaining. be repeated at least five times; and this this sort may be discovered. applies to all which will follow. (Continued on Page 184) MARCH, 1936 135 134 THE ETUDE The Key of C Write-ups Two new members, Paul Reed and Clara Burch, were admitted to the HE CLUB secretary (or if the child T club. Games were played with honors By Agnes Clune Quinlan is too young, the teacher) should write going to Doris Shaffer and Carl Wer- and send a notice of the meeting to the ley. Other members present were . . . daily newspapers. This is fine advertising New ideas may be obtained by reading The first scale that on the keyed instruments the easiest for the studio, interesting to the parents iN]ew iUcaB May u>c - - - ES, the Key of C! and pupils and costs nothing except for the. society. . pages of- r the __papers. "HovpHave the ' is asso- keys to play (especially in scale playing) we learned; and oh! how it - first are those in which five black keys are time.: anHand nnstairppostage. The notice need not... notices typewritten, double spacing lines. ciated with recollections of our nrsv Notices should be sent to the newspaper Ys mPm- used; that is, D-flat, B and F-sharp or contain any more than the following: musical struggles. We have ni.xed mem- within twenty-four hours of the meetings. G-flat. The reason is that the human hand Miss Anna Andrews, 14 Liberty ories about it and are apt to look upon it, This presents a few of the many things fits into this position far better than into Street, entertained the members of the shall we say, with scorn, and not realize that required by the Key of C. Chopin that may be done through a junior music that perhaps, after all, it ^y be_ something Sharps and Flats music club at the because and Rubinstein have called attention to the Heberlein studio on Monday afternoon. club. very important. Important it was given as “C „< f... 55^ g— » * ‘ lessons. you that the " One of the singular aspects of this is Has it ev more simple that certain composers of the day, who Key of. C i are often marvelous melodists but have than other keys, save for the optical or Memory Work learned to play only by ear, usually fall outside appearance of the key. H aas into the habit of playing with all of the sharps or flats to “make it look difficult. black keys instead of the Key of C. Irving By Gloria F. Pugley Also on the keyed instruments there are Berlin is a singular instance of this. Victor no black keys in the key of C. It must Herbert used to feel that every key had be very clear, therefore, that while the key think you know it) until the next A WISE MAN once said: “The great art of offers the same complications as all others, distinct characteristics. He once said of practice period. Keeping everlast¬ the composer, Edward German, “He is the memory is attention.” And another: “Ex¬ it appears to the eye very much simpler. ingly at it tires one mentally and man who always writes in the Key of G; cellence is never granted to man, but as the For the average person, without absolute physically; a few minutes each day and, if he doesn’t write in the Key of G, reward of labor.” Two truth bearing facts pitch, who does not see the notation brings better results. doing so." worthy of high regard! the keyboard, the Key of C different it still sounds as if he Memorizing music is of the utmost im¬ 6. When the piece has been mastered from any other one. portance to the pianist if he ever wishes to —when it has been so thoroughly The Masters' i msies play his music soulfully, expressively and memorized that seemingly it is for¬ The Easier Scales EVIDENTLY many composers have confidently. Most teachers today require gotten—add it to your repertoire had a special predilection for this key. memory work of their pupils. However, and keep it in practice by frequent AS A MATTER of fact, Franz Liszt /\. and Dr. William Mason pointed out Is it just a few notes strung together, there are a few who wrongfully do not. which are incapable of being molded into Needless to say, the pupil whose musical tlve great thoughts of the greatest com¬ aspirations wander beyond the usual bound¬ posers? Has it a character all its own? ary line of grade instruction, will, without A Novel Musical Watch Has it sweetness, brilliancy or strength? a doubt, be greatly handicapped when the Is it capable of being the firm, solid and time comes for him to realize his ambitions inspiring foundation for a tonal edifice if he has had no previous training in men¬ A Gift from Grateful Compatriots Massenet has filled our dreams with charming creations. It would be impossible to mention all the Manons, the Charlottes, the Esclarmondes. the Cendrillons. As Massenet such as Beethoven’s “Fifth Symphony”? was an eminent pianist, we have tried to portray on our page the art of the master bringing forth under his white and facile hands these beautiful and animated figures. tal work. Yes indeed, for that master work is writ¬ Among others we have reproduced at the right and left of this portraiture the male artists who were redoubtable colleagues of the admirable ladies whom ive have Regardless of a child’s age, or rather, re¬ ten in C minor; so also is the Funeral assembled here—Jean, des Grieux, Herod—all those who loved Miriam, Salome or Manon. Our readers will find here the faces of the brothers de Reszke, of Renaud, of gardless of a pupil’s age and progress, he March of his "Third Symphony.” Salignac, Marechal, and also those of Mmes. Lucy Arbell, Breval, Calve, Sybil Sanderson, Guiraudon, Lina Cavalieri, Mary Garden, Marguerite Carre, Delna, and so on should invariably be taught, at the very Here is a list of some of the works —in other words the most important of those who have interpreted the heroes and heroines of Massenet.—The picture and inscription are reproduced from “Musica. outset, to memorize his simple exercises and studies or staves of dictated notes. He written in C or C minor. should be taught to differentiate between Mozart’s second and sixth symphonies. the pitch of one tone and that of another Handel's Dead March from “Saul” and be able to ascertain whether they are Also his Pastoral Symphony from the The Picturesque Youth of Jules Massenet half or whole steps and if they , go up or “Messiah.” down the keyboard. In teaching the pupil, Schubert’s immortal “Symphony, No 1." during the early days of his musical educa¬ Brahms’ “First Symphony.” By Maurice Dumesnil Wagner ends “Siegfried" in G Also he tion, to be always alert and watchful of O THE PUBLIC at large and to senior, had failed to build up any large fairy tale. In fact he had a hard struggle, years later, of his experiences at the Villa chose to write the Prelude to “Die Meister- T the minutest detail and of the extreme im¬ opera fans in particular, for whom fortune, and his wife started teaching the imitating in this his illustrious colleagues, Medici, he spoke with emotion of the un¬ singer” in that key, as well as the beautiful portance of this phase of the profession, the name of Massenet remains most piano, in order to help to increase the in¬ Berlioz and Saint-Saens, who also suffered forgettable memories linked in his mind it will later be found that he has been Prise Song from that opera. closely associated with one work, the ador¬ come of the household. She promptly dis¬ from a persistent streak of bad luck in all with this institution, of the campagna logically and carefully developed and his Liszt chose this key for “Les Preludes.” able “Manon,” it will come as a surprise covered the striking gifts of her son, and the contests they entered. romana through which he wandered on mental capacity strengthened. which was inspired by reading Lamartines to learn that the great French musician, so she was the first one who encouraged him many inspiring excursions, of the future Those more advanced pupils who seem meditations. adequately called the eternel charmeur (the to try to pass the entry examination at the The Struggles of Youth great painters and sculptors, Falguiere, Strauss uses it in his highly descriptive to have some degree of difficulty in memo¬ eternal charmer), was one of the most pro¬ National Conservatory. The youngster was HE YEAR 1861 found him in the Chapu and Carolus-Duran, who were his rizing, can attribute their fault to a great tone poem, “Tod und Verklarung.” lific composers of his day. Indeed, Mas¬ then only ten years old, but nevertheless he composition class of Ambroise Thomas. companions of promotion. extent to insincere study and inability to Stravinsky ends his “Pulcinella" in C. senet, lord of the divine smile, poet elect was admitted immediately after a stirring At the same time he resumed his study of But this stay was meant to play a more concentrate. Their minds are not whole And so we find that the simple “Key of of the Elysian fields, was also one of the performance of the finale from Beethoven’s harmony from the very principles, under important part in his life. Liszt never heartedly on their work. It is not easy to C,” of childhood memories for most of us, “Sonata, Opus 31." In 1856 he was the able guidance of Savard, vifith whom failed to visit the Academy whenever his memorize efficiently; it takes patience and has a majesty and strength which were known. awarded the first prize. he took private lessons. But our young tours took him to Italy; and it was through lots of effort! There is’ no class.distinction deemed worthy for the structure of some His interesting personality manifested It was then that the promising career of man was poor; his allowance had been cut this genial Hungarian that Massenet met for those who can and those who cannot, of the greatest works of our greatest com¬ itself as early as that important period of Massenet came close to being ruined as a off by his family. Since he was too proud Mile, de Sainte Marie, who was to become as they put it, memorize. Any one who posers. his life covering his childhood, his student consequence of various events which caused to call upon his sister for more financial his devoted wife. Liszt was thinking of boasts of any kind of brain at all and days and the ensuing years during which his father to move once more from Paris support, he had to do the best he could retiring from the world in order to dedi¬ possesses the will necessary to succeed, can he obtained the much coveted Prix de to Chambery, a picturesque city located in order to make both ends meet. He cate his life to the church. With this aim memorize music and retain it. Rome, spent the customary twenty-four near the Alps. This exile almost broke the in view, he entrusted several of his pupils Listed below are a few simple rules and might have been seen playing the triangle A watch, in the form of a globe with Each second is indicated by a letter months at the Villa Medici, then returned young laureate’s heart; but soon the reac¬ to his young colleague, and Mile, de Sainte suggestions for better results at n in the orchestra of the Theatre du Gym- ,nz“ markings symbolizing the musical and po- if an inscription which reads in Polish, to Paris where his first lyric work, the tion manifested itself, and it was an Marie was one of them. The engagement ing. They have been put to the nase; and he also played the drums at the an“ litical career of Ignace Jan Paderewski,-—, Uron-dsony Szscesliwie Dnia 6 Listopada Left-Hand Sustained “forgotten opera,” was soon to be per¬ unexpected one. Since the earnest student lasted for many months and until the pen- found exceedingly helpful: Theatre Lyrique and gave lessons in ear has been purchased by the Polish Veterans Roku 1860 w Kurvtowce.” formed on the stage of the Opera Comique. simply could not bear the thought of training at the rate of one franc an hour sionnaire of the Academy had completed 1. Maintain relaxation throughout by Association oiof America, in ceieorationcelebration oiof Theine case is made of solid gold,g with Notes Massenet, born on the 12th of April, remaining so far from his beloved masters, (twenty cents at that time). However, his regular sojourn. But before starting eliminating all conflicting thoughts. the pianist’s seventy-fifth birthday, which seventy-five diamonds and rubies 1842, at Montaud near St. Etienne, in the he escaped from the domicile of his parents when Savard realized the difficulties from Rome on the 6th of October, 1866, the occurred on November sixth. -- ■' 2. Memorize but one page at a time represent the present age of the musical By Annette M. Lingelbach center of France, was the eighth child of and rejoined one of his sisters, Mme. through which his deserving pupil was wedding ceremony took place and the re¬ and spend no more than twenty or The watch, which as designed by genius. The winding stem is made to ap- a former engineering officer in the army, Cavaille-Massenet, who lived in Paris. struggling, he had the delicate thought of turn voyage to Paris was at the same time Roman Dzikowski, will be presented thirty minutes on it each day. Roman Dzikowski, will be presented to pear as a crown, representing Paderewski's who had resigned in order to become a steel With thorough understanding of the situa¬ asking him to do some work of arranging a honeymoon trip. Paderewski by a delegation to his home If the left hand continues to be notice¬ manufacturer. The four elder children tion, this intelligent woman received him 3. Divide the page into groups of three kingship as a master of the piano. It sur- and copying, which was an opportunity to Massenet’s musical output was already Switzerland. The hands of the watch are rounds a setting of topa ‘ Paderewski'« ably weak in sustaining whole notes against were from a first wife; and it is interesting in her home, helped him in his studies and measures and learn group by group. return the money received in payment for important. From Rome he had sent to the in the form of a baton and a pen, and the fav0rite stone, a background of quarter-note time, practice to note that they showed no musical apti¬ later on was instrumental in winning the Analyze thoroughly. Play three the lessons. Institut: a Grande Ouverture de Concert; second hand represents a Polish flag,flae. turn^t tu • •_t f ... , . . , tnisthis rnytnm-patternrhythm-pattern developed iromfrom Study tude whatsoever, whereas Massenet’s three forgiveness of the family for the prodigal times single handed with the music, But affairs soon began to “break” in his a “Requiem” for mixed chorus, organ, ing:— on— a„ small map of Poland. The cir- * f - 6 ? so 1C* go!^ in *ie No. 47, Book One. of “Czerny’s Selected brothers and sisters were unusually gifted child. being sure of correct fingering (this favor. In 1862 Massenet was awarded a violoncello and bass; a symphonic suite, cumference of the dial contains musical o_ seven y- ve hearts, again desig- Studies.” It is also recommended for for the arts, and for music especially. In 1860 Massenet entered Reber’s har¬ is very important) then twice, both nating the master’s anniversary. second prize in counterpoint and an honor¬ nhrasesphrases from the composer’srnmnnser’s wnr1«works; • and,anH natin*.Tuu the“‘V"T masterCI S5 anmversarvanniversar>'- right-hand’ « practice.- •*- Probably this heredity came from the engi¬ mony class, where he won a first credit but “Pompeia” ; the “Scenes de Bal” for piano; hands, from memory. in place of the usual numbers for the hours, Although-, about five,,c hundred•■uuuicu dollarsuonars hasnas neer’s second wife, whom he had married never succeeded in reaching higher. In the able mention at the Prix de Rome compe¬ two Fantaisies and the “Scenes Hon- 4. Proceed on down the page in this the dial is marked with the twelve let- t^lus /ar been collected by the Veteran’s after becoming a widower, and who pos¬ organ class he was unable to obtain the tition; and in 1863 he took both the first groises” for orchestra. But in Paris Mas¬ manner, each time memorizing from ters forming the composer’s name—I. J. association to pay for this watch, L. L. sessed a notable pianistic talent. smallest distinction. These failures are prize for fugue and the Grand Prix de senet found himself confronted once more the beginning up to the new start¬ PADEREWSKI. The musical phrases Krzyzak, Adjutant General of that mentioned in order to emphasize the inac¬ with financial difficulties. He had to re¬ ing point. were taken from Paderewski’s-v«m- popular- iwS—•*"- appealing for donations from An Early Promise curacy of the legend whereby Massenet’s The young musician was twenty-one and sume his teaching and accepted an engage¬ 5. When the entire page has been position, Minuet l’Antique. It will also be anyone interested. The address of the Vet- THE WHOLE FAMILY moved in student years were, as well as his mature fully equipped for the artistic fight. Soon ment as drummer in the orchestra of the played through twice from memory, noted that the words Polska—a Podole appear eran’s headouartersheadquarters is 56 St.St Mark’s Place,ui,„„ 1848 to Paris. But M. Massenet, career, pictured as a sort of enchanted he left for the Eternal City. Writing, forty Porte-Saint-Martin, discontinue (whether or not you a place of the numerals for the seconds. New York City. I MARCH, 1936 137 136 THE ETUDE

A historic interest. Thanks to the good for¬ tune of Evangeline Lehman, the American opening night. Lack of proper rehearsing A Bow to the Public composer, an exquisite excerpt from this Beginnings and Endings in one particular point of the mise-en- opera is now being published. Miss Leh¬ IT WAS THEN that, through the influ¬ scene nearly caused a disaster. The g|ri man became the lucky possessor of perhaps ence of his master, Ambroise Thomas, who played the servant’s part had to build the only score in existence, a few years ago he secured an opening at the Opera Co- a fire and at the same time to appear to be when she was in Paris and planning to How the Masters Began Their Compositions mique, and the “forgotten opera,” “La facing the door through which the Marquis A Fellow Worker’s Appraisal write her successful musical legend, “Ste. Grand’ Tante,” was accepted. Truth to de Kerdrel, impersonated by the famous N HIS INTERESTING book “Mas- say, this honor was not in reality as flat¬ Therese of the Child Jesus.” In order to Victor Capoul, was to make his entrance. X senet and His Works,” Marc De mas, tering as it appears; because, according to gather documentation on continental re¬ She got so nervous that she overlooked this theI regretted French composer, wrote as By Dr. Percy Coetschius the rules imposed by the French govern¬ detail; so that, when the tenor entered, he ligious music, she had gone to that pic¬ ment in exchange for a subvention, the turesque market of books, music and found her stooping down in the wrong posi¬ f°“pTease do not expect anything but sec¬ director was under the obligation to pro¬ tion and with her back turned on him. etchings which stretches so quaintly on the ond hand, or even perhaps third hand in¬ his “Sonata in F-sharp major, Op. 78.” It The first Nocturne (Ex. 6, A.) is in C duce each season a certain number of acts At that time precisely he had to sing embankments of the Seine, from Notre Exceptional Beginnings formation fiom me concerning La Grand IN EVERY UNDERTAKING, physi¬ is a “mixed” chord, the subdominant with major; but it starts out abruptly, with the written by French composers and Prix de these words, “Thank you, thank you, my Dame to the Tuileries. The precious little -Tante.’ Certainly this little score would cal or mental, there are two points of TAKING UP MOZART, first, there is raised fourth step (b-sharp) and lowered Diminished Seventh Chord of D minor, Rome winners. God! At last do I see a human counte¬ score happened to be thrown in with the peculiar importance: the two extremi¬ at least an intimation of a departure which does not yield to the principal key, This first work by Massenet was in one well deserve to be analyzed; not—ah cer¬ sixth (d-natural). nance!” purchase of several others; “par-dessus le ties_the start and the finish. These units from the accepted rule in the finale of his C, for nearly two full measures. The act. It really belonged to the typical tainly not!—because of the place it held C. is from the finale of his “Concerto in Of course an irresistible outburst of marche,” as they put it over there when possess slightly outstanding significance “Sonata in B-flat” for piano, which begins second one (Ex. 6, B.) is in F major, but “opera cotnique” style, with its formula of in the life of its author. Much to the wanting to show their satisfaction over a G major for Piano and Orchestra.” It daughter swept through the whole theater, above that qf the other intermediate units, thus: it begins with an altered dominant chord music interspersed with dialogue. “Car¬ contrary, Massenet did not want anyone sale. “Nobody wants this,” the old dealer begins with the subdominant chord, dis¬ filled with the sophisticated audience of ever to mention it to him; and he abso¬ which make the sum of the total course. of C major; while the redeeming features men” and “Lakme,” later on, were also added, “I give it to you, it is a thing no Ex.2 tinctly in C major, which persists for four premiere nights. lutely refused to speak about it. I do not It requires more force to start a train than Allegro are that the very first melody tone is the originally along these lines. The libretto Then when the stage director stepped one has ever heard about anyway!” pr five measures before the proper key, G, know whether it was published at that time, to keep it in motion; and, when it is to fee prospective keynote, F, and the whole of “La Grand’Tante” was by Jules Adenis forward to announce the names of the The work has been found to be absolutely asserts itself. but I can truly certify that the printed slowed down and brought to a halt, the melodic line describes the scale of F. The and Charles Grandvallet, two friends of authors, as it is customary to do in Paris delightful. Of course Massenet was already D. is the famous strident dissonant be¬ score remains absolutely ‘unfindable’ in application of some repressive force is third example (C.) also is in F major; M. du Lode, the director of the Opera at the end of a first performance, a black a full-fledged “Prix de Rome” when he ginning of the finale of his “Ninth Sym¬ whatever music store you may think of, necessary. We put forth a certain effort and, similarly, the very first chord is an Comique, a circumstance which also con¬ cat emerged unexpectedly from no one wrote it. But there is more in it than phony.” It is one of the most piercing or even at the very bottom of the dusty in boarding a train, and again exercise our altered dominant chord of C major, re¬ tributed to open the doors of this theater. knows where and crossed the platform, harmonic clashes in classic musical liter¬ showcases which swarm aU > along the scholarly deeds. There is already the muscles in descending from it, whereas in solving into a chord on c, as Dominant The music was dedicated to Ambroise causing another fit of hilarity. patte (the seal, the stamp) of the musician The key is B-flat; and the very first note, ature (the dramatic incentive to which does ‘quais’ near the Pont des Arts 1” the meantime we leave it to the momentum Seventh of the proper key. Thomas. “La Grand’Tante” would likely have re¬ so genially endowed for the theater. There f, does belong to the tonic chord. But this f not here concern us). The dissonance re¬ The story is scenic and entertaining. A of the car to carry us forward in our pur¬ is always present in the Dominant Seventh sults from placing the Dominant Seventh Chopin starts his Masurka, Op. 41, No. 2 mained in the repertoire as an excellent Back to the Light is that vivacious spirit, that throbbing vi¬ young spendthrift, the .Marquis de Kerdrel, lever de rideau (“curtain riser,” or one act pose. of C minor, with which key he seems to Chord (dominant family) in the strings, thus: tality, that tender and poetic feeling so An old German proverb declares that who was an officer in the French army sta¬ preceding the principal item on the pro¬ UNDER SUCH CONDITIONS, a define Jus beginning. against the Tonic Chord in the robust brass fi-a irmpnt of this work will prove of representative of Massenet's greater, ma¬ Aller Anfang ist schwer (about equivalent tioned in Africa, came back to his native gram), and its popularity perhaps would As to Beethoven, the first evidence of instruments; and it is as dramatically Brittany to take possession of his great ture style. In the romance, Farm'd I, for to our saying “It is always hard to get which Miss Lehman has written an excel¬ an independent beginning, in his sonatas, startling as the abrupt combination of all uncle’s fine legacy. There he met his a-going) ; and Shakespeare, in the title of occurs in the finale of the fourth one, where seven of the scale-steps, in fortissimo, must great aunt, a young and attractive “auntie,” lent English adaptation, a scrutinizing eye one of his comedies, reminds us of the will even discover striking similarities: here he starts emphatically with the dominant unfailingly be. But Beethoven wisely only twenty years of age, whom the great consoling alternative that “All’s Well that chord of his key (E-flat) : makes it brief—a little over two beats uncle had married, in extremis, just before a peculiar figure in sixteenth notes; there Ends Well”—the implied alternative being a familiar harmonic turn; and above all, sufficed to produce the intended effect. See his death. Both, as was convenient, fell in that all is not well till it comes to a good also the very beginning of his “Sonata in love with each other, and they could have that atmosphere—the Rue Vivienne—the end. When we undertake to master the The mazurka is in E minor. Its beginning E-flat, Op. 31, No. 3.” It starts out with married at once, had it not been for various famous Dream. driving of an automobile, the first things is in A minor; but, as in Ex. 4, A, there the Supertonic Seventh (subdominant happenings connected with the discovery of In this page, and seventeen years before we are taught are to start and to stop the are strong indications of the fundamental family) ; and this chord runs on, partly in a secret will whereby the great uncle dis¬ the birth of "Manon,” Massenet already key (E) ; for this first chord is a chord machine. altered form, for no less than five measures, inherited the nephew on account of his conquered all. by the charm and the love¬ Now, since this is a universal principle of E, only with the g-sharp it is a major before the tonic on E-flat solves the mys¬ dissipation. But, since the will named the liness that were to gain for him the name of of action, it Is obvious that it has a bear¬ chord, and the added d-natural throws it tery. Look it up. over into A minor. The E minor asserts “great aunt” as the heir, nothing was "adorable master.” ing on every undertaking in music, as Even more pronounced is the dominant Mendelssohn, in his forty-eight “Songs itself in the sequence that follows. changed in the final outcome, and the plot It seems utterly incomprehensible that everywhere else in nature. And it will beginning of his “Sonata in D minor, Op. Without Words,” sets aside the tradition A singularly lovely beginning occurs in wound up by the traditional matrimony. such a captivating little score, ranking far prove entertaining, and probably instructive, 31, No. 2.” And the finale of his “Second of a tonic beginning in only three instances: the slow movement (In the Garden) of above some of his later productions, should to examine and witness the attitude of our Symphony” has a curiously distinctive A Bright Beginning in No. 10, in B minor, where the first three Karl Goldmark’s “Symphony, ‘The Rustic have been held in disgrace and suppressed masters of composition in regard to these dominant onset. Then an unusually mis¬ A GRAND’TANTE” was performed measures denote the Dominant Seventh 1 by the will of the master himself. two outstanding units of the musical proj- leading instance of the dominant beginning Wedding.’ ” _/ fourteen times, and this can be con¬ Chord; in No. 25, which is similar; and Can it be, as Marc Dclmas told me he is seen in Beethoven’s “Sonata in A major, sidered as highly successful for a new work in No. 1, the melody of which begins in heard it suggested, that some mysterious Op. 101,” when he starts out with the by an unknown composer. Most of the the Dominant Seventh, although the actual sentimental reasons were at the root of dominant chord in such a way that one reviewers praised the music and found in The Beginning: Its Harmonic beginning of the “Song” is, properly, in the this regrettable decision? assumes the key to be E major. See also it excellent melodic qualities, great clever¬ Aspects tonic. More striking is the onset of Men¬ The enigma probably will never be the third movement (Adagio) of the same ness in the handling of the instrumentation, EAR IN MIND that our investigation delssohn’s Variations in E-flat major (Ex. solved. B sonata. 5, A) and of the melodic beginning of his and much spirit and dramatic exuberance of the methods pursued in the starting In any event, Massenet stands as one of Beethoven was more progressive, experi¬ Wedding March (Ex. 5, B). in the ensembles. of a piece must be limited to the very first Still, conditions had been adverse on the SCENE FROM THE FOURTH ACT OF MASSENET’S “MANON” the greatest of the immortals. mental, more eager in his quest for legiti¬ Ex.5 Allegro phrase; for that is the only one that consti¬ mate new applications of established musi¬ tutes the actual “beginning.” The onset of cal principles, than is generally recognized. 1 any later phrase in the composition is in¬ Here are a few more illustrations of his This beginning looks and sounds like G fluenced by what preceded it and is there¬ innovations in regard to the onset, the very minor. However we know the basic rule— fore, not that type of independent beginning Making the Pupils' Recital Interesting beginning, in some of his larger works. “The identity of a chord depends upon what with which we are here concerned. The theme of the Variations (A) starts it does, not upon what it says (always ex¬ By C. Welch Robbe abruptly, but without emphasis, in the cepting when the progression is chro¬ The Tonic Beginning Dominant Ninth Chord of the key. The matic).” In following up this chord we find that it belongs to B-flat major, as the THE MAIN PURPOSE in planning problems: how to get ready for the recital, ence with a strange piano, and testing the allows him to swing around and face his IT WAS a natural point of view, shared case at B. is analogous to the onset by this recital program was to recog¬ and at the same time how to avoid the em¬ memory of those who have learned their audience, with a slight smile as he prepares Beethoven in Ex. 4, A; that is, the tonic submediant of that key. The e-natural in by every composer before the eighteenth the third measure complicates the analysis nize in a practical way the best in phasis which leads to undue worry on the pieces “by heart”; these are factors in the to walk off the stage. century, and well along into the nineteenth, element of C major (the key of the March) performer’s part. Those who are inclined a little, though it is too brief an intimation American composition along with the best success of the event. A profitable scheme About the last bit of practical and psy¬ that a piece of music should start out from is distinctly evident in the strongly accented to be nervous may be soothed by reminding of F major to alter the fundamental situa¬ in classical music. The arrangement is is for the student, when practicing at home, chological advice that the instructor can the keynote, the tonic, of the key; it should c at the top, and the e, which together form such as to allow the widest of contrast in them that “This is just another day in your to imagine that he is playing for a critical offer his students is to remind them to the chief contents of the Tonic Chord of tion. Space forbids an exhaustive demon¬ start from “home.” I have found very few stration of this passage. Let it suffice to melody, harmony, rhythm, and tone-color. musical career.” artist. At all events he must be made to “Begin to play a little more slowly than deliberate digressions from this principle, the key of C; but the added a and f-sharp During this period prior to the recital, point out three decisive factors: (1) The The curling and twisting ribbon-like mel¬ realize the importance of keeping his mind you think your music really should go.” in the music of our greatest early classic shift the harmony over into E minor, which additional music should be studied, but it on his music. submediant is, as you have learned, a mem¬ ody of Dr. Cooke’s Ribbon Dance is in Here is a sample program. writers (prior to Beethoven). extends through the first measure and a is questionable whether an advanced classic ber of the tonic family (see my “Structure direct contrast to ^he steady wave-like pro¬ If the public recital is to take place on To make sure that you grasp the rule, tf- w WuFW half. And it is true that this is not the gression of the harmony in Chant du should be started. Students need to be a stage, the young players should have the I G IV(as Cl) actual beginning of the March, since a pro¬ of Music,” pa; 2 35, lines 16-22) ; (2) The (1) Chant du Voyageur, note the manner in which Beethoven begins Voyageur. Grey’s Yellow Roses is a very cautioned against carelessness in handling advantage of two complete rehearsals, the nounced Introduction in C major precedes first chord in the right hand is a clean-cut Op. 8, No.' 3.Paderewski his first published work, the “Trio in E-flat, “powerful” number in A-flat, which is quite knives and sharp tools; for injured fingers tonic of B-flat major; (3) The melody line last being on the morning of their appear¬ Op. 1, No. 1.” pPl it—but it is the melodic start. may be fatal to an appearance. Fingernails Ribbon Dance .Cooke is clearly in B-flat major. The e-natural unlike the Minuet from the “Symphony in ance. They have the right to be tempera¬ _Mozart Schumann, that daring innovator, begins G Minor.” MacDowell’s Witches Dance should be kept filed or clipped to the round¬ (2) Minuet . is, probably, the raised fourth step, which mental on that morning, and parents and .Grey three of his four Nocturnes, Op. 26 on un¬ is imaginative; its shadows and fires are ing end of die finger. Long nails prevent Yelloxv Roses ... usual harmonies, thus, is here more welcome than the normal instructor should realize it. If they demand .Gluck Exl Allegro completely opposed to the light, graceful a proper finger position, and their causing (3) Gavotte . e-flat would be (compare the two, at the another chair, a higher bench, or a different .MacDowell rhythm and tender emotional feeling in the the fingers to slip on the keys can easily angle for the piano, it should be granted. Witches Dance .. piano) and accounts largely for the ex¬ Gavotte by Gluck. Frank La Forge’s bring disaster to a performance. Romance . ..La Forge A. is the very beginning of Beethoven’s quisite beauty of the episode. The young player, if he enters from the .. Beethoven Romance is practically a little etude; it is left, should leave in the same direction. (4) Contra Dance II. “First Symphony.” It is unquestionably in Beethoven was the first, I believe, to Details That Tell .MacDowell romantic music, too. To a Wild Rose is He should make his entrance with a firm, To a Wild Rose.. F major, although the symphony js in C, begin his movement with the second inver¬ sweet simplicity when standing against the EACH STUDENT in order to insure steady step; somewhere near the center of which the second measure confirms. It is sion of the tonic chord. This form, the intellectuality of a Beethoven creation. a friendly audience may be requested the stage he should recognize his audience Every movement in his first three sonatas less irregular than it looks; the tone that six-four chord, with the fifth at the bottom, to invite ten friends. This list should be (5) Quartet: Sing Me To by an inclination of the head and a pleasant Sleep .Bingham-Greene starts out, thus, from the tonic chord. does the mischief is the added b-flat, which is, as you know, an extremely weak chord, Timely Preparation previously handed to the instructor. switches the harmony over into F major. quite inappropriate at any prominent point. smile, just as if he were meeting a group (6) Duets: A Garden Lullaby Still, while this tonic onset is the prev¬ BOUT A MONTH before such a re- It is helpful for the young musicians to To open a composition with this chord-form A of friends and saying, “Good morning”; (Barcarolle) .Offenbach alent practice in classic writing, to a near¬ Leave out this b-flat and our C major . cital the little musicians should begin play their selections to younger companions, tonic stands revealed. was, therefore, a striking innovation: but after which he should go directly to his Floating With The Tide.Wilson ly exclusive degree, a few interesting reviewing their numbers, each hand sepa¬ some time before their public recital. Get¬ seat. At the conclusion of his number, he exceptions will be encountered. B. is the startling onset of the finale of in proper surroundings it may be very rately at first. This brings to mind two ting used to the audience situation, experi¬ (7) Duet: Sundown should leave the seat from the right. This (Londonderry Air) .Wilson MARCH, 1936 139 138 the ETUDE Expressing Musical Rhythm effective. It gives the impression of float- y _ ^ B Allegro mg into the musical current, instead of ' Xjfl p 1 J ~ ^ starting out firmly and boldly upon the key- r N 1 J 11 J J ~~ ' ' ’ with the Body note itself in the bass-voice. For example, * Cad- ,'meas- •meas‘ "Fighting the Song Shark" Interesting Class Work with Young Pupils

By Ruth Price Farrar From “So You Want to Write a Song?” At A. the preliminary tones (f-d) re¬ appear as the second half of the fourth measure. This condition has led to the familiar rule that such fractions of the By Robert Bruce measure, at the beginning (upbeat), are to be subtracted from the last measure; though this rule is not binding. Further¬ items for him to spend money on. Needless more, it does not apply to such complete UT OF the great welter of books measures as may precede the melodic be- O to say, the song shark makes an unbelievable and articles dealing with the writ¬ profit on all of these negotiations, and A. is the very beginning of the famous ginning, as introduction in an accompam- ing of a popular song comes one by the song writer finds in the end that all Allegretto (slow movement) of the ment; for instance, as in Example 9, B, Robert Bruce* which is so full of practical “Seventh Symphony” of Beethoven. B. is he has achieved by the expenditure is a where the second full measure is the first common sense, mined from real experience, the onset of the second movement in his few cheaply printed copies of an unsalable measure of the phrase. See also Example 8. that we commend it most heartily. Mr. When the measures are compound (con¬ song, and a deficit in his pocket book. “Eighth Symphony.” Bruce has been connected with the Music The Introduction to the “Symphony in D taining more than two or three beats), Publisher’s Protective Association and has minor” of Schumann is similar. there are always more than one accent in¬ Can a song shark’s operations be been editor of the magazine of popular song called illegal? volved, as you know, and it may be doubt¬ writers called Melody. The Beginning in its Rhythmic ful which accent—the primary one at the Steps for Majors and Minors by Ann Scott As long as the song shark fulfills the Aspects The author employs the very practical literal terms of his contract with the song beginning of the measure, or a secondary question and answer method and states that BVIOUSLY, there are only two pos¬ one in the course of a measure—constitutes writer, he cannot be legally prosecuted. If, O Measures 9 and 10; he has included over one thousand facts sible ways of . beginning a phrase— the actual start. Thus, in cases like the eaching rhythm through however, he fails to fulfill these terms, or T Tap, Tap, Tap, Step. m his handy volume which devotes itself either on an accent, or on some unaccented bodily expression is rapidly gaming if he should set himself forth as a pub¬ following, (After boiv, the weight remains on left foot to practical but non-technical advice to the beat or fraction of one. The distinction is favor. The idea is not a fad nor is lisher and actually not be a publisher, he with the right heel ready for front tap.) general reader, on such subjects as “Con¬ apparent: the accented rhythmic onset is it new. There is much the wide awake is open to legal prosecution. The song Measures 11 and 12; struction of Melody and Lyrics,” “Song the more vigorous. Examples 1, 4, 7 and piano teacher can do to instill interest in shark business is a “racket,” and the shark Tap, Tap, Tap, Step. Sharks,” “How to Get a Song Published,” is usually a clever racketeer. While his 9 illustrate the accented beginning. As. to new pieces, to create more accurate rhythm “Copyrights,” “Official Associations of the the other kind, there are many possibilities, in all playing and to lend grace to the pub¬ (Tap left heel—step until left foot.) actions are not illegal, they are decidedly Measures 13 and 14 ; Music Industry,” “The Business of Pub¬ since a phrase may start at any point in lic performance, and, last but not least, to unethical. He lives up to the word but Tap, Tap, Tap, Tap, Tap, Tap, Tap, Tap, lishing Popular Songs,” and “Radio and not the spirit of the law. His cleverness the course of the measure. One important add pleasing diversities to piano recitals, Electrical Transmission.” condition must be borne in mind; if a through teaching rhythm in conjunction Tap. lies in building up the hopes of the song (Alternate feel, taking light tiptoe steps Mr. Bruce gives much very useful infor¬ melody begins at any unaccented point, its with piano class instruction. writer, by reciting in glowing terms his A., from Beethoven’s “Sonata, Op. 31, No. mation and much that is very entertaining first member will be less than a whole Many of the writer’s pupils are recipients backward. Begin and end with right toe.) own accomplishments, and the great wealth 1,” indicates the “Gavotte” style, which upon the mysteries of the craft. Various measure. For instance, in Example 3, the of The Etude, and most of them gain Measures 15 and 16; to be attained in song writing. However, always begins thus with two preliminary trade terms are identified, through a vocab¬ first two notes form only the second beat much from reading the new pieces. But Tap, Tap, Tap, Bow. his contracts are usually so worded that beats. See also Example 2, in which B. ulary unknown to the average musician. and thus do not equal a full measure; there¬ added enjoyment is produced when one of (IVeight on right foot, left heel tapping, they actually promise nothing at all, and is from the fourth of the “Songs Without “Smooth” music is, for instance, eurhythmic fore this beat must not be called the first the pieces is studied in the rhythm class and and swinging back for bow.) when the song writer finally finds that he Words” of Mendelssohn; and C. is from or uncomplicated music like The Merry measure; the first measure of a phrase is is felt and heard before beginning the actual At the close of the sixteenth measure has been fooled and cheated, it is too late the charming Serenade in Offenbach’s Widow Waltz. Unsmooth music, however, always the first full measure. wait for children to complete bow and make to do anything about it but to chalk up “Genevieve of Brabant.” One might wonder playing of it. is rhythmic, like Fare Thee Well, Anna- That raises the question: “If these notes We spend about fifteen minutes of each quarter turn to right. The weight is oil the the expenditure and time to “experience.” why Mendelssohn did not place the bar belle. Smooth music usually outsells rhyth¬ are not the first measure, what are they?” piano class period in rhythm drill. Some right foot, and the left foot swings foward Occasionally you will see an advertise¬ lines farther back, so as to lay the chief mic music. I have adopted the term “preliminary tones” of the drills we learn from books; but most for the step. The right foot swings foward ment in a newspaper reading “Enclose 50 stress on the second tone (a), where one And so we quote: for such groups as do not fill the space of them we make up as the inspiration for tap. swings back for tap, and foward for cents in stamps, and we will send you a really expects it; and C. is still more un¬ steel-engraved portrait of our first presi¬ preceding the actual first full measure. comes through the study of new Etude tap, that is. Notes for the Novice They are sometimes called “upbeats.” Thus, expected. Thus, pieces. I particularly mention The Etude, Measures 17 and 18: dent.” If you are sufficiently gullible to HE RANGE of a popular song is in Example S, A, the first two melody tones Ex. IS (1-LB) (11.0 because the pieces are appealing to the Step, Swing Front, Swing Back, Swing T GENE BUCK send the 50 cents, you will eventually re¬ (c-c) are “preliminary” notes. See also young mind, and because it is the one and Front. from eight to ten notes. ceive—A Two Cent Postage Stamp. Now There is no prejudice against women President of the American Society of Composers, Authors and Publishers Example 6, B. And this involves a second only means of bringing new music into the Measures 19 and 20; this is certainly a “racket,” and yet, the song writers. question: “Where do these preliminary home at regular intervals. Step, Swing Front, Swing Back, Swing firm perpetrating it is actually living up In writing a popular song, religious or A “corny” song refers to the mature a list of copyright entries. This list con¬ tones belong?” Mathematically, they are In their original form (Ex. 11) the final “Majors and Minors,” by Ann Scott, in Front. to the literal terms of its offer. In the racial questions and subjects that are local sentimental ballad, like “The Old Spinning tains the names and addresses of all those borrowed from the final (cadence) measure, tone falls on the primary accent, and that the May 1935 issue, immediately suggested (Step with right, tap with left.) same Way, the song shark, engaged in a or indecent are taboo. Wheel.” who have obtained copyrights on musical as seen most clearly in case of a repetition may have been the composer’s purpose, peasant children dancing. The following Measures 21 and 22; different kind of “racket,” fulfills the terms It is not necessary to have an orchestra¬ compositions. The song shark has other or restatement. For example, here are although this is not at all imperative. Or Step, Swing Front, Swing Back, Swing of his contract, and the gullible song writer drill was worked out in a class of eight tion made before submitting a song to a “Song Sharks” means of building up a “sucker” list. One two quotations from the “Songs Without a reason may be detected in the chord-ar¬ girls and has been presented with much receives a similar value for his money. Front. publisher. HE BOOK has especially valuable of the most successful song sharks in the Words” of Mendelssohn. rangement. In any case it shows how slight success on two recital programs. (.Step with left, tap with right.) The popular publisher apparently does advice upon copyrights, the American business has a “sucker” list of eighty thou¬ Do legitimate publishers ever solicit songs is usually the distinction between the pri¬ Measures 23 and 24; The children stand with hands on their not pay much attention to manuscripts sub¬ Society of Composers, Authors and Pub¬ sand (80,000) names. through the mail or by advertisement? Ex.lO mary and the secondary accents. hips, elbows touching, and do the steps as Step, Swing Front, Swing Back, Turn. A Andante mitted by mail, while the standard pub¬ lishers and the standard contracts. The The legitimate publisher never solicits (This discussion is to be followed by a they would in folk dancing. The steps are (Half tun, to left, weight left, ready for) lisher examines with great care all manu¬ chapter upon “Song Sharks” is so well The Wheels Begin to Turn songs through the mail nor by advertise¬ similar treatment of "Endings,” also by Dr. here given, measure for measure, with each Measures 25 and 26; scripts submitted to him. The difference written that we have obtained permission ment. As it is, the publisher is being be¬ Goetschius.) motion explained. Write each direction on Step, Swing Front, Swing Back, Swing NCE A LIST has been obtained, the between the popular publisher and the of the author and the publisher to repro¬ sieged night and day by aspiring song the music as you proceed with this article, shark sets himself up in business. He Front. standard publisher is that the latter has duce it here. writers, both professional and amateur. If and you will have no difficulty in working (Step with right, tap with left.) selects a name for his company, which he manuscripts submitted by people who are anything, he suffers from a superfluity of out the steos. What is a "song shark”? knows will bring the amateur writers flock¬ Measures 27 and 28: very capable trained writers, who aspire material. To solicit songs by mail or ad¬ Fifty Years Ago This Month Step, Swing Front, Swing Back, Swing ing to his door. Usually he calls it a to write music of a more permanent type. “Song shark” is the trade name for any vertisement would be only adding to his beats throughout, except where indicate “Song Writers’ Guild” or “Service Com¬ Front. No music publisher is interested in lyrics individual or firm who, with the deliberate troubles. John J. Hattstaedt, one of the ablest edly lies generally with the teacher. To by the use of notes. (Step with left, tap uith right.) without a melody and setting, no matter intention to defraud, solicits business from pany” or “Association” or “Bureau.” piano teachers of his day, and founder of plunge such a pupil immediately into a sea Measures 1 and 2; Measures 29 and 30; how good the lyrics may be. amateur song writers, advising them that Quite often the song shark is an old time Will publishers pay any attention to songs the American Conservatory of Chicago, of classical music unquestionably would Tap, Tap, Tap, Step. Step, Swing Front, Swing Back, Swing Do not send unpublished songs to motion by having music written to their lyrics, or song writer himself, and will boast of his "serviced” or submitted by song sharks? wrote in The Exude : result in complete disaster. A far better (Stand on right foot and tap left heel Ugh Front. picture companies. It is a waste of time vice versa, they will have a finished com¬ own past accomplishments in order to re¬ The only answer to this question is a “A scholar possessing considerable technic, and more diplomatic course would be to ly, three times, then step with left foot. (Step with right, tap with left.) and postage. position which will immediately be “snatched assure the amateur that he is in safe hands. quite definite “No.” The publisher is doing but at the same time a depraved taste, al¬ indulge him to some extent, and to make Measures 3 and 4; Measures 31 and 32; The average popular publisher estimates up” by a music publisher. Oftentimes the The song shark, in his advertisements or everything in his power to enlighten the ways requires the most careful handling the change for the better a gradual one. Step, Swing Front, Swing Back, Turn. that he must sell five thousand copies of a song shark will himself claim to be a pub¬ direct mail contracts, advises the amateur general public about the activities of the and the greatest ingenuity on the part of The teacher should, moreover, continually (Step with left, tap with right, quarter htni song before he has covered the initial cost lisher, and will tell the song writer that his writer that his firm sets music to lyrics, song sharks and will do nothing that in the teacher. urge upon him the necessity of hearing measures a and 0; to right, fare front, weight on right fortd of publication. This does not include over¬ only expense will be in “defraying half the or lyrics to music, that it will complete a any way might encourage their activities. “It is difficult to understand, nevertheless good music, of attending and taking part Tap, Tap, Tap, Step. The first sixteen measures are repeated, head. costs of publication.” song for publication, and submit it to pub¬ If a song is submitted by a song shark, it. is often the case, why people who are in reunions, and should not forget to make (Tap left heel-step -with left.) music and steps, without alteration. Do not call the song plugger a song lishers and radio stations. Sometimes the or if it shows that a song shark has had well read in the best literature have no him acquainted with musical history and Measures 7 and 8; give more finality the last bow can be plugger; he wants to be called a “contact How does a song shark operate? song shark even promises to have the song anything to do with its construction, the desire to hear or play good music. In literature. Tap, Tap, Tap, Bow. slightly deeper than the rest and more The song shark’s first problem is to con¬ broadcast. Charges for initial services legitimate publisher will immediately throw many instances, deficiency in musical taste “Wonderful results are often achieved by (Tap right heel—swing right foot from prolonged. This will give the effect ot » A hotel, dance hall or restaurant, having tact the amateur song writer. This he does range between $5.00 and $60.00, but this is it out. and culture results from lack of opportunity good common sense and intelligent manage¬ position back and tap toe, at the same ti curtsey, an appropriate close for a rhythm radio connections where a song may be either by advertising in magazines and not the end. The song shark always finds bending the knee.) excuses for additional charges. Once the Why is it not only foolish but also dangerous to hear good music; but the fault undoubt¬ ment on the part of the teacher.” drill so closely related to a folk dance. broadcast, is called a “wire.” newspapers, which he knows will come to A “Hill Billy” song is supposed to be a the eye of the “out-of-towner” (for the song has been completed to the “song to do business with song sharks? folk song come down through early settlers bulk of his business is with people outside writer’s satisfaction,” the song shark will The song shark operates on a “whole¬ of post-Elizabethan times. of the metropolitan districts), or by secur¬ advise him that piano parts be printed, or¬ sale” basis. His profit lies in having his U hfc°ming more discredited daily. for the simple reason ing a “sucker” list. Oftentimes the "sucker” chestrations be made, and so on, and so on. work turned out by “hack writers,” cheaply, * “So You Want to Write a Song?” by "I have never stopped, and today I am just as keenly interested in my mulirll " Reduced a single work that the average intelligent "plain Robert Bruce. Published by Paul L. Schwartz. list is obtained by purchasing from the As long as the amateur writer ‘bites,” the quickly, and in great quantities. The progress as I was in my youth.”—De Pachmann, at sixty-five. 90 pages. Price $1.00. Copyright Bureau at Washington, D. C., song shark will devise other “necessary” “hack writer,” or arranger, cannot pos-

MARCH, 1936 141 140 the etude sibly write an original melody for every the creation is a masterpiece it occurs to records and radio song poem submitted, so he often resorts very few to question the ethics of the per- to using parts of copyrighted or published son making that statement. By Peter Hugh Reed works. If the owner of this “hack” com¬ What is a "song poem”? position should ever have it published or A “song poem” is a poem written for named above, one must admit that when publicly performed, he would run great nce looked upon as the the express purpose of having music set O an artist of Edwin Fischer's standing es¬ danger of being sued by the copyright own¬ most unmusical among enlightened to it. Actually, there is no such thing as says to perform a work like the Fantasia ers on whose works his composition has a “song poem.” This phrase was in¬ nations, the United States is now infringed. in C Minor (K 396) (Victor disc 8696) vented by the song sharks in order to lead considered to be perhaps the most mUfS1C^ he can, by virtue of his inspired musical Where can a song writer obtain information unsuspecting amateur song writers to be¬ country in the world. An analysis of the style, make it not only seem relatively about song sharks? chief radio broadcasting programs of 1933 lieve that popular music is created by more important than it is, but also a wholly Such information can be obtained by writing a melody to a poem. The termis proves this conclusively, for d««ng ^st delightful experience. Ria Ginster, who writing to the Music Publishers, Protec¬ constantly used by amateur writers, but year more symphonic and chamber music, has been appearing in recital in America tive Association, 1501 Broadway, New the average music publisher does not even more famous artists and noted musical en¬ this past season, sings on Victor disc York City; to the American Society of sembles were heard over the National know what it means. 8871 two of Mozart’s seldom heard con¬ Composers, Authors and Publishers, 30 In writing standard music, it happens Broadcasting Company’s network than ever cert arias—Misera Dove son! and Vorrei Rockefeller Plaza, New York City; or to quite often that music is written to a poem, before in the history of radio. European Spicgarvi O Dio. Both arias, written for The Song Writers Protective Association, but in such a case, the poem is by a well- observers have recently admitted that more 1250 Sixth Avenue, New York City. known poet. Examples of such songs are art music is being heard by Americans and insertion in operas by contemporaries of Mozart’s, in 1781 and 1783, are not too “On the Road to Mandalay,” “Trees,” more money is being spent for this kind Is anything being done to eliminate often heard, so these recordings should “Invictus,” “Cargos” and “Danny Deever.” of music in the United States than by any the song shark? prove valuable for study purposes. Miss country in the world. Thus does radio Inasmuch as the song shark is usually Are there any legitimate or bona fide Ginster sings them with fine restraint and sufficiently clever to Stay within the literal prove its value to mankind in advancing— agencies or brokers for submitting if not admitted the most important of the admirable tonal quality. meaning of the law, it is impossible to songs to publishers? Beethoven, in varying moods, at different United States Navy Band of Three Hundred Players: John Philip Sousa Leading. This was probably the greatest of prosecute him on legal grounds. There arts—at least one of the most essential. There are no legitimate or authorized The latest of Stokowski’s Bach arrange¬ periods of his creative development, comes all marching bands in musical history seem to be only two ways to eliminate the agencies, brokers or individuals for sub¬ to us in three albums recently released by song shark, and these methods are being ments is a glorious episode in music, mitting songs to publishers. Anyone who whether played on the organ (for which Victor. In album M281, for example, we used at the present time. The first of claims to do this and asks a fee for such it was originally designed) or by the mod¬ have the youthful, happy, seemingly wholly these methods is to educate the general a service should be viewed with suspicion. serene Beethoven expressing himself in a public on the practices of song sharks, and ern orchestra (for which Stokowski has sonata for violoncello and piano (Opus 5, The March Through the Centuries to warn it against dealing with them. The transcribed it). This is the “Great” G Why is it said that the music business is No. 2 in G Minor), while in album M289 second method, which is more effective, is Minor Fugue (Victor disc 1728)—a com¬ a "closed shop”? we have the slightly maturer, seemingly to secure the cooperation of the Post Of¬ panion piece to the "Little” G Minor Fugue March—“and be proud to belong to the proud old pageant of man” The rumor that the music business is a carefree Beethoven as expressed through fice Department. The song sharks’ Op¬ “closed shop” for amateur writers is defi¬ which Stokowski transcribed (see Victor erations are fraudulent, although perhaps disc 7437) at an earlier date. the medium of his string quartet (Opus 18, By Nancy D, Dunlea nitely false and has arisen partly due to No. 3 in D Major), and in album M287, not legally fraudulent. So many complaints the stories spread by disappointed song Huberman, in his performance of the have been registered with the Post Office “Violin Concerto in E Major,” by Bach through the medium of the string quartet writers who have taken this “sour grape” seventy-five steps to the minute. It is Department that it has made a survey of (Columbia set 235), plays boldly and (Opus 135, in F Major) we have the fully HO HAS NOT THRILLED to “Pomp and Circumstance.” An interesting music. “Some bands actually had quite method of explaining away their lack of W popularly composed in 4/4, 6/8, or 12/8 this practice, secured definite statistics and firmly the swiftly flowing music of the first matured Beethoven expressing himself in the strains of a march? Its analysis for students, of the structure of one third of their numbers performing upon success, and partly to the propaganda is¬ retrospect. All three of these sets being instruments of percussion. But later more time. An example of the 6/8 and 12/8 statements from the legitimate music pub¬ sued by “song sharks” who have taken ad¬ and third movements, and the slower mid¬ rhythm has accompanied many Schubert’s Military March is given in excellently performed and recorded, we wind instruments were added.” The bands rhythm is the “Coronation March” from lishers, and is taking definite steps to put vantage of this rumor to bring unsuspecting dle section he plays in a truly contemplative human emotions. The march is as old as Elson’s Book of Musical Knowledge. will not linger on interpretation but instead of the Napoleonic armies were considered “Le Prophete” (Meyerbeer) which while the song sharks out of business and to victims to their doors. Only a small per¬ manner. The recording is full and rich, and wars and triumphal processions, weddings The Military March as composed now recommend them highly to our readers’ at¬ the finest in existence at that period. Thus marked Common time actually follows prevent the use of the mails for their ne¬ centage of the popular songs written ever because of the size of the orchestra (un¬ and funerals. “As a musical form its pri¬ for a band of wind instruments did not ap¬ says one authority, “Composers for the these patterns. farious negotiations. reach publication. The reason for this is doubtedly most of the Vienna Philhar¬ tentions. The protagonists in the violon¬ mary concern was to regulate the steps of a pear before the middle of the seventeenth first time got a conception of the capa¬ The late John Philip Sousa, conductor of simply that more songs are written than monic) this performance is unusual in its cello sonata are Piatigorsky and Schnabel, large number of persons in motion.” The century. It can be traced to the “War Approximately how much money do song bilities of this hitherto despised branch of Sousa’s Band and called the March King could possibly be published, and that the unity of the solo violin and the orchestral while those in the quartets are the Budapest march was employed in Greek tragedies, Songs” of the “Thirty Years War.” The sharks collect from amateur song musical art; open air music was lifted to of America because of his hundred or so writers each year? production is greater than the demand. parts. The bass line is rarely outlined. and Busch String Quartets respectively. when the chorus entered and withdrew in “Dessauer March” of “L’Etoile du Nord” Menuhin’s recording of this concerto placed Sibelius, who recently celebrated his 70th measured movement, singing, unaccompa¬ (Northern Star) by Meyerbeer is a good a superior position.” marches, is our best known modern com¬ Believe it or not, statistics show that Furthermore, a great number of the pop¬ poser of military and popular marches. ular songs written by amateurs and pro¬ the work in the category of chamber music, birthday, wrote his “First Symphony” at nied. In this sense, the march is a musical example of the German military march. The Turkish Grand March from “The song sharks collect over one million dollars His own “Stars and Stripes Forever” was fessionals do not come up to the proper but Huberman’s interpretation relates it to the turn of the century when he was thirty- form of pageantry, whether for entertain¬ Reiman says the march dated earlier than Ruins of Athens” by Beethoven (Victor ($1,000,000.00) a year from amateur song played as a funeral tribute. standards and are therefore discarded be¬ the modern concert hall and makes it a four. Unlike his later symphonies, the ment, triumph or sorrow. the “Thirty Years War” and evolved from piano record played by Rachmaninoff— writers, for which the writers receive noth¬ Distinguishing the funeral march from cause they would not be marketable. The truly unforgettable experience. “First” pays homage to his forerunners— Perhaps most distinctive of the march is martial songs reinforced by instruments 1196) doubtless echoes this Turkish influ¬ ing in return but unfulfilled promises, and all others, is its minor key. If the funeral music business is really open to anyone Harriet Cohen, distinguished pupil of particularly Tschaikowsky—at the same that it is largely music for the open air. such as drums, kettle drums, trumpets and ence on march music, which was finally a few headaches. It is natural for any cre¬ march is in a minor key, the trio is usually who meets the requirements of ability and Tobias Matthay, plays two modern piano time that it establishes his individualism. Even those marches included in sonatas, fifes. adopted even by the conservative English ator to have faith in his own creation, and in a major key as for example—in Bee¬ when someone comes along and says that originality. arrangements from Bach on Columbia discs In his interpretation of this work, Eugene symphonies and operas depict, as a rule, an The foundation of military bands in Coldstream Guards. The Drum Major, 68388D: the aria—Up! Arouse Thee! Ormandy (Victor set M290) stresses the outdoor scene. Austro-Hungary was said to date from who by his humorous antics offers contrast thoven’s Eroica Symphony C Minor with Give Thy Heart Into Jesus Loving Keep¬ vitality and strength of the music, its gaunt The development of the march followed 1741 when troops marched into Vienna to the pomp of military marches, originated the trio in C major. Probably no funeral ing from Cantata No. 155 (Miss Cohen’s and often austere lines, its splendid prim¬ the history of vocal music. Marches are headed by a Turkish band. “Marshal de about this time. march is more beloved than the Chopin Why Every Child Should Have A own transcription) and Fantasia No. 4 in itivism. The recording is in line with the found in»early operas, the drama of Lully, Saxe used a Turkish band for his Uhlans Three types of rhythm were features of Funeral March from his Sonata Opus 35. C Minor—founded on a clavier prelude conductor’s reading—massive and vital. and in the work of Rameau and Handel. during the war of 1741, saying that the the military march—the Slow March or (Victor Records Nos. 35958-6470-35800 Musical Training in Book 26, Bachgesellschaft—Petri’s tran¬ Dvorak’s nationalism, as exhibited in his Even in harpsichord music the march is Romans were grandly victorious because “Parade” with 75 steps to the minute, the played by Mark Andrews on the organ, scription. Although Miss Cohen enjoys a “Slavonic Rhapsody No. 3” (Columbia set found early. An example is the “Suites they were made to march in time.” Quick March or Quick-Step, 108 steps to Paderewski on the piano, and Pryor’s considerable reputation in England as an 239), seems to be aiming for a bigness des Pieces” by Couperin. The march de¬ Features of Turkish music were the bass the minute, and the Double or Charge or Band). This march suggests the tolling By George R. Walker exponent of Bach, we find her contrasts of which does not fit the material, but in his veloped as an art form into a dance form drum and cymbals, the triangle, tambourine, Storm March with 120 steps. The latter of bells as the funeral cortege proceeds, during the seventeenth century. Both kettle drum and the “Jingling Johnie” or was called by the French “Quick March and a prayer at the grave. Here the key is {One of the letters which just missed winning a time somewhat disturbing to the rhythmic Legende (which is coupled with this work) Lully in his operas and Francois Couperin “Chapeau Chinois” (Chinese Hat)—a pole or Pas Redouble.” The modern march first B flat minor and the trio D flat major. prise in our recent contest under the above heading) fluency and poise of the music. However, there is a sentimental sincerity, a quiet the excellence of the recording and the un¬ charm which is wholly convincing. Both in his piano works used the march with with several jingling bells, which even often has reprises of 4-8-16 bars and a trio. Other marches of this type include “Dead usual qualities of the music recommend this works are performed with sympathetic care two reprises of eight or sixteen measures. Berlioz considered gave brilliancy to march With ordinary parade march it is about March from Saul” by Handel—an excep¬ ously through others’ works, or whether “Why should every child have a musical record for further study and consideration by Sir Thomas Beccham. who proves him¬ Later a sort of trio was added and then tion to the minor key—Webster’s Funeral his emotions will be too great to be con¬ training?” is asked. To which there is the of her interpretations. self an ideal interpreter of this music. Re¬ the first section repeated. It was called March by Beethoven, the Trauermarsch in one answer: Because it is his right. Every tained in any molds and must burst forth Die Gotterdammerung (Wagner), Sym- From Bach to Mozart! Two string cording here is excellent. a trio because in three part writing, instead child is heir to the accumulated culture of in original composition, he has in either quartets, a piano fantasia, and two ex¬ Turning to the barbaric brilliance of Bor¬ of two part as in the first section. phonie Funeral March (Elgar), the very mankind; and in this culture music takes case a right to expect from society a musi¬ traneous arias by the latter have recently odin’s Choral Dances from “Prince Igor An important division of marches is the THE MOST POPULAR MUSICAL beautiful Schubert Funeral March Opus 45, first place. Great music is a translation cal education, just as he has a right to be sustained wide critical approbation. And, (Columbia set 238), we find Sir Thomas military march. This originated, it is No. 5, and the Trauermarsch written by into sound of what is most sublime in the taught to speak a language. If he is to since all are excellently recorded and per¬ Beecham again proving himself the ideal thought, from the soldiers’ songs. The Grieg in memory of the Norwegian com¬ human soul; and it is the right of every live abundantly he must be able to express COMPOSITION formed, we include them here. That much interpreter. This exciting and fascinating “Soldiers’ Chorus” from the opera Faust poser Rikard Nordraak. Even toy marches child to know through music what god¬ himself adequately through music. include “Funeral March of a Marionette” disputed “C Major Quartet” (K 465) with music, which is sung and danced on the (Gounod) in march rhythm suggests this The most popular musical composition, published in like passions can move within the breast of Musical training has many by-products by Gounod (Victor record 6639 played by stage, has long been one of Sir Thomas origin. The name “march,” however, man in order that he may better understand which are of value. To master any instru¬ the San Francisco Symphony Orchestra), iniuigiy piayea on records by tl favorite war horses—a war horse however comes from the Sanscrit “mar,” meaning America today, is undoubtedly the Stars and Stripes his own humanity. Of what significance ment requires self-discipline, well-developed “to grind” and referring to the beat of feet. while the popular symphony number are the live* of Bach, of Beethoven, Wag¬ memory, unusual accuracy. These traits Budapest String Quartet (Victor set ] which always commands respect, for Sir Forever of John Philip Sousa. Certain pieces flare out 285), and the more serene and less wide' Thomas knows and appreciates the values The French “marcher” means to march. “Marche Slav” by Tschaikowsky is written ner, Brahms—unless every child born after are desirable; but what do they amount in “modo di marcia funebre.” known “Quartet in D Major” (K575) hi of this music. Assisted bv the Leeds Fes¬ Rousseau called the march “the metre and with the great light of a meteor, and then disappear them learns through their music the poten¬ to as compared with the exaltation of The marches embodied in operas are nu¬ at last been given a performance wort! tival Choir of 1934, the London Philhar¬ cadence of the drums.” The use of drums tial nobility of mankind? life that comes with the absorption of is found even in funeral marches. The just as quickly; but, if we are to take the number of of its inspiration, by the Kolisch Strir monic Orchestra and the brilliant recording merous and effective. The “Grand March” To give a child a musical training is to music into the soul? For one who has Beethoven Funeral March composed “on from Aida (Verdi) and the Grand March Quartet (Columbia set 237). Whether i of Columbia’s English engineers, this music public performances of Mr. Sousa’s work, during a give him the most nearly perfect means music in his soul the world is in tune. He the death of a hero” (Sonata Opus 126- from Norma (Bellini) fulfill their title. not one considers Mozart's piano music < is made to live on records in a truly mem¬ of expressing the emotions that stir within feels a harmony between himself and the No. 12) having a distinctly military flavor decade, and will compare this with the hearings of any The royal note is sounded in “Coronation him. Art is expression. Life is also ex¬ music of the spheres; there is a swing and equal importance with the string quarte orable manner. because of the suggestion of the snare drum other work during the same period, it will be found March” from “Henry Eighth” by Edward pression. It is the natural desire of every rhythm to his daily life. Though necessity occurring first in measure thirty-two. Many German. may force him to perform but dreary hum¬ man to express himself to others. The marches have the preliminary fanfare of that this marvelous patriotic march is heard more than Mention of the wedding march almost in¬ drum tasks, if he has music in his soul his greatest joy in life derives from human trumpets, whether military or not, because stantly summons the Bridal March from life will be a song. any other composition. Your radio tells the story. intercourse; and music as a means of com¬ of this early heritage. Mendelssohn and Wagner’s Lohengrin to our ears, and munication between men is superior to all The right of every man to enjoy life and • u"“ ,ne same tone the Queen and Cinderella of the arts, Wagner use it, while the typical martial the Wedding March from Mendelssohn’s other means, including words. Whether pursue happiness implies the right of every flourish can be heard in Elgar’s march “Midsummer Night’s Dream.” A piano the child will later express himself vicari- child to an education in music. —Mr ^alph Um *° ***** about in,clli9™tly and to some purpose.” MARCH, 1936 143 142 the etude 1 Keyboard Geography arrangement of this last, by Liszt, is a tour The march as an outdoor form of music lends itself to heavy instrumentation such de force for the piano' student. A peasant By Edith Josephine Benson wedding march is attractively pictured in as the band and the orchestra. But with Grieg’s “Norwegian Bridal Procession.” the piano, more than any other fornv.k is BAND AND ORCHESTRA DEPARTMENT suited to presentation with four han^s, or The approach and' departure are easily following each with its sharp, and by ex- two pianos. For school marching this is My method of charting the keyboard is recognized in this, as well as the efforts of plaining that the sharps are the keys just Conducted Monthly by an effective substitute for an orchestra. intended to lead the pupil to explore it amateur village musicians. higher than the first ones played. The As an introduction to the study of some alone or with a minimum of explanation A humorous note is the mood- of a num¬ pupil, having had ear-training in another VICTOR J. GRABEL of the best marches listening to phono¬ After the keyboard is seen to have black ber of marches. Many toy marches like part of the lesson, understands at once. graph records may be helpful. Below is a keys and white ones, I ask in how many FAMOUS BAND TRAINER AND CONDUCTOR The Parade of the Wooden Soldiers from Then the C scale is played (without ex¬ reference list: ways the black keys are grouped (two and “The Chauve Souris” by Leon Jessel has plaining the scale) and the pupil is asked to Marche Slav (Tschaikowsky) played by Sto¬ three keys) and the number of each kind this effect. Marche Grotesque, Op. 32, No. kowski and Philadelphia Orchestra, Part 1 play and name the sharp after each key. 1 (Sinding), March of the Dwarfs, Opus on the whole keyboard. The white keys and 2—'Victor bold. . In this way the pupil sees that sharps may Marche Militaire (Schubert) played by Here* are then grouped, and the number of groups 54, No. 3 (Grieg), Marcia Humoresque and San Francisco Symphony Orchestra be either black or white. Flats are taught counted-the pairs (B C and E F) and the (Sgambati) are other examples. Victor 6639. , , , similarly. For home work the C scale is The triumphal march is found in a March Eeligioso (Chambers) played by number clustered about the pair of black Prince’s Band—Columbia AlOou. assigned (without explanation), to be variety of compositions from the Rakoczy Turkish March (Mozart) played by Creatore s keys and about the three black keys. March (Marche Hongroise) by Berlioz, Boundary lines are established by having played with one finger of the left hand and Resounding Cymbals Turkish March (Ruins of Athens—Beethoven.) the sharps or flats with one finger of the to the Festival March of Wagner. This played by Rachmaninoff—Victor llJB. the pupil select two pairs of black keys an “Fest” March or “Einzug der Gaste auf Marche Minature (Tschaikowsky) played.by octave apart and count the number of white right hand. The name of each key is re¬ neglected to provide proper parts for the what tremendous effect! In the Prelude to Wartburg” should not be confused with Boston Symphony Orchestra—\ictor o-ii. groups included, which is four: two pairs, cited aloud. CYMBALS ARE among the most March of the Gnomes (Rebikov)—Columbia cymbals. Too often the arranger has pro¬ “Lohengrin” the cymbalist has but four the Pilgrim’s Chorus from the same opera three keys surrounding each black pair, and The staff has been taught already, in a ancient of musical instruments—in 10003D. . . vided a single part which has been desig¬ notes to play—two loud chords (the dy¬ —‘Tannhauser. March of Little Lead Soldiers (Pierne) four surrounding the three black keys. The. note-spelling book. To associate it with oriental countries they have oc¬ Prince’s Orchestra—Columbia 10003D. nated Bass Drum and Cymbals—else he namic climax of the number) and two Many marches suggest the religious pro¬ pupil sees, of course, that some keys are in cupied a place of great importance in all March of the Dwarfs (Moszkowski) Court the keyboard, middle C and the second G has entirely ignored the cymbals and pro¬ pianissimo chords. And careful study of cession. Thus we have the “Priester- Symphony Orchestra—Columbia 5048M. two groups. I teach names by groups also, musical ensembles since early biblical times. below it are first established. After pre¬ vided no part whatever for them. the Introduction to the Third Act of marche” from “Alceste” (Gluck) and March from Nutcracker Suite (Tschaikowsky) according to position. This work requires Yet they seem less understood and less ap¬ —Philadelphia Symphony Orchestra—V ic- senting the grand staff the boundary lines This apparent neglect has been due, no “Lohengrin” will well repay the student March Pontificale (Gounod). four lessons: D; E and C; F and B; G preciated by present-day bandmasters and and spaces of each staff and of the grand doubt, to the rather common practice of who wishes to know how to secure the Still other marches with which the March of the Bojaren (Halyorsen) Columbia and A. To insure familiarity, the pupil band arrangers than any of the instruments Symphony Orchestra (5005ol>). staff are reviewed. This system of key¬ employed in the concert band. attaching the cymbal to the bass drum, most from his cymbals. student and music lover should be ac¬ Marche Viennoise (Kreisler) Edith Lorand closes his eyes and names and plays all the It will be noted, from study of these quainted are the March from the opera Trio—Columbia G50242D. board study insures familiarity, which is In oriental orchestras the percussion in¬ thus enabling the drummer to play both white keys on the piano, single letters first, examples, that the effectiveness of cymbals “The Love of Three Oranges” (Prokofiev), March of the Toys (Babes in Toyland—Her¬ necessary to ease in either reading or play¬ struments often form a major part of the instruments. This crude practice may be bert)—Columbia 50060D. then words. lies in their being used sparingly—with dis¬ March from the Symphonic composition (Gounod) ing. organization. The writer once attended permissible in a small band where only two Funeral March of a Mari Sharps are taught by playing a few keys, cretion and artistic taste. It is true that, “Picturesque Scenes” (Massenet), The played by San FranciscoFrancisc sympnony Orches¬ a musico-dramatic performance in a large or three players can be allotted to the per¬ tra and ‘Hertz—Victor 6639. because of the greater sonority of the band, March from “Rinaldo” (Handel), “Marche March and Impromptu (Bizet) Victor Con- Chinese theater of Manila (being the only cussion section. But in the case of a band Chinois” or Chinese March from Stra- Caucasian present) and was greatly in¬ of more than fifty players one performer they may be used somewhat more liberally should be assigned to play only the cymbals. than in the symphony orchestra. Used vinski’s “Rossignol” (Nightingale) trans¬ Listening as an Aid to Finger Control terested in the orchestra which consisted of cribed for the piano by Theodore Szanto, Victor No. 1335. a soft-toned flute (without any keys), a About the only instance in which the six times in the “Oberon" Overture they Sousa Marches— use of cymbals attached to the bass drum are far more effective than if used sixty “Marche in C” Opus 62, No. 1 (Schar- El Capitan—Victor 20191. Chinese viol and a great variety of drums wenka) March from Carmen (Bizet), the Stars and Stripes—Victor 20132. By Stella Whitson-Holmes and cymbals of various shapes, sizes and should be permitted is during the perform¬ times. Washington Post—Victor 20191. pitches. A great clatter of drums took ance of military marches—even then the War March from “Athalie” (Mendels¬ Marcli^ If auidiaballagh^ (Bagpqui i'l How It Is Done sohn), “March Militaire Francaise” from place upon the entrance or exit of any of cymbal tone should be greatly subordinated. iIa,rch of the Men of Harlech—( Cymbal notes in such marches should be N PLAYING the cymbals they should “Suite Algerienne” (Saint-Saens) and The average young student usually has them as slic adds the lower voice. When the principal characters. When great stress played by the cymbal player unless a not be brought squarely together with March of Homage from “Sigurd Josalfar” difficulty in holding over tied notes after the pupil has listened and reported the notes of emotion is to be expressed the Chinese loose cymbal is indicated. Cymbal notes a horizontal stroke. The real cymbal tone (Grieg). others are stuck. It is evident that his properly played, he is ready to listen to orchestra relies largely upon its family should be given due prominence in either is produced by a glancing blow—an up only idea for the solution of the problem his own playing, and in almost every in¬ of cymbals for the desired amount of stance the teacher will find that he can clamorous excitement. case for they provide the dynamic effects. and down stroke. As the lower cymbal Master Evan Llewelyn Watkins of the lies in making the fingers to perform is raised its upper edge first strikes against Pencoed Public Band, Pencoed, Wales. perform correctly. Drums are primarily rhythmic in char¬ through sheer will power, and this being a Varied Effects the upper half of the descending cymbal Though but eleven years of age, Master A Piano Musical Review Party difficult feat, he usually abandons all ef¬ acter. Cymbals are solely for effect— ESPITE THE FACT that arrangers and the two are then brought crashing to¬ Watkins won in the Cornet Division of fort long before lesson day has come principally dynamic in character. have generally neglected to provide gether and quickly separated as they pass. the Open Solo Competition for any Or¬ around. The following illustrations show Recently we listened to a large and well- chestral Instrument, at the recent Treorchy By Gertrude M. Nero effective parts for the cymbalist, the serious Should the chord be short, and followed this problem and an approach leading to balanced concert band in the presentation Eisteddfod. In delivering his adjudication. of an ambitious program. The cymbal and conscientious band conductor will take by a silence, the tone should be dampened Dr. T. Hopkins Evans paid the following its mastery: as soon as the stroke is completed. This prizes. Everyone received a lollypop for player read from the bass drum part. Sev¬ the time and trouble to do so. No better tribute to this youthful artist: “Upon my This party was a happy success, and I Ex. 1 is done by bringing the edge of each cym¬ their efforts. What a surprised bunch of In Example 2, he is told to listen for eral of the numbers were highly rhyth¬ method of writing for the cymbals can be word, this is a genius in the bud; one would like to pass it on to young teachers the A-flat, B-flat, C. and D. It becomes mical in character and the cymbals were found than that employed by the great bal against the player’s chest or sleeves so who plays well in tune and who, even more, who are looking for entertainment for children when they saw their place cards -p- Ikpjit irrJ i IPtnJ.,. evident that the solution of this problem clanging away almost constantly—creat¬ composers of orchestral works—that of that the vibrations will be stopped. has a remarkable mastery over the in¬ their beginners, which covers the first six or written in music! lies in teaching the student to rely upon ing a din sufficient to give a sensitive employing them to secure added dynamic The cymbal roll (as in the “Tannhauser” strument.” eight months work. Bobby Marion his sense of hearing instead of making it listener an earache. Certainly such rhyth¬ emphasis. This does not mean that they Overture) is made by striking the cymbals I typed seventy questions, then I set a In Example 1, let the teacher play the a matter relating merely to the mechanics mic hysteria would never occur in a well may be effectively employed only in loud together rapidly with a horizontal stroke. orchestras using cymbals of such poor qual¬ day for them to meet at. my studio— F’s alone with good, firm singing tone. Then let her bid the pupil to listen for of finger control. # regulated symphony orchestra and there climaxes for they can also be used advan¬ Cymbal rolls, as now generally written, are ity as to lower greatly the general rating twelve pupils, eight to eleven years of age. can be no acceptable excuse for its oc¬ tageously to impart resonance to a soft best made by using two tympani sticks on of the organizations—cymbals which pro¬ We rehearsed questions and answers at curence in an otherwise fine concert band. a suspended cymbal. This makes possible duced a tone comparable only to that which two meetings, besides short reviews after Menu I have often noted the same atrocious Richard Wagner was one of the first to a closed roll which can be very helpful in might be produced by striking two tin pie the weekly lesson. The party took place Gingerbread topped with whipped cream and indefensible practice in many of the realize fully the possibilities of the cymbals building tremendous crescendos. plates together. The cymbals should have after school in one of the pupil’s homes Lettuce and Ham Sandwiches Mastering the Thumb-Under Movement high school bands while judging at state in securing telling dynamic effects. He It is of paramount importance that the a tone as resonant and rich in quality as (or in a spacious studio). The mothers Raggedy Ann Cookies Cocoa and national contests. The only excuse also—and this is of equal importance—dis¬ best quality of cymbals be purchased. They we demand from the other instruments. were invited. that band directors can offer for such gross played great artistic judgment and restraint should be of the same high quality as the But do not overlook the fact that an expert The pupils had memorized one to three Chocolate musical signs were made on By Harold Mynning misuse of these important percussive in¬ in his employment of them. In his impos¬ flutes, clarinets, cornets, and other instru¬ technic is required to bring out the best exercises from “Music Play for Everyday,” the skirts with a cake writing decorator. struments is the fact that writers and ar¬ ing and majestic Prelude to “Die Meister- ments. I have heard some large and ex¬ tone of the instruments. and some little pieces from copies of The Cake candies were used for face, fine col¬ rangers of band music have generally singer” he uses them only twice, but with pensively equipped school bands and (Continued on Page 177) Etude. The highest three marks won ored rock candy for waist. Practice turning the thumb under the involves a slight movement of the arm. third finger and when this is mastered the To turn the thumb under the fourth finger problem of turning the thumb under the without moving the arm would be to cramp fourth finger can be taken up. The act of the hand to the extent that smooth playing turning the thumb under the third finger would be jeopardized. Just as the thumb should be a matter of slow practice, par¬ conies under the fourth finger move tlx ticularly for one principal reason. This elbow outward slightly and thus the thumb principal reason is that after the thumb has will slip under the fourth finger very nicely gone under the hand the hand should This should be practiced a little every da) be moved forward on the keyboard very or every other day over a period of weeks A Solitary Practice Hour smoothly and without a jerk. ’ One of the until the movement becomes automatic. chief reasons why so many pianists never By going at the problem of the thumb- master the thumb-under movement is be¬ under movement in the manner outlined- By Annette M. Lingelbach cause they jerk the hand along the key¬ the piano student has a chance of really board instead of practicing slowly until it mastering it; and no longer will it be con¬ can be done smoothly. sidered the bete-noire (black beast) ° If the student is not progressing as should, if he lacks a solitary practice hour, Turning the thumb under the fourth finger piano playing. rapidly as he should, find out from his during which he communes with his music, mother if he has a solitary practice hour, arid with no other subject or person. It is during which no one enters the room, and part of the mother’s duty to provide such he is left completely alone. If he lacks a practice period for the child student, such a necessary convenience for musical the child’s right to expect such an accom¬ advancement, talk frankly to his mother, modation, and the teacher’s privilege to as to the best means of providing one for demand such a vital feature of cooperation he educated man is a man with certain subtle spiritual qualities which him. No child can do his best work, or from the parent. make him calm m adversity, happy when alone, just in his dealings, rational advance as rapidly in his music as he All, working together, make for success. m, "t Ote fullest meaning of that word in all the affairs of life.”— WAUPUN, WISCONSIN HIGH SCHOOL BAND—OTTO J. KRAUSHAAR, DIRECTOR Ramsay MacDonald. 144 MARCH, 1936 the etude 145 COURSE MUSIC EXTENSION STUDY Analysis of Piano Music A Monthly Etude Feature appearing in The Teachers’ Round Table of practical value, For Piano Teachers and Students the Music Section hy an eminent of this Issue Conducted Monthly by Specialist By Dr. John Thompson GUY MAIER NOTED PIANIST AND MUSIC EDUCATOR

programs young America demands it over in F minor—measures 35 and 36—it re¬ ranged by R. M. Stulwitt is a medley of turns to the key of A-flat, ending the sec¬ MON DESIR and over again. To almost the same extent his better known' melodies and contains tion, after which the first theme reappears. By Ethelbert Nevin it casts its spell over adult listeners. Old Folks at Home, Old Black Joe, My As with several other numbers in this issue, s other ‘classical stuff’; all I ask is that if you (1) A + Super-excellent; (awarded The editorial winds of March blow to The music is subtle in orchestration, viv¬ HIS TIME I shall ask the first Old Kentucky Home, Massa’s in the Cold, pupils should contrive to hear this played T use these don’t care for such music you get out, only rarely for thrilling per¬ Etude readers a romantic bit from the idly imaginative and always sparkling and question, and answer it, too! (We ooks, but I Cold Ground, and others. tuneful. While this number is not exactly by orchestra in order to appreciate tonal lot sure which to use first. NOW.” (You couldn’t fool yourself; formances !) pen of Ethelbert Nevin as this month’s This piece could be used effectively on always prefer answering our own pianistic—Tschaikowsky never was even values properly. —Mrs. K. B., North Carolina. these audiences were hard-boiled, and if (2) A Excellent opening number. It will find a warm wel¬ a program featuring early American songs, questions, don’t we?) How can our stu¬ in his piano music—it will afford pleasure An ideal etude book for the second grade they didn’t like what you were doing they (3) A — Not quite excellent come and a place in the repertoire of many or songs of the South. dents be prevented from constantly looking to the piano student and should be played THE POLLIWOG is John Thompson’s “First Studies in left by the hundreds.) I told them briefly (4) B + Very good piano students. By Sidney Forrest from the music to the keyboard when read¬ with the orchestra ever in mind. Try, Style.” This is fine, attractive music and a little romantic tale about a Chopin, Schu¬ (5) B Good Musicians will recognize at once that the VALSE IN A-FLAT ing at sight? It is, of course, easy to en¬ (6) C + Commendable undulating melody is characteristic of therefore, to “orchestrate” it on the key- Here is a tune with a title that should study material of the best kind. I would mann or Beethoven composition, and then By Charlotte E. Davis force this rule during the lesson, but how (7) C Passable Nevin. It weaves its thoughtful way from board, striving to make the various parts appeal to first graders. Boys particularly not use Czerny for a long while. There (in the deadest silence I have ever experi¬ Here is a waltz designed to develop bril¬ to accomplish it during the practice periods (8) C — Poor C-sharp minor—first theme—into D-flat imitate as closely as possible the instru¬ are always intrigued by the clumsy, funny are other volumes by Thompson which enced) I played the piece. At the finish liance and elegance of style. at home is another matter. (9) D “Rotten” major—second theme—through the means ments of the orchestra. antics of the polliwog and this characteristic it would pay you to examine: his “Key¬ their applause raised the roof! The audi¬ After an eight measure Introduction My own boy, Teddy—aged ten—was Note that the emphasis in grading is on of an enharmonic change. In other words Tschaikowsky made liberal use of the clumsiness will very likely be depicted with¬ board Attacks,” which in spite of its ence would keep me playing this “classic built on the broken dominant seventh chord finally bringing my nerves to ragged edges the “good” side; teachers should give praise the composer, instead of writing the second Celeste in scoring this music for orchestra. out any special urging on the part of the violent title is a corking book; “Let’s Join stuff” until ordered to bed by their officers. divided between the hands, the first theme (children’s practice always does that to whenever there is the slightest reason for theme in C-sharp major, the parallel major The Celeste gives a bell-like tone which teacher! Carefully observe the legato and musician-parents!) by his refusal to break the Army;” “Miniature Classics” (chosen And almost never did a single man leave is announced in the upper voice of the right doing so. of the first minor key, presents it in the key staccato signs as well as the two-note slurs and edited by him) and many others. before, during or after a number. Next hand. Let the sustained notes of the mel¬ this habit. So finally in desperation, I As the lesson proceeds, each practiced of the number. in certain measures. The words will be Or you may still prefer those old stand¬ day many soldiers meeting me in the street, of D-flat major, making the change enhar- ody sing over the accompanying chords and described to him an “instrument of torture” Let the staccati be sharp and brittle, pi¬ found helpful in creating the proper at¬ bys, the Burgmuller “Etudes Opus 100” would ask, “Say BO, when are we goin’ assignment is given its mark, and next to monically. use the pedal exactly as indicated. Estab¬ which he could make and which would en¬ anissimo except for the occasional sforzando mosphere. (Gr. II-III) ; and a little later, for studies to have some more music? Just tell us the mark is placed its NUMBER (as for An enharmonic change is a change of lish well marked waltz rhythm from the force this rule. We called it a Chinese marked at the end of certain phrases. In that are really beautiful music, the Heller and we’ll all be there. Gee, it was example, (4) B +, —see above). notation which does not cause a change of start and preserve a steady tempo through¬ Guillotine. (How children enjoy such pitch: for example C-sharp becomes D-flat, playing the arpeggio passages—measures SONG OF THE WILLOW “Etudes Opus 47” (Gr. III-IV) ; or Isidor SWELL!” Here is an example of a typical lesson: out. Play the running passages of the sec¬ ghastly terminology!) Chords B + (4) G-sharp becomes A-flat, and so on. An 32 to 46—be sure to themadize slightly the By Berniece Rose Copeland Here it is: Philipp’s comprehensive selection of Heller Surely you will admit that such an audi¬ ond theme with sparkling brilliance, at the ence was a pretty good cross-section of Scales A (2) enharmonic change is usually made to sim¬ lower notes of the left hand. It is safe to Here is a little melody in G major, pieces called “Studies in Musicianship” in same time preserving a nice legato. The our people. How much easier it should be Study B (5) plify reading. In this case it results in a say that this number is heard at least once written in three-four rhythm which devel¬ four volumes. active passages alternate with sustained for teachers to lead their young students— Review Piece A — (3) theme in five flats instead of one in seven a week over the air. Try to hear it on ops singing tone and calls attention to the melody tones. Should the pedal tend to who are paying to learn—to love the great New Piece B (5) sharps which would result were the signa¬ your radio as a help toward interpretation. dotted quarter note. The left hand too blur, throw it off on the second instead music of the world! Sight Reading C — (8) ture of C-sharp major used. has its share of attention and development, “Popular” Music of the third beat aS indicated. The third Many persons have asked me how I The text reads Andante ma non troppo, OF FOREIGN LANDS AND PEOPLE its task being to play an even broken-chord A troubled teacher came to me recently theme is in the subdominant key and alter¬ happened to start those concerts for young 27 which is to say “slowly but not too slowly.” By Robert Schumann accompaniment in quarter notes. confessing that she could not interest many nates staccato and legato playing. Keep people “of all ages” of which I have given First, add the numbers; then divide the Therefore do not allow the tempo to drag. of her students in the classics; and worse the hand close to the keys and play the This fragrant from Robert Schumann’s hundreds. It was these thrilling experi¬ sum (27) by the number of items in the The first measure of the Introduction will than this, that there were some pupils who staccati with a short but incisive attack. “Scenes from Childhood” calls for a fine A JOLLY TUNE ences playing during the war which gave lesson assignment (in this case, six) — be found more playable if the passage is even refused to play light salon music— divided between the hands as it appears in singing quality of tone in the melody, By Wallace Johnson me the idea. “If these men, without musi¬ 6/27 SILVERED MISTS who in fact (horror of horrors!) only the second measure an octave higher. The played by the upper part of the hand while About grade onc-and-a-ltalf in difficulty cal training or background, can so easily 4% or 4% By Charles Huerter wanted to play “popular” music. first theme lies in the soprano voice and the lower or thumb side, plays part of a this piece develops phrasing and accented be moved by good music,” I argued, “how This brings the lesson mark between One of Mr. Huerter’s characteristic broken chord accompaniment in triplet Then what do you think I did? I told must be played legato with the best pos¬ double notes. Observe carefully the dy¬ her to go straight down to the music store much more intelligently would they love it B + (4) and B (5). Then you’ll have to sible singing tone. A discreet use of Tone Pictures is Silvered Mists. The rhythm. Each group is pedaled separately. if they could have had many such happy, be Solomon and judge whether the sin¬ namics which range from piano to forte and take out on approval some “hits” from rubato is desirable. After the pause at melody begins in the lower register and Nothing elaborate or ornate in treatment is with accompanying crescendos and dimin¬ such musical comedies and revues as “Any¬ vital listening experiences when they were cerity and effort of your pupil deserves a measure 11 the theme is repeated in octaves ascends, suggesting the rising mist which permissible in the playing of this music. uendos. Because of repeated figures there thing Goes,” “At Home Abroad,” “Jubilee,” children.” So I say, start ’em young— B + or whether you would rather give against a rolling left hand accompaniment. becomes silvered with tonal highlights as Simplicity is the watchword. is not much actual material to learn—for Earl Carrol’s “Sketch Book,” “Porgy and the earlier the better—and let them stretch him B. Separate left hand practice is desirable at it floats its way gently throughout the first Like many of the “little tunes” from the which reason the little piece should be Bess” (that delightful folk opera by their musical imaginations to the stars! This is never a difficulty for Teddy, for this point, since the arpeggi should be section of the composition. The accom¬ masters, this one is not at all easy to per¬ quickly mastered. Gershwin) and “Jumbo”; to learn to play And they’ll do it without much urging. when such a contingency arises, he insists played fluently and easily to be effective, panying chords appear for the most part form in an artistic manner. It assumes on “scientific” accuracy, so that for him a separate pieces of soft string about two and these with a fine lilt, live spirit and lovely and at the same time not obtrude. The on syncopated beats and add a sense of perfect tonal balance and control on the mark of 41/2 would be B + —. CLIMBING THE HILL a half feet long, and tie the ends, one in tone; then to announce a special surprise second theme in D-flat major becomes more motion to the theme which should be played part of the performer as well as a certain Satisfactory Grading Figure that one out if you can! By Cyrus S. Mallard each hole. Then cut out a little curved to those adolescents who are just “crazy” ardent, more intense, and demands more at moderate pace. The second section is amount of maturity in concept. I’m afraid that I am rather shameless As suggested by the title the arpeggio piece of the cardboard (between these about Beatrice Lille, Paul Whiteman, I am muck interested in your de¬ volume in melody and accompaniment. A more agitated—the melody being doubled partment, “The Teachers’ Round about offering prizes to children. (I al¬ figures in this piece progress upward from string holes) to fit the neck more com¬ George Gershwin or Ethel Waters. Yes, Table” and frequently find things climax in measure -33 is followed by a between soprano and tenor. Modulations MENUET most called them “bribes”!) No doubt it the bass, being divided between the hands. fortably. to give these students such pieces for their that are helpfuUto me. ^ ^ diminuendo which brings the piece to a are much in evidence, and dynamics and By Georges Bizet runs counter to modern educational prin¬ The right hand carries a sustained melody Then you are ready for the torture! Put next lesson. And further, I loudly and at the work just one year- I have pianissimo close. tempo are constantly changing—all of Another favorite composer featured fre¬ ciples, but it brings results and makes the against left hand chords which fall upon the cardboard up to the neck in position, boldly advise all teachers to adopt this Play with expression and a certain free¬ which demands freedom and elasticity on quently on radio programs and in orches¬ factory method of grading my pupils children interested in their music. (The non-accented beats of the measure. The draw the right hand string back over your course. You will have more eager, inter¬ on their lessons. I would like to dom of style in interpreting this typical the part of the pianist. To play this num¬ tral concerts is Georges Bizet. Naturally older we grow the less sure many of us are arpeggios should be played also in chord left ear and fit it into the slit in front. Now, ested pupils, you will probably (perish the offer some reward for conscientious Nevin composition. ber in stilted style would have rather dire everyone is familiar with his opera “Car¬ work and progress, perhaps some¬ of some of these so-called “progressive” fashion and analyzed (named). do the same with your left hand string; it thought!) enjoy the “hits” very much thing small monthly, and, at the end results. In the interpretation, draw a nice men,” and the “L’Arlesienne Suites” are ideas.) After all, if most adults live their line of distinction, therefore, between senti¬ gees back over the right ear into its front yourself, you will be better able to lure of the season, something of more SOUVENIR OF STEPHEN FOSTER programmed frequently both in formal and consequence. But I realize the need whole lives seeking honors and prizes, can By R. M, Stulwitt ment and sentimentality. THE CUCKOO slit. The ends of the strings are hanging your now unsuspecting, sympathetic victims of some very definite method of grad¬ “pop” concerts. Bizet wrote two “L’Ar¬ to love the greater, more enduring music ing. I will appreciate so much any sug¬ we blame the children for wanting some The melodies of Stephen Foster are im¬ lesienne Suites.” Perhaps the first one is By Anna Priscilla Risher down in front; draw them as taut as you gestions you may be able to give me. of the world and (get thee behind me, special, concrete reward for honest, eager bued with that mysterious vital quality DANCE OF THE CANDY FAIRY the better known. This Mcnuet from the This little number is recommended as wish—to hold the cardboard firmly and -—Mrs. E. A. A., Tennessee. comfortably. Satan!) you might well be able to open effort ? which animates the traditional folk tunes By P. I. Tschaikowsky second suite, however is a beautiful ex¬ an ideal teaching piece. It develops the the flood gates of higher lesson prices as For a long time I, too, was “stumped” May I add, even in the face of certain of all nations. Whether we like to admit Children are few and far between these ample of the old dance form and has a rolling attack in the right hand—the figures And presto! you see that the fateful you swim along this golden river of.popu- to find a satisfactory method of grading disapproval from many parents and teachers, it or not his works are probably the near¬ days who do not know at least one or two grace and charm all its own. The tempo in 16th’s to be rolled rather than fingered— Chinese guillotine has done its deadly for rewards; and only recently my boy, that I think money prizes are by far the est approach we have to native American numbers from the intriguing “Nutcracker is slightly faster than that of the usual and the two-note slur (drop, roll) in the work; it has cut your head off from the Keyboard! Br-r-r-r-r!! After all, most of us who are not snobs, Teddy, and his teacher worked out the best best awards. Not large amounts, of course, folk music. Suite.” The piece under consideration in minuet and it should be played with a cer¬ left band. freely admit that much of our popular music scheme I have yet seen. It may seem a but such a scale as this could be used with¬ Stephen Foster was an American of The Etude this month is transcribed from tain sparkle—not however at the expense In the second section sustain the bass If the cardboard is long and wide enough, is far better than a great deal of the insipid, bit complicated in the explanation but is out hardship in most families: Irish descent, born near Pittsburgh, Penn¬ the orchestra score. What an appeal this of delicacy. The second theme in A-flat notes in the left hand while the right ap¬ it will so effectively prevent you from look¬ watery drawing-room and “light classic” really very simple, and so far as I can see 5 cents for A — or B + sylvania. He was a serious young student music makes to people of all ages! major is considerably more robust in char¬ plies a series of two-note slurs. ing down that even to see the Keyboard music which has been sanctioned these many it is mathematically sound. (But please 10 cents for A who taught himself German and French Scarcely an orchestral program for chil¬ acter, opening as it does with several to begin your piece, you will have to be¬ years by teachers and players—who ought remember that I am notoriously poor at But for A + the sky should be the limit; and it is said that he also painted rather dren is complete without it, and on request AWAKE, AWAKE come an accomplished contortionist. fortissimo chords. After its brief sojourn to have known better. give until it hurts! well. At an early age he showed a pro¬ By Charles Wakefield Cadman Teddy, of course, loves it—and it does “Aggers,” and any mathematician could the trick! Adults too, could derive many During the world war when I traveled probably shoot this plan full of holes in a nounced liking for the works of Mozart, Here is a little number in overture style. Beethoven and Weber and began compos¬ sight-reading benefits by using it. over France “entertaining” the soldiers, I minute.) All I know is that it works This gem has been picked up in an Play the opening measures with bravura— quickly learned that everybody loves good magically. anonymous -writing: "Enthusiasm is ing when very young. His first published boldly and fortissimo. Let the answering work was a waltz for four flutes. music if it is presented sympathetically, Each assignment for the week is put one of the most powerful engines of The publishers of The Etude are constantly seeking measures, 3 and 4. be played pianissimo. Beginning the Classics His reputation rests of course on his humanly and vitally. Each day, appearing down, as for example, this list of six items; success. When you do a thing, do it This alternation continues throughout the e been teaching class ^of songs of the south and in the writing of new and fresh compositions, particularly piano compo¬ Beginners for a num‘ before thousands of soldiers I used to play Chords with a will, do it with your might, first line, after which the right hand pro¬ have never found, to first, all sorts of popular music for the Scales these he was influenced by the negroes who put your whole soul into it, stamp sitions suitable for the third, fourth and fifth grades. ceeds with legato double notes against a faction, how soon men to sing—and often I did comic vaude¬ lived near his home. It is said that many classics. Will you it with your oivn personality. Be of his melodies are adaptations of old negro broken figure in the left. Be careful to through the Hound r ville sketches or monologues also. Then at A review piece Such works must represent fine taste, playability, and observe the pause at measure 14. Do 1,01 how to do this? A1 active, be energetic, be enthusiastic melodies, and that he wrote the words as “Beginner's Book,” the moment when the audience was feeling well as the music of his songs. He died trained musicianship. overlook the staccato treatment at meas¬ “Music Play for Ev< happiest I would suddenly become serious Some sight reading and faithful, and you will accomplish I follow it up by a in New York in 1864. ure 27. Aside from its interest as a pi^e and say: “Now fellows, I’m going to play At the lesson the grading is somewhat your object. Nothing great was This Souvenir of Stephen Foster ar¬ of music, this number offers fine study >n you the kind of music I like best—some similar to that used in schools. ever achieved without enthusiasm.” dynamic control. MARCH, 1936 146 THE ETUDE 147 FASCINATING PIECES FOR THE MUSICAL HOME - MON DESIR ETHELBERT NEVIN A Visit to Wagner's MY DESIRE House of Dreams

Tribschen, the Alpine Refuge of the Great Master, where he reached the climax of his Artistic Happiness

By Norma Hyland Craves

Cosima Wagner, by the great German where. As we start through this old house, an irritated gesture, the slight figure sma The famous Lenbach Portrait of Artist, Lenbach. which has changed little- with the passing purple dressing gown runs his hand through Richard Wagner. of time, shadowy forms seem to flit from his fast greying locks. Angrily he flings room to room Then, miraculously, it is the manuscript he is working on over the every intrusion, she draws him to her with “In this house dwelt as if the yesterdays have merged into the top of the piano-already littered with eyes that betray tender solicitude. As they Richard Wagner todays—that shadows have become realities; countless others—and strides restlessly up . y anH down the stand there we observe how utterly de¬ from April, 1866—April, 1872. and down the room. Im¬ pendent he is; it is she who creates the im¬ Here he composed e Richard patiently he pression of strength. No longer is he the Die Meistersinger, Siegfried, and Cosima composer, vibrant with power, but only a Gbtterddmmerung, ICaisermarsch, Wagner be- fingers the picture of tired little man who appears, in contrast to Siegfried Idyll.’’ his companion, far older than his years. gether again Liszt^— ot in their own The Inspiriting Wife glances at his O READS the inscription placed above home. S butterfly col¬ TWENTY-FIVE YEARS younger, the windows of Richard Wagner’s The spirit lection which possessing little of feminine beauty, yet home near Lucerne, now a museum of music per¬ he has recent¬ intellectually gifted far beyond the average owned by that city. Of the hundreds of vades the ly brought woman of the time, Cosima von Biilow people who visit Tribschen, there are few house, but es¬ exerted a powerful influence over the men pecially does from Paris; indeed who do not pause reflectively as they with whom she came in contact. Willing it come from and then read these words. To those, however, who to sacrifice all that she held most dear, are more familiar with the details of Wag¬ the huge brings him¬ self to a halt possessing strength where Wagner was ner’s life, each word is imbued with an even weak, she not only inspired him in his that faces the by the win¬ deeper significance, for they recall it was in work but also provided him with the kind this house that Wagner experienced his lake. Still dows, wide of home for which he had always longed. greatest happiness—that he achieved his under this open to the Throughout the ensuing years Cosima was greatest work. strange spell, breeze which to offer Wagner a devotion that ceased not Formally open to the public since July 1, we hurry for¬ with his death, for even then a part of her 1933, Tribschen, in its first year, admitted ward through ruffling the over five thousand visitors. Of that num¬ lake. Spar¬ must be buried with him; to which end ber fully ninety per cent were, according study int kling and she cut off her heavy blond hair, her chief to the director of the museum, friends and a dj oining dancing in claim to beauty. Only when she had drawn admirers of the composer. As these music room; and the sunlight. her last breath did the utterly unselfish lovers wander through the grounds, or here, seated devotion of this woman cease. perhaps follow one of the paths that border at the big are at strange Unmindful, however, of what the years the lake, their thoughts are not of the Erard piano, SIEGFRIED variance with are to bring forth—living only in their present; in imagination they recreate the present great happiness—these two now romance of the famous lovers, Richard and ureThh ga t^coTposen stand in the music room, quiet and com¬ Cosima- Wagner. velvet beret Soon, how- posed. But it is not always thus. Some¬ pushed back on his head, the man whose ever, his grip on the curtain lessens, and he times Cosima, unable to endure the innu¬ The Perfect Retreat music has held the world spellbound these stands motionless, every sense responding to endoes of the world, will come rushing in NOR COULD a more ideal setting than many years—Richard Wagner. the appeal of such exquisite beauty. to grab his hands—to ask the oft repeated Tribschen have been found for the From somewhere at the back of the house The door to the music room opens gently, question: “You do love me, don’t you; Wagnerian idyll—a romance that was in comes the clang of a bell—the sound of Cosima glides in. Softly shutting the door, Breathlessly she awaits his reply. “K turn to be the inspiration for the incom¬ hurried steps—the murmur of voices—deep she hastens to the side of the man for whose I had not found you, I should never have parable tone poems of the master. Superb¬ rumbling tones which are in turn finally love she has been willing to forsake hus- written another note of music.” ly located in a country renowned for its silenced by softer, lighter ones. At the band, family, and friends. With a protect- But today she is more self-confident. matchless beauty, with towering Mt. Pilatus first sound, the music abruptly ceases. With ing gesture as if she would shield him from Has she not again succeeded in shielding in the background and the blue-green him from those who would intrude upon waters of the Swiss lake in front, Tribschen his privacy—would lure him from the com¬ was the perfect retreat—the spot for which pletion of the work upon which he has set Wagner had long been searching. The his heart? From afar comes the sound of estate, located on a peninusla, was prac¬ childish voices, happy and carefree. tically isolated—as it is now—a fact “Come,” she smiles at him; “it is time for eagerly welcomed by the composer, as it our walk. The children have already promised uninterrupted work. started. I will get your coat.” Here, with his idolized Cosima, he found Outside there is the brilliant sunshine of at last a dream world of happiness, hearing a warm spring day: there are paths wind¬ less and less of those whisperings which ing in and about the large estate which condemned his beloved for her defiance of beckon alluringly. Arm in arm their social conventions. And here, as he was ramble begins. busily at work on “Siegfried,” his only son —Seigfried—was placed in his arms. Little At One With Nature wonder it is then that Wagner regarded T IS THE GROWING season--the Tribschen as his “house of happiness.” “No I time when all nature is bursting forth one,” he once said, “will turn me out of with new life. The murmur of trees this.” responding to the caresses of a sun¬ Whether those words, uttered so long drenched breeze; the hum of bees: the ago, were in themselves prophetic, or whether vivid imagination provides the flutter of wings: the incessant stir of lime necessary stimulus; whatever the cause, the things; for all the earth is attuned to this presence of the master is today felt every- spring song. As they stroll on through (Continued on Page 171) 148 THE ETL DE “MY OLD KENTUCKY HOME” SOUVENIR OF STEPHEN FOSTER R H STULWm Andante non troj>p°_

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MARCH 1936 151 MEDITATION Grade 4. LOVE SONG PAOLO CONTE, Op. 30.

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Copyright MCMXXV by The John Church Company International Copyright MARCH 1936 155 MASTER WORKS DANCE OP THE CANDY FAIRY From the Nutcracker Suite ,, Tt fjiioH with musical subleties which have made it one Of all the music of Tschailcowsky nothing- exceeds in innate charm the* Nutcracker Suite J board. However, it is only a matter of a little per. of the greatest of favorites on radio programs. Written originally for the orchestra and not for t . y pertoire. slstent practice to make these “non-keyboard figures9* flow fluently and this gives a decided variety o one e p j ^SCHAIKOWSKY Edited by C.v. STERNBERG if | f _ u. . • u- •• ?£?£f Grade 5. . Andante ma non troppo m.m.J = 84 ££& j

OF FOREIGN LANDS AND PEOPLE

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THE ETUDE

i MENUET OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES from L’Arlesienne Suite, No. 2 GIVE ME A HOUSE*ON THE HILLSIDE Grade 3. GEORGES BIZET A PRAYER WM. FELTER THURLOW LIEURANCE —=■ =— iTrI"7'|., f #■ f TyV

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MARCH 1936 161

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A 3 APPROACH OF SPRING

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Ppoco rit FASCINATING PIECES FOR JUNIOR ETUDE READERS A JOLLY TUNE THE POLLIWOGr

CLIMBING THE HILL CYRUS S.MALLARD

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Copyright 1935 by Theodore Presser Co. British Copyright secured MARCH 1936 169 THE CUCKOO A Visit to Wagner's House of Dreams ANNA PRISCILLA RISHES (iContinued from Page 148) ixiiegro iv i.m. J=ii6 54 3 < 1 - / Q 5"4 3 r~^3 — 5 P~~ rVZ. wooded paths, to Wagner comes the in¬ The two friends shut themselves up in the AS spiration: he will reproduce this exquisite music room. At this time Wagner is work¬ 5 forest music in “Siegfried.” ing on “Die Meistersinger.” In the days (Cuckoo) (Cuckoo) dim. > dim. t “Do you hear that, liebchen?" he exults that follow, often it is Liszt who sits down l 0 _ >___ TRULY to her. “Everything is alive—the winter to the piano to play from the manuscript is gone. I am young again and the world while Wagner sings. Masters of music are ^^=#5=1 AMERICAN is before me—mine to conquer.” these two, who think and speak to one an¬ But all too soon the tinkling bells of the other in a common language; every other cattle, as they descend the steep Alpine problem is forgotten. ’-f 3 14 slopes, and the lengthening shadows warn 3 5 3 5 ^4 1^5 3^ —^1 Breaking Home Ties Q 4 as the man for whom them of the lateness of the hour. Collect¬ ing the children who have long since grown O THE MONTHS, the years, slip by. this hotel was named! tired of play and have flung themselves on Once more it is late summer, with its cresc. a grassy bank, they start back. With the sudden and violent storms, when the waters sfz of the lake are lashed into furious resist¬ < rit. Fine L j° m His genuine spirit of friendli¬ coming of dusk the powdery whiteness of blossoms transforms everything into a ance. Then the cold, cold months of that ness endeared this Great j A 3i J J a ♦ miniature fairyland. Hand in hand they last winter at Tribschen (Wagner has al¬ l^—r-r pz 4—id American to a host of people. would explore their kingdom further, but ready decided on the move to Bayreuth). 1 — The Roosevelt management other demands have to be met. With re¬ Ice shrouds the lake and the palliative quiet 11 r -j 4 3% 3 2 of winter prevails. And ever at one with J i 1 5 5 4 5 Mi maintains this same spirit in luctant steps they follow the children into y the house. these moods is Wagner, recording musi¬ Copyright MCMXXVII by Oliver Ditson Company AWAKE, AWAKE! International Copyright secured running the hotel. One will find cally the varying impressions that nature our staff with that sincere in¬ Art Makes Them One arouses in him. (JUVENILE OVERTURE) HEN the evening. Oftentimes the two The time draws near for the breaking terest in its friends which so up of the home. Again it is April—again Awake, awake, the sun begins spend hours playing the symphonies of characterized T. R. Haydn, arranged for four hands, for the poplars around the house are whisper¬ To cJimb his azure stair; CHARLES WAKEFIELD CADMAV Cosima’s training under her father (the ing it is spring; but as Wagner prepares The morning-glory vines are bright celebrated Franz Liszt) has well prepared to bid adieu to his wife and children, there Op. 34, No. 1 Grade 2* With countless blossoms rare. her for this somewhat exacting demand. is not the warmth of spring in his heart— "Joyously, and in moderate time M.M.J = 116 Welle Richmond Eberhart Again they discuss their favorite subjects— there is only the chill of regrets. The 2 3 4 3 3 4 4 art and music—or read Homer, Shake¬ house is empty; trunks and packing cases 3 3 1 4 t 0 1 ^ i ^ >■ i 1 lilt > 1, > - 1 1 ? f i ? » u speare, or their beloved Goethe and Schiller. are strewn about. Although his family Far more delightful to Cosima, however, will soon follow to establish another home,, is the work on the Wagner autobiography. yet it can never be the same. He is leaving Taking down the copious notes that Wag¬ his “house of happiness”—the house where t • : "2 « # > 5 > ner dictates, she nevertheless succeeds in he has been carefree, and where he has > pp ^ -// > PP deleting those parts which would show him dreamed his dreams. Who can fail to 0 less favorably to his admirers. To Cosima, understand the pangs of regret, the sadness t • that comes to both as they stand there in r W dominated as she is wholly by love, any ad¬ 3 1 3 L mission of weakness on the part of Wagner, the portal of their home—for the last time? 1 3 4 3 4 5 | 3 2 3 3 4~~ 6 4^^} ■i 3 i that would allow the world to criticize, is Today the same poplar trees whisper T their secrets just as they did when those Lust time to Coda a not be be considered for a moment, no -r f, | * iT"2 3 2 5 6 two lived there. And as we follow the U l 1 | | li |_ 6 5 6 5 3 Z 5V matter how important the fact may be. 2 1 —K *1 2 2 1 1 t Here to Tribschen come those closely narrow path leading down to the lake, we Masterpieces of Piano Music associated with Wagner: the philosopher feel as if we, too, are leaving something Nietzsche, who is so highly regarded by beautiful behind. The chug-chug of the the master and Cosima that he has his own launch, which is to take us across the lake .// den on the upper floor; the French friends, to Lucerne, brings us back to the present. Judith Gautier-Mendes and Villiers de l’lsle We turn for one last look at Tribschen, Adam, the writer. Also Franz Liszt ar¬ basking in the mellow light of the late rives to visit his daughter, “Cosette” and afternoon sun as it recalls to itself the his friend Wagner, whom he has not seen glorious days when it housed Richard and & a a 2 15 3 s i F 1 t 3 for three years. Cosima Wagner. 4 4 : 3 ; 5 5 5 5 5 _ 4 4 -— "5 4 3 T~^5 n 1 1 > 1 ==» 1 2 1 4 3 2 12 3 3_2 1 ^ t ^ > 4 " , 3 U TTl ! 1 i

mf Put It to Soak 20 9 t > > > PP ~^/rm * i * Itjf By Elizabeth M. Rossiter 5^— as Spring Song (Mendelssohn) 125 3 ^ 3 1 r 4 33133 MOST SUBSTANCES, no matter and it has produced fine results, for the 1 3 V —’ Prelude in C (J. S. Bach) how hard, if put to soak in the teacher. When a pupil was confronted * 3 1 1 1 5 75 MODERN COMPOSITIONS 2 3 right solution, will yield and be¬ with one of those stubborn, unyielding such as Melody in F (Rubinstein) pieces, the piece was at once put to soak, Scarf Dance (Chaminade) come pliant. However it is not the inten¬ 38 LIGHT COMPOSITIONS tion here to tell of soaking hard material which meant laying it- aside and taking up such as Simple Aveu (Thome) things, but how to soak hard musical com¬ another. The new piece taken up must be Cradle Song (Hauser) positions so as to make them yield to the somewhat easier than the one in soak, and 25 SACRED COMPOSITIONS work put upon them. There are very few it must be given conscientious, careful prac¬ such as Largo (Handel) music students, who do not, at some time tice. As soon as it can be played through Ave Maria (Bach-Gounod) in their studies, come upon exercises and accurately and with ease, lay it aside and 29 OPERATIC COMPOSITIONS pieces that seem like a very “Waterloo” to take up another a bit harder than the one such as Evening Star (Wagner) them. No matter how much hard work dropped, giving it the same treatment as Celeste Aida (Verdi) the one before. Continue this course, For sale at your favorite music and practice is given the piece, it remains counter or sent POSTPAID upon in about the same unfinished state and it always letting the next piece be a bit harder receipt of price. Money refunded if will go no farther. It is not always easy to than the one before it, until one several volume does not meet with your ap¬ trace the cause for such conditions, some¬ shades harder than the one in soak can proval (NOT SOLD IN CANADA). times it comes from irregular, or indifferent be played through easily. Now take out Illustrated folder with contents practice. Music is one of the most exacting the one in soak and make a new start. No cheerfully sent upon request. studies one can take up; it demands regular, doubt, it will go so easy after its soaking, MUMIL PUBLISHING CO., INC. systematic practice from the learner. No that the student will wonder what made 1140 Broadway, New York, N. Y. matter what the cause for the condition, it it so stubborn and he will take up his work Enclosed find $- for which send post¬ with new courage and interest. A good paid Masterpieces of Piano Music. is very discouraging to the student. ( ) Paper ( ) Cloth The following plan has been worked out “soak” will solve many a difficulty.

To every music-lover who is concerned with music as an art, it is a matter of serious concern that it is now being so adroitly manipulated in our midst Copyright MCMYII by Oliver Ditson Company into an industry.—Sir Richard Terry.

International Copyright 171 MARCH, 1936 the ETUDE A skilled baton; learning the history of music drill for thorough technical equipment. and of its makers; and assimilating the atmosphere of each composer’s period of Details, and More of Them : productivity, through reading of the life HERE ARE ALSO the various and of his country and his time. multifarious traditional alterations and Mozart is sung in a certain way, because renditions of music to be carefully studied. THE SINGER’S ETUDE his music reflects his own position in the The traditions of opera alone, of oratorio life of his time. alone, of folk song alone, require separate years for their acquisition. They are end¬ Edited for March by Eminent Specialists Brahms is quite another problem, but for the same or kindred reasons. less, and they are of the first importance , „ ««n«r’s Etude” complete in itself. Bellini wrote for his day; and to sing to one who seeks a public singing career; It is the ambition of The Etude to make this department a g I Bellini aright, one must comprehend both for the artist is judged by his knowledge Bellini and’his particular period. or by his shortcomings. Wagner wrote his epic dream-tapestry There is the business of stage technic, of overwhelming magnificence far ahead and charm, and showmanship, and the long of his own day; but to sing Wagner one list of preliminary concerts or other public must, in some measure at least, understand appearances wherein one may try his wings both Wagner and Wagner’s vast dream. in the long road of experience. Then there are the Italian classics of And there are perhaps ten thousand Compromise Vowels the seventeenth and eighteenth centuries; other important details which must be and the folk songs of Germany, and learned, and which cannot by any possi¬ France, and Sweden, and Spain, and bility be learned quickly—they all take By Grace Grove Russia, and England, and Ireland, and time, and lots of it. Hungary, and Poland, and our own Amer¬ Lastly there is the most serious business “mon,” may cause listeners to anticipate of learning yourself—plumbing your own N A CONSIDERATION of words in the colorless “ih” a reflection of its own of which the vowel, “uh” (of the word ica, and those of many other countries. I “unco,” “wha hac” and other bits of Sat- i mind and soul to find what of merit you song, the vocalist can scarcely avoid resonance. If it accomplishes this mixture “come”) requires the tonal suavity which These cannot be acceptably sung without tish dialect perhaps not present in the song 1 can bring to that sublimest utterance of acquaintance with the compromise within its limited prerogative of vowel com¬ “ah” can provide. The word need in no a knowledge of the history and of the And, fourth, comes the transition \eak so dearly that it deSnitdt | in the face of tonal dilemma. It can, in tonal cooperation. However, an actual whose texture an “ah” has been deftly establishes its own verbal status. * was how to produce a good “ah.” She had fact, provide only a meeting ground for vowel substitution of “ah” for “uh” must woven, may, however, serve to dislodge this “Ful” endings (in words such as “tare- : UNLESS a vocal exercise supplies Lester Pmo Co. been singing a distorted “ah” that was an friendly arbitration between tone and words not occur. For “burn” can scarcely main¬ closed “aa” from its narrow, nasal quarters, ful," "harmful” and “joyful") also suggta f something that the singer can in¬ unclassified relative of “aw” and that could 1306 CHESTNUT ST. —and nothing more. tain verbal coherence if sung as “barn”; and even to estrange it from its colloquial the use of an intermediate vowel—ng, in twenty minutes. But it will t->iL policy, however, to allow the presentation anecdote. For pronouncing beautifully im¬ HEN COMES the tuning of d* “ba-ba-ba-,” and so on, with the idea that at the classic example of Porpora and his you six years to learn how to do " Them T of any reasonable statement of principles, plies words, and words imply a message. voice: and the moving from nost o the consonants will bring the tone forward. pupil, the great Caffarelli, who was put so that our readers may have the benefits The proper study of breathing, tone, agility, note in seducing legato, without slum*, Now the truth is that if the tone has the for six years on one sheet of exercises, words, and the message that words carry forward quality it should have it is not of all phases of thought in musical pedagogy before he was ever allowed to sing a song. and the flexibility engendered by the s*® and thus be allowed to choose that which may well take five years for their thorough joining of many notes: and mastering because of the consonant but in spite of it. The student immediately thinks this must mastering. Sing the right kind of “ah” and your only best suits their individual needs. In music it? No Verv rU ' , b°dy un■>'? «« thins, Highly endorsed by authorities and universally allowed to sing a song. And look at this years indicated as necessary in the com¬ and on every note in his scale: and Back to Nature used with outstanding results. one, and that one ! thousands of repetition.^ bund[eds. and delicate craftsmanship of lending his plete fashioning of not merely a singer but YOUNG WOMAN with an excellent WILBUR ALONZA SKILES SHEFTE BOOKS on sale at all MUSIC STORES. think himself the * ^eR,ns to to the gossamer outlines of nuance. A But leaving aside the classic page of also a singing artist. voice and a high grade of mentality Voice Specialist — Critic and Teacher of Singing Teachers and students are invited to write us for exercises, and the more or less fabled Breath management and tone production teacher ever had H?P'de*t ?ch°l« any recently registered at our studios. Her (Contributor to The Exude Since 1927) descriptive literature if your dealer does not have number of years .devoted to it alone, let The Complete Equipment pleWcataJogue'wmbe maUreddyoutraEE'onreau*sti books. (joined to the agility indispensable to its every student has '\ n°*' P°r problem had been to get the tone forward Your questions (problems) on voice fully and us glance at a saner estimate of what the expertly answered (analyzed). NO COURSE. free flexibility) are named first Their same experience Hif • t^.U*h the self- AND WHILST all this is do*b CENTURY MUSIC PUBLISHING CO. For this she had been fed on consonantal old Italian masters really required; and to blame nor his f is not subjection, freedom, and control travel a ■ ing into being muskianship nj05’ 254 West 40 St.. New York. N. Y. 4 Lane Street, Freeport, Pa. that they were really great masters cannot syllables until she had concluded there was long road of practice, understanding and Tl is only his body and i?sesnV PCrCep,ion- built. There must be mastery of no help. What she really needed to learn •!». « ,nfiniWy slowsnbeo«,„,= rhythm and sight reading: practice in ___ mmmsm 172 certed singing under an experienced 173 MARCH, 1936 the etvM Stereotyped Registration

A Well Known Composer THE ORGANIST’S ETUDE Attacks Organ Registration l^ECTRIcJliM Marks in a Letter “Organist’s Etude" complete in itself. ORGArn^ It is the ambition of The Etude to make this department t To The Etude:— A sensational development. All¬ As an organist of many years experience I have arrived at the conclusion that the electric action guarantees freedom registration printed on organ compositions, from trouble. Artistically voiced intended to be of help to the organist, does by masters. Workmanship and ma¬ more harm than good. The average organ¬ terial of highest quality. Console ist becomes hypnotized with the idea that standard. Fits any space and every he must use the stops mentioned in order to purse. Prices Getting the Most Out of a Volunteer Choir interpret properly the piece, thereby de¬ stroying his opportunities for developing By Eugene F. Harks his musical imagination and at the same time making of him a very lazy student of $775.00 From this assortment of singers the fol¬ on each appearance by both girls and the instrument as well as a colorless per¬ DIRECTORS or organists who act voices and would prove detrimental to the (choir 3), or by the entire former. Special designs and plans for home as such, frequently are forced to effectiveness of the entire choir. These lowing divisions may be easily arranged. (choir 7). It very often happens that many stops and church. Wicks installations have work with choirs composed of vol¬ tested voices should be assigned to one of 1. Youth’s choir composed of girls, mentioned are not to be found on small unteer members rather than of trained and the three degrees of proficiency enumerated been made in small clothes closets, fourteen .members. Plans of Procedure organs, and the performer who has not salaried singers. However these directors above, which may be designated as good, 2. Youth’s choir composed of boys, developed initiative is disconcerted, not basements or upstairs with a detached S THE YOUTHFUL VOICES * 1 need not feel discouraged, for the situation better, best, and viewed from the standpoint twelve members. A knowing what to substitute on his small console in the music room. Costs no has many possibilities. . new and m. xiK-ricnced in music read I of this gradation. 3. Youth’s choir composed of girls and instrument. Again, many of these regis¬ more than an inexpensive car. Often some of the members of such choirs ing, their parts will have to be taught to I boys, twenty-six members. trations are written in by organists who are new material knowing little or nothing Rounding Up Resources them through a rote practice-drill. The I 4. Adult’s choir composed of women, know nothing about orchestral color, and Easy Terms—Play as You Pay in the art of music. These members must two choirs (1. 2) may be used further in a I IN ORDER to obtain the best result from six members. they can only think in terms of “Salicional, be viewed, irrespective of ages, as mere chil¬ such an array of singers, do not mix responsive manner, one complementary t0 1 AGENTS WANTED * S. Adult’s choir composed of men, Melodia, Stopped Diapason, Oboe, 16 foot dren in the knowledge of music and must these different classifications into one choir the other, analogous to the verside and its I seven members. Bourdon, and a few other familiar stops. be treated accordingly, being kept in a class (the usual method) by grouping all the response: or by employing the girls ala* I 6. Adult’s choir composed of women It is quite probable that many organists, Wicks Pipe Organ Co. by themselves. Other members may possess sopranos together, the altos by themselves, (choir 1) at a distance, as an echo choir to I and men, thirteen members. who follow these registrations to the letter, some knowlegde in music but are lacking and the tenors and basses, each into his any of the other choirs (2, 4, S, 6). HIGHLAND, ILL. 7. Combination of all choirs, thirty- would make the smaller numbers sound far in choir experience, and these, likewise, respective group; but keep each classifica¬ Utilizing the adult divisions (4, 5, () I nine members. more attractive if they would use their own Write Dept. Et. For Free Booklet must be assigned to an individual class. tion distinctively to itself. of the choir, we may well assign to it the I Still other members may be good musicians For illustration: from the voice test for main ami most arduous task of the church- I Any amateur in painting, who would with choir experience, which will prove a membership into a volunteer choir we have service; and this may be done in sundry I blessing to the director and must be the secured the following result: Choirs: 1, 2, 3, to render the melody spend a few hours every week in the fine PIPE ORGANS ways: the women's choir (4) in a singk I art galleries of Europe, could so familiarize For Church, Residence, etc. mainstay of the choir. These classifica¬ 14 Youths (girls), secured from the only. melody line, in a two-part chorus, and in I tions are made in order to allow an easy himself with the styles and characteristics Restorations * Additions Sunday school, with no musical Choirs: 4, 5, 6, to'render the melody, conjunction with the men singers in duos, I Organ Tone Amplifiers and graded class-drilling equitable to all of the great painters that he would in a knowledge or choir experience. also two, three and four part (mixed trios or quartets; and the male choir may g Pedal Board Attachment tor Pianos the participants of each group, and in which voices) harmony. short time be able to pick out a Rembrandt, Several very fine used Church Organs 12 Youths (boys), obtained from the be used similarly in connection with the I a Franz Hals, a Rubens, a Titian, a Mu¬ each member of a class is on a par with same source, without musical knowl¬ Choir: 7, as a grand ensemble. THE DAVID MARR^ ORGAN CO. women singers. rillo, a Van Dyke, a Turner, a Reynolds, another member in the same class. edge or choir- experience. The utilization of these choirs may be With such divisions of singers, choirs I a Gainsborough, and many others; and, 4 Adult sopranos, with some musical varied effectively. For example: by the Selecting the Voices may be placed separately and distinctly I even though in many cases the subject knowledge and choir experience. weakest choirs (1, 2, 3) a hymn or simple alone, not only in tlic choir itself but in I ACH VOICE upon entrance into such would be the same, the treatment would be E 2 Adult altos, with some musical versed-anthem might be rendered; the any part of the church-building and used in I a choir should be tested as to suitabil¬ knowledge and choir experience. totally different but equally beautiful and first stanza by the girls (choir 11. second a responsive manner, thereby thoroughly g interesting. ity in range and quality, and only naturally . 3 Adult tenors, with limited knowl¬ stanza by the boys (choir 2). and the third pleasant voices accepted; because a single- arousing tlac imagination and interest ci 1 Give ten composers of note the identical edge in music, no choir experience. stanza by both boys and girls (choir 3). the listeners rasping or discordant voice will not har¬ 4 Adult basses, with limited knowledge melody to harmonize, and we would get ten If such an anthem or hymn should contain In employing the divisional choirs tins | monize or blend acceptably with other in music, and no choir experience. different harmonizations and all of them of a refrain or chorus this could be rendered (Continued on Next Pagt) I different interest but in all probability pleasing to the ear. Bach gave to the world a monumental organ number when Pipe Organs for the Home he composed the Passacaglia for organ; and, after listening to Respighi’s magnifi¬ By C. J. Zimmerman cent arrangement of this piece for orches¬ tra, I found myself wondering how Bach N THE REALM of musical expression, himself might have scored it. Clothes on I signed and built a product so. that space ations ncessary. There are a number of the pipe organ stands alone ‘in its requirements no longer present a problem, being about five feet square and the bright human beings, are very much like the vari¬ attractive cases where the entire organ is unique individuality. With its mag¬ neither are extensive and expensive alter¬ as low as five feet six inches. In sane in¬ ous harmonizations given or written to the enclosed within them, the total floor area nificent range of tone colors, it represents stances a small clnthes closet is nsed to same melody, all of them give you just a an integral part of our artistic civilization. house the pipes, with the console detached little different feeling, and you enjoy them Indeed, it is the “King of Instruments.” Be and located in the music room or other for it. it used to heighten the devotions of the suitable place. Upstairs installations with Now this is the way I feel about all worship service, for the classic interpre¬ a grille in the ceiling of the room in which melodies, be they great or small. They tation of great organ literature, or for the the console is located, are very effective. can be clothed in different colors, and with pleasure of an individual or family, it Dry basements also prove adaptable organ music the organist should get away stands supreme in its powers for variety of The accompanying illustration sho« from any stereotyped way of coloring com¬ expression. only a console. Much to the surprise of all positions, especially the small numbers; and What nobler service can this instrument who see this installation, the pipes Etude Advertisements are Bulletins of Splendid Buying Opportunities if today he gets more joy out of playing a give than to help to spread a finer appre¬ suituated in a portion of the pantry directly simple melody with the oboe stop, perhaps ciation of musical performance in America? back of the console, and the blower is 0 tomorrow the clarinet or flute will be more KlNNE MEMORIZE MUSIC In a past generation a cottage (reed) organ the basement. By removing a small section sympathetic to his mood. It is said of a Memorizing Course graced the home of almost every music of the pantry wall, into which expression young piano student, who heard Rubinstein ends forgetting x'csso“Tvrtie/ori lover. Then as tbe piano and pipe organ Getting the Most Out of a Volunteer Choir shutters were fitted, and covering the open¬ play his now famous Melody in F, that Marion KlNNE, 1324 So. Lindenwood St., W. Philadelphia,Pa. came into general use, these less resource¬ after the recital she rushed to his room and ful instruments gradually fell into disuse. ing with attractive tapestry, a very stml* {Continued from preceding Page) said, “Dr. Rubinstein, I heard you play The pipe organ did not immediately take and practicable installation was complete1! your Melody in F only a month ago and their place in the home, for reasons of From the foregoing it appears obvW» his entire body of singers, even if only far in a program, all solo effects have been you took it at a very slow tempo and played Which price was probably first. Residence that everybody can afford to install a P'1* amateurs. He will be thrilled and feel ignored. But, with these added resources it softly and soothingly, very much like organs were of course installed; but gen¬ organ. To own a pipe organ has been1* well repaid by the new vistas that will in organization, it is easy to perceive the some of the Chopin Nocturnes, but today, erally this was in the large homes of the dream of thousands, and now this beanh open before him during his experiments. unlimited possibilities of a large choir you played it fast and like a big bravura wealthy. Those of modest means could dream may become a reality. Naturally, a large choir divided into seg¬ divided into small sections over and beyond number; please, which is the correct inter¬ not enjoy such a luxury. ments demands during rehearsals a longer that of a choir kept within the bounds of pretation?” Rubinstein replied—“I always During the past two years the situation duration of time and a greater expenditure a quartet choir (soprano, alto, tenor, bass) ; play that little melody only as I feel it at has changed due to the efforts of ingenious, of labor than a simple quartet form of the for the large choir will possess not only the the moment, my mood determines the in¬ wide-awake organ builders, who have re¬ "Certain hymn tunes xeere design fc. same choir. But would a musician, true solo quartet, if desired, but also numerous terpretation.”—Ward-S tephens. duced the price to a point where a high to promote hearty singing, but to smaller choirs ready for use; and, if a to his art, refuse to devote a few extra grade pipe organ costs no more than an people an opportunity to shout or scrco ’ director will experiment along this line, hours or spend more exertion in his work, "What love is to man, music is to the arts inexpensive car. Moreover, they have de- That teas finking to the loxcfSt for* he will be astonished at the various uses if, thereby, he obtained a fuller and more and to mankind.”—Carl Maria von Weber. paganism.”—Canon Bfjj, Precentor and effects he may be able to elicit from gratifying result? 174 Vork. MARCH, 1936 Organ and Choir Questions

The D, Applet on-Century Company Answered announce the publication of a new By Henry S. Fry. Mus. Doc. Bands and Orchestras volume in their“WholeWorId” Series (Continued from Page 145)

Ho questions will be answered in THE ETUDE unless ccampcmcd by the/uii ,** Their Origin hurriedly secured from New York. It was arid address of the inquirer. Only mit.ch, cr pseudonym gum, mil be publuhcd. necessary to pay all his expenses and salary THE FINEST CYMBALS are of .for three days—yet lie had only six notes Turkish origin. Several Turkish firms to play in the entire concert.- I once' heard SONGS FOR EVERYONE r been asked to play the ornan hurch and enclose list OJ ouii«emn?lve,IO|» ‘".“‘T vein, „ have succeeded, through generations of ex¬ the New York Philharmonic Orchestra ± „„„„ been able to re¬ rather iKd-iissyan in (■bincter°me“t' perimentation, in producing a metal which present a concert at Orchestra Hall in Chi¬ effects certain stops make; l unulions* de Concert..Concert. /,. .Bonnet « numl>c>r combining quiet will give a tone of the desired brilliance. cago. The program closed with Franz hlit if T knew iust ■what all the stops mean lysfgei *itl This important addition to the I could make better headway Mu' oreat very brilliant ones—varied la Other manufacturers have been unable to Liszt’s Les Preludes. This was the only difficulty is varying smoothly the font ana -'-■'-•r •. ... “Whole World Music Series” con¬ expression on the Great Organ. Would it be preceding it.° * °r Ies* numU, learn this secret process or to duplicate it. number in which the cymbal player ap¬ tains more than sixty standard songs, possible for me to secure »ome book on the Consequently, anyone who would have the peared, and then only in the brief but fundamentals of the. organ, at a small cost, majestic finale of this number. Yet, his selected from the repertoires of lead¬ also a book of not too difficult short numbers best should secure the genuine product of which could be used for a church of this one of these well known firms. If possible, work was so effective—almost electrifying ing singers of the recital hall and the Three number* of a -iparkl'lnr^Dhm^T ° ***TI * type reprraeated by Uadi sol toy symphony The Croes-Majelde Studios of Bremer¬ local, and these would vary with different ballads, home songs and folk songs, >dal couples to Pedal any stops In and MUSIC KINDERGARTEN full directions for your guidance. ______WTrel (’•HtllU Improved, complete correspondence course. ton, Washington, constitute one of the most localities. For beauty of tone, mechanical perfec¬ Page Size 9" x 12" some of which are unobtainable in e Great Organ any Swell Organ New features, including certificate. Home of progressive and aggressive music schools Incidentally, the studios report that they tion, ease and simplicity of playing. Since the Great Organ is not world famous Century of Progress Toy Sym¬ Hohner Piano Accordions are every¬ ■„ . ... , anyany otherotner edition. It is a volume that v. * *• > KiopH are not phony. Teachers increase income 100 per cent. of its class on the Pacific Coast. are thriving, with a plenty of pupils. Which where recognized as the finest develop¬ will appeal alike to the concert singer and the teacher, as well as to expressive and a on vour letter (which km to Only $30. Terms. Particulars free. On the back of the little news sheet pub¬ but verifies the old adage—more terse and ment of this fascinating instrument. the student and the musical amateur. Several immortal melodies e made only by-- t - —-.- --- *»r printing lu full) , „u ar BRUCE SCHOOL, Inc. trenchant than grammatical—that “Them . stops; and, as you huve so few stops. It tuo cvnscl-us ..f the-• te-‘-‘technical • aide at pr 63C8 Troost Ave. Kansas City, Mo. lished by these studios was presented the Write for Illustrated Catalog and price list. familiar to musical listeners in instrumental form, have for the first impossible to get smooth effects in rcglstrn- gram making. Try t- » following eye-catching design in type. that give git.” M. HOHNER, INC. time been made available to the vocalist through skilful transcription. °"You Ir ?mightI1?-i5 e«9rfind e?Ithe (ifollowingr«an‘,_ .books , useful. . : 1,1 y°ur numbers a ml ,|_ . Some of the statistics given are, of course, Have you tried it? 351 Fourth Ave., Dept. E, New York “The Organ,” by Stainer-Kruft ; “Organ i to key relationship and so forth TEACH MODERN PIANO Musicians whose discernment concerns itself with finesse in the details Melodies.” by Landon ; “The Chapel Organ¬ ••rlug nn.I pedalling uw sralts, ar- ot editing, will find in this volume many treasures that will arouse en¬ ist," by Pcery ; “Organ Repertoire/' by Orem ; II.* *0 foelb IIS a basis for yourwwt Organ Player,” by Orem. These may . ng of swell pedals and so forth, The CHRISTENSEN Way D° thusiastic approval The aim has been to provide a collection that not ured through the publishers of Tub whl. .lines neeesaltates chnnrss —is you know that it costs $91 only will appeal on first sight, but one that will improve on acquaintance Ully In the pedalling, when It U new-SS? INCREASE YOUR INCOME to 0|M-I| or close the swell shutters. Sons a year to educate your child, whereas -HO-H n£k Will you please indicate the rate of it costs $300 a year to keep a criminal in mpa for l know that my Redeemer liveth Install res where you will And flneerinf We Help You Enroll Pupils PiAno ACCORDIOnS s Handel's"- fuMi Also, where do pedalling Indicated, larlmle "Twentyfow prison? Do you know that only 5% of the criminal COMPLETE CONTENTS r—E. W. Progressive Studies for the Pipe Orna/ class have had any music study whatsoever? Do you — -n the edition of the nri in “Oratorio Whltlng; “The Liturgical Year,” lOrjd know that music is considered the "best mind trainer on Repertoire” (Soprano), edited the list”? Does the superintendent of your schools re- ive’s Own Star (Tango) Jensen, A. poi'ty. the rate of tempo is giv, One Sweetly Solemn e works of Handel Articles on the subject of program bnlld gard the qualifications and the educational , Thought (Sacred Song) Oh Press Thy Cheek Against Mine Own invention of the m- beared In Til* Brri.* numbers of Ji teachers of very Kjerulf, H.Last Night metronome marks, therefore, ‘ March.... 11*27 tDickinson), Jane 19 background of his B h d’ C ' Carry Me Back t0 01d Virginny Lassen, E.. . Thine Eyes So Blue and Tender ami Octoli- 11*34. The first two are great importance? Why have standards As the Night available. L.„. , raising so rapidly ■ Sapphic Ode Lehar, F.. Waltz, from ‘‘The Merry Widow” sunFly doneain public for teachers been Villa, from “The Merry Widow” performances Svrith "m Mr The accents from the publh years? Should not Chaminade, C. .... Madrigal Leoncavallo, R.. .Arioso (From Pagliacci) fall naturally on the n the subject of Church the past few Liszt, F.....’..V.l ..Love’i word “upon,” and o "Haste sad Religion,' qualifications for the music teach- deCurtis, E.Come Back to Sorrento Massenet, J. Mystery interpretation sugge with the same care? deTejada, M. L.Faithless er be regarded Elegt quote is as follows ; Dickinson ; “Protestant C What standing does she hold? What c, A-Songs My Mother Taught Me TT" Is ixina,Kind, He Is Good Music l„ Am. ’ i." Davison: Requiem for Yesterday (Largo from ‘Herodiadeilerodi" \ Sing." Nlchobo recognition does she have from her New World Symphony) Mendelssohn,ussohn, F. fellow teachers? What does she do E1SAr, E.Bright Is the World OnRwJ lD th! c°r<1 (from Elijah) now to keep herself Fibich, Z.Mountain*Stream (Poeme) up with rapidly Folk Melodies Negro Spirituals 0- The eh urrh for which / plap is nal The^Crimson Sarafan (Russian Folk Deep River plans for installing a tiro manual Istraii changing conditions? Nobody K rs de Trouble I’ve Seen pipe organ to cost about SJ.Stt. What tt Qo you take advantage of the many Does she use methods Dark Eyes (Otche Tchornyia) (Rus¬ Paladilhe, E.... Jlcation would yon recommend for as or sian Folk °-- .PsychS in keeping with the .. Bedouin Love Song of this site for a chnrrh seating nbost i excellent merchandising oppor¬ day or does she teach Rachmaninoff, S. Kindly explain the follow--- • .In the Silent Night i 811, M-S, F it* tunities which ETUDE Advertising your child in the same Etude Advertisements are Rimsky-Korsakow, N. organ: V-1S, S-PI Bulletins of Splendid Buy- An Old Refi Hymnviiiu tolo mesunthe Sun (from LeCoJ and profit it should be The following® may’ mTyoS some^i j8"1"”81”* pedals foi . on upright is approximate costt—A. H. T. D. APPLETON-CENTURY CO A. We do not know of any firm no*,InL 29-35 West 32nd St. Ing n specialty of building pedal board* New York, N. Y. attachment .to piano. The boards might "J Andante Cantabilc as brilli^.t; secnrml from our nearest organ bnilder .A Quiet number of rn thVr' V’i.*" If]or If attached hr i praetical organ Bjeeh*“j,4 ? with conservative stvio foik «onjr type Occasionally used pianos with pedal Clair de ltne y °f har»lf>nization. ^ are available and we are sending yea .Karg-Elert tional information by mall.

THE ETl'M it will be for him to produce pianissimo. bow without varying the volume or quality, He will also be conscious of the fact that and this through the gamut of volume, SPECIAL RELEASES. the more he slows up this motion, the more each tone being bowed several times at difficult it becomes to keep the tone free different speeds. THE VIOLINIST’S ETUDE of hoarseness and other irregularities. In other words, the tone in all its Hence the deadening monotony of tone phases: volume, pitch, quality and duration, ROSE-MARIE—INDIAN LOVE CALL volume (not. however, without distressing should be at all times under perfect con¬ Edited by variation in quality) which characterizes trol. This ideal state can only be attained CHINATOWN. CHINATOWN the performance of the less experienced through the channels above outlined: per¬ ROBERT BRAINE MY ISLE OF GOLDEN DREAMS violinist fect tools, in perfect condition, perfectly NEW MODERN STUDIES It is the ambition of The Etude to make this department a “Violinist’s Etude” complete in itself. adjusted and perfectly used. There re¬ Control the Bow Pressure mains a word to be said concerning the Accordion Harmony—By P. Deiro.75 AS IT IS PRIMARILY the variation use of such ornaments as vibrato, col legno, . in pressure or weight of the bow upon pizzicato, and so on. Rightly regarded Key to Accordion Harmony—By P. Deiro.50 the strings that varies the tone volume, they are condiments, and like salt, must intense care should be given this depart¬ be used sparingly, else they cease to vivify The Art of Muscular and Finger Control— ment of the study, with the end in view and become nauseating. This applies espe¬ By Frank Saviani.1-00 Left Hand Adjustment to be able to stroke the full length of the cially to vibrato! And Others. Send for Circular 2326-E 0. PAGAN I & BRO. 289 Bleecker St., New York, N. Y.

By Vaughan Arthur Accidentals in the First Position on the Violoncello IN THE EARLY stages of violin train¬ meet the string directly on the tips. Silent Practice the lower shoulder of the neck, the b!| By Joseph Suter ing we are forced to compromise with The first finger must, however, be slight¬ HAVING PLACED the four fingers of the thumb resting between the upper an unavoidable awkwardness in the left ly tipped or slanted back to its outer edge on the D string, E, F-sharp, G, A, and lower plates on the rib. This »ni To the beginning violoncellist, who has wheti the second finger is spreading for¬ arm and hand adjustment necessary to the to avoid contact with the second finger raise all but the third at an equal height force the elbow to the right in passing tfc concentrated carefully on the first few les¬ ward to reach C-sharp, the thumb must objective, which is' to secure ease of bow and to assume a straight line with the hand. and on a line with the string. Hold this right shoulder of the instrument. sons, a passage in the first position such as: likewise be shifted forward so that when movement. See that the middle point of the first finger position without movement while counting For the seventh position see that theedge C-sharp is sounded the thumb simultane¬ The position of the left arm and hand, is parallel with the fingerboard. With this eight slowly. Now repeat, holding only of the upper plate crosses the ball of fc ously contacts the neck directly beneath TEACH POPULAR SINGING together with their action, must be in every adjustment the forearm and wrist should the second down, then the fourth in the thumb only and that the tip of the thumb the second finger. respect subservient to bow movement for a form a straight line with the hand. same manner, and last the first. This rests against the lower shoulder of the In performing an expansion in this man¬ (Est Itfyrs.x Sod|ft'ai‘n?Kan8arcnyTMo. realization of tonal beauty in its many The wrist obviously, when straight, will arrangement is in their order of difficulty, neck. ner the entire hand tends to reach away phases of nuance and accent. be free to move in all directions. If these In advanced work tlie land should and will give control if constantly persisted presents little if any difficulty. But should from the first finger which remains snugly Not only are we obliged to accept this points are observed, the elbow will be be¬ never come in contact with the body of it be altered by the introduction of a C in contact with the string and, like a minia¬ hindrance to arm and hand, but the first neath the center of the instrument, which the instrument. sharp and a D sharp: ture anchor, governs the extent of the School Music Collections finger in the first position is of necessity is the pivotal point of the elbow, allowing Finger Stroke spread. If the hand seems reluctant to cramped and the fourth finger too extended All clarinet and cornet parts for Bb instruments ^iano™ Other for movement in all directions. HE FINGER STROKE might be make such a movement freely it is because for its size and strength. This condition T The All-Powerful Bow Books published for saxophones part Books The base of the first finger while play¬ the first finger has remained bent during is somewhat relieved as we ascend the likened to the effort and effect of Columbia Collection of 120 Patriotic and Favorite Home Songs.Orchestra .50 .50 ing on the D and G string should touch TO PARAPHRASE an old adage, the process. Allow it to straighten com¬ fingerboard. At the same time in the snapping a whip lash with perfect relaxa¬ .Orchestra, Band 1.00 .50 without pressure the neck of the violin. "The bow is mightier titan the viola.' pletely as the hand is spreading forward higher positions the arm is forced more to tion as with the lash at the end of the Band Book of Clas: On the E and A string, however, the base With the bow rests the living voice of and no difficulty will be experienced. the right in passing the right shoulder of stroke. This stroke to be the same in the the problem of the “stretch” or “expansion” Band Book of Mil of the first finger should leave the neck the violin in all its beauty. A variation of Ex. 2, a form of the “ex¬ .Orchestra, Band, Saxophone Bs the instrument. lifting or up stroke as' in the down, as is encountered. Jacob Concert Album... slightly to allow freedom of first finger. The instrument in the left hand is but pansion” more commonly met with, is: Orchestra, Band, Saxophone Bs It is also essential that the left shoulder though there were two fingerboards to be This latter passage, because of its two Jacob The thumb in its natural position on the a vehicle of adaptability, a medium cer¬ Evergreen Collection o is Old Songs.Orch., Band, Sax. Ba md be free and flexible for ease of shifting, struck—one above and one below. neck will be slightly in advance of the tainly exacting and difficult of mastery tot accidentals, is likely to impress the begin¬ Folio of Classics, Vols. .Orches and to that end the violin should rest on first finger and resting in the joint. A subordinate to every requirement ci ner as being somewhat “formidable” and Jacobs’ Folio for School Orchestras, Vols. 1, 2 & 3.Orchestra .75 the collarbone, not on the shoulder. If Fifth and Seventh Positions slight bend inward of the joint opens the naturalness and case of bow movement. cause him to make the common mistake of Leaf Collection of Standard Marches, Vols. 1, 2 & 3.Orchestra 1.00 a pad or cushion be a necessity, it should palm of the hand aiding freedom of fingers. T IS A COMMON practice to favor The bow action and the right hand and straining his fingers as widely apart as pos¬ Jacobs’ School and Community Band Book, No. 1.Band be placed just under the collarbone. The I K. B. Hall’s Band Book of His Most Famous Marches.Band The thumb joint must at all times' be flex¬ certain positions in playing, for their arm control may be regulated to perfect sible. However, any such effort is entirely violin held on the shoulder is subject to ible for shifting. recognized convenience; namely, the first, naturalness and case provided an adequate unnecessary. The notes comprising this passage are To Music Supervisors: Send us your name and permanent address, together with your p disturbances from the moving of the shoul¬ Do not have the little finger too curved, school location, and we will mail you free miniature solo cornet or 1st violin parts to these third, fifth and seventh, and it is well to method be employed. With the left hard A brief glance will show that the two relatively the same as those contained in der while playing. to avoid cramping the other fingers. WALTER JACOBS, Inc., 120 Boylston St., BOSTON, 1 make of these four positions definite points and arm. unfortunately, a like naturalness passages employ the same fingering, and Ex. 2; they are, in fact, Ex. 2 transposed This adjustment is for the first three that, as regards intervals, they differ in a half-step lower. But, there being but one JACOBS’ BAND MONTHLY and JACOBS’ ORCHESTRA MONTHLY, $1.00 per year. . Preparing for Silent Practice of mechanical adjustment from which to cannot be realized as a certain constraint positions only. only one respect: Ex. 1 contains a half¬ calculate and fix the intermediate positions. caused by the very manner of holding the accidental, the alteration in the position of LACE THE FOUR fingers on the D The fingers should remain extended at step followed by a whole-step; Ex. 2, two P To fix the hand in the fifth position it instrument, is unavoidably present. In the left hand is much more simple. The string, E, F-sharp, G, A, leaving the A an equal height on a line with the string, consecutive whole-steps. Consequently, the becomes necessary to pass the right shoul¬ consequence, a method must be employ'd first finger alone is spread backwards. string free to vibrate with this placement. the center of the fingerpoint meeting the latter requires only one simple alteration der of the instrument. To this end, place which will overcome as much as possible Make the movement by straightening the ~ are YOU receiving The second, third and fourth fingers will string when placed. in the position of the left hand: fingers one middle point. The left thumb, of course, the thumb in the bend of the joint against this awkward position. and two must be spread apart until they remains stationary in this instance as the are stopping a whole rather than a half¬ position of the second finger does not step. I use the word “spread” in prefer¬ change. ence to “stretch” as the first and second A very profitable, if not exactly musical Seeking Tone Treasures fingers of any normal hand are so pliable exercise, is to play Exs. 1, 2, and 3 in the that if actually stretched they can encom¬ following order: SCHIRMER’S By Howard H. Edgerton pass, with comparative ease, a minor third not merely a whole-step. Ex.4 As for fingers two and four, they can al¬ THE GREATEST treasure in the to the question of intonation itself. As Announcements of New Music? angle of forty-five degrees, solely with its repertoire of a violinist is a golden with the voice, the pitch of any note may bridge until, for the last or highest two. ways accomplish a whole-step without You should be —and can be —merely by tone. As with any instrument, tone be altered while sounding, but this prac¬ ’ .makes, a harmonic or a squeak, and for the highest natural tone on the E strain, whether it be C to D as in Ex. 1, production on the violin is highly syn¬ it needs resm; otherwise not. or C-sharp to D-sharp as in Ex. 2. sending Us your name and address and indicating the type tice is deplorable and destructive. Some string, the bow is a half inch from the By playing this exercise also on the D, of music in which you are particularly interested. You will thetic—a vast number of things enter into violinists acquire the habit of fingering bridge. Harmonics should be bowed as The left thumb must also be considered The Mighty Bow in the expansion. Its position on the under¬ the G, and the C strings, every accidental then receive (without cost, of course) frequent information it. Among these are the quality of the some one or two notes regularly a little for the second and third positions. regarding the latest and besHmjsic, teaching methods, r‘- instrument itself, the type of strings used V\7E HAVE CORNERED the elusive side of the neck should always be opposite (or its enharmonic equivalent) which cah off and then rolling the finger one way or Some teachers advocate, for the higher occur in the first-position, is encountered. ve havhave your name NOW? and the condition of the bow. These three another after the note is started to alter of h pFoblem >n th.e all-important phase strings, "feathering” the bow, that is, bow¬ the second finger. Therefore, in Ex. 2, items are, perhaps, the most important and the pitch. Which means that any listener ing it at an angle (tipped away from tto made or murdered? desphe^the £t £ssible G. Schirmer, Inc., 3 East 43rd St., N. Y. ^/y / most deserving of the student’s considera¬ capable of judging the tone has his mind performer) so that half, or less than tan- tion, since without a high standard in all acutely and painfully distracted from all the hairs come in contact with the string- SCHIRMER’S: You may send me your announcements concerning new three even a great artist might fail to elicit other matters to that of mentally editing all They also maintain that the angle show A Musical Blackboard music. I have indicated below, the type of music in which I am interested. good tone. And because of their impor¬ succeeding notes for correct pitch. So the slowly right itself in descending degree as tance—because of the absolute indispensa¬ violinist should acquire almost infallible each contiguous, heavier string is reach®- bility of excellence in these phases—we should remember that a rone hanot-.w By Ada E. Campbell fingering. As a matter of fact, “feathering” should be ignore them, and take for granted that the Pupils often ask how tight they should ™,T',ly “f P°lm’ ^30^ employed equally for all strings, depending pupil in search of purer tone has equipped screw the bow. The correct answer is, most easily and naturally made to swine An idea which may be used for the student draw the staff, treble clef and mu- himself with a well-made, sound violin upon the volume required for any one note small violin pupil is 'the musical black- sical signs; let him copy a scale and then VIOLIN_Other Instruments___ “Tighten the nut enough to avoid the two Of c^set f-6" aCtUK?ed at hs center the most acute angle being used for the using the best strings and with a flexible, extremes: very loose so that the wood v „ir . ^ impossible to bow evartlv board—just an ordinary little blackboard read from the blackboard instead of his straight, well-turned bow having excellent halfway between the “points of suspension” least volume, whether on the bottom stnng set up on an easel to be used either in the music book. He will get a thrill that will touches the hair at the slightest pressure, or the top. (Are You a Private_or School_Teacher? hair. And we turn our attention to that studio or the pupil’s home. Have the keep him interested. send and very tight so that the bow loses its In the ultimate perfection of a violinist for which the performer himself in produc¬ flexibility. A shade nearer the tight side speed of motion in bowing should mare in ing a good tone, is directly responsible. is about right.” absolutely no difference in either the qnab your Of course, tuning is next in importance. Another question frequently met with is ity or volume of tone, but until the pbf® Any symmetry of tone is immediately lost that concerning the use of resin. Resin name reaches that stage lie will be aware that in a “sour” note, that may or may not be is used solely to create friction. If the NOW unless he has supernormal control oft® Schubert’s place is among the romantic composers but he is more individ¬ caused by careless tuning; which brings us bow, drawn across a steel E string at an ually poetic than scholastically romantic, though the distinction cannot take PO".io„, bow proportion*,,;!' ££*£ actuating muscles, the greater the spe« 178 or the swifter the stroke, the more his name from the rolls of the romantic school.—Thomas Tapper.

THE ETlrt MARCH, 1936 VIOLIN QUESTIONS Answered What Happens m the Prompter's Box By Robert Braine A YEAR, or more, ago The New opera, except some chorus singing during Earn A Teacher’s Diploma Yorker, certainly the smartest thing the Bacchanale, are 'Geliebter, sag’ wo Ho question will be answered in THE ETUDE unless accompanied by the full name in contemporary weekly journalism, weilt dein Sinn? by Venus. Half a measure and address of the inquirer. Only initials, or pseudonym given, will be published. , re or abroad, published an article upon before this, Vajda pointed menacingly at Venus (Karin Branzell) and Venus looked > the Violinist’s Etude t the trials and vicissitudes of the operatic prompter, which gives such a graphic pic- at Vajda, and at us, too, we guess. Then or descriptions, . . V these, the tell "them if the violins are genuine, and t, ....regret Le of what happens in the little round Vajda said, in a voice that upset us for the writers ask us tt s impossible. The actual t— ivim -— •••--•must be-- examined.-—turned. The r,j -—* i say that t'~‘~ t and no indication of the real m cupola that we have persuaded them i rest of the evening, ‘Geliebter!’ A split ..... permit us to reprint it 11n The Etude. second later, watching the mirror, he s of The Etude and other musical pub snapped his fingers smartly. His snap, A Bachelor’s Degree he PROMPTER at the Metropoli¬ li cations.) T Venus’ ‘Gc—,’ Bodanzky’s down stroke, and tan doesn’t just sit in his little box the orchestra’s beginning note were per¬ and wait for some singer to forget a line. fectly synchronized. As Venus began to A d?®c“ wMir;«ot having violin PlajfrolSpSitioMS He prompts all the singers all the time, sing the concluding word ‘Sinn,’ Vajda snapping his fingers and hollering at them. shot out a finger at Tannhauser himself Why should I study this summer? In every community there are ambitious men and women, who know the vioiJns^of'the’oid'and1 modern vfoi^maker* taking lemon* aV'flrty thw.^dTt™*1 We were sitting with him, scared and still, (Max Lorenz) and said, just as loudly as advantages of new inspiration and ideas for their musical advancement, but SL2eJJrita Cis>Uof ereat^urest elysu”h lcon- you HITveStarted to'»tudy'th^vWinTt all through ‘Tannhauser’ on the second before, ‘Zu viel!’ The synchronization There are many reasons for sum¬ Private instruction in Piano, Still neglect to keep up with the best that is offered. lests have VeVfaSy common in Eur p. V« u •*« £«.»»?«? are ,,i,*^ Voice, Violin, Organ, Cello, Wind Ihe inter- night of the new season. Frederick Vajda worked again—perfectly. The line was mer study. To get out of a rut— They think they are too busy to study instead of Utilizing the precious £on test^nrParis*was "heldh/a’ large theater, vaja. »ui-ha* from F to II. on was the prompter that evening, and it was ‘Zu viel! Zu viel! Oh, dass ich nun seek new material—modernize Instruments, Theory, Composi¬ flrBt Anger down a/aboild^ minutes each day which now go to waste. ?nd drew afr1££sea^u“5£rt£| woV/d.8’ Among done, wiu ■ut ronntant practice from child! obvious to us that the whole opera would erwachtel’ methods—round out training— tion, Dramatic Art and Dancing. The most successful musician is always busy. The demands upon his time the ^number r*th.in- » moment without his mirror. ‘Go up and When Tannhauser, in the first act, leaned you may be able to add Seventy-five teachers available Theory, Composition, Play Pro¬ The Increased Demands for DEGREES have Resulted in &.TJS^J&“vtou’n \nTurnbyinXsH\bl sit in my chair,’ he said steadily. ‘Pull the too hard against the rural cross and it duction, Microphone Technique, rope at the left when you sit down. Turn seemed for a moment that it was going to through entire summer. Series Larger Classes for the ADVANCED COURSES offered by the SXhfa off* so‘fh[,t the iSdieiee“::uid''n^ and many others. the switch at the right. Watch the mir¬ topple over, Vajda shouted ‘Pass aufl’ and of 18 free concerts and recitals. UNIVERSITY EXTENSION CONSERVATORY. S«JnUonTnnd<',’!r n piuy your U«!udili*«n/od violin teacher if We felt a little easier. We turned the is still a fairy tale to us. There are two teachers for better positions. And the service offered to teachers in our classes limited in scope. Possibly Henry Ford, the you possibly ran. Detroit motor magnate, might be interested switch and two small hooded lights went other prompters at the Metropolitan be¬ continues long after the diploma or degree is awarded. This is an age of special¬ sides Vajda—Otello Ceroni and Armando ization and the specialist is earning fully double or more the salary of a musician in such a project, ns he is greatly interested The “Greatest Violinist.” on in our box. We found that we were m the violin, and has a valuable collection J. II. tV.—There Is no snrh thing as the facing the stage, with our eyes on the level Petrucci. Each of them knows all about with only a general knowledge. Openings in the music field are growing very of Cremona violins. •greatest violinist in the world." that Is. no rapidly There are big paying positions for those who are ready for them. Violin Hi,. mug Hollolsl Who U universally admitted of the floor and our back to the orchestra. opera, having conducted, or sung, or stage- VIOUB mnineoMoiis. to lie the greatest hr eerrelnlr Tnln li directed abroad. Petrucci, who doesn’t A Diploma is the key to the best teaching positions. Do you hold one? . I': '•■ —Sinn.' ,,f the best Stradivnrius all Vajda had set up the mirror on the stage violins were made with tops of Swiss pi.. muni lo er Id |cr the grestest a few inches in front and to the left of the speak English as a language, prompted Our Diplomas and Degrees are Awarded by the box. In it we saw behind us Bodanzky on ‘Peter Ibbetson’ the opening night in Eng¬ AMERICAN the point of starting the overture. Before lish. He knows what words to shout and Authority of the State of Illinois we did anything crazy, Vajda came up and when to shout them, but he doesn’t know s up 5 YOU. On your o vou xm joined us, still calm and brown. We were what they mean—honestly, they told us. self for ip to YOU. On your own decision will rest your future success. Fit your- nt<1mffee™ilret-s,0,1“ -of -hls ^trumentiT slightly New YoH^sta'dfum CONSERVATORY a bigger position—demand larger fees. You can do it! You can easilv and manv*h™iLtlmes -dVnns h.,!? Iif,‘- There are nrtlst drew auiltei clothed in gooseflesh. He squeezed into the Ceroni, who knows English very well, quickly fit__ __-.yourself right0— at—_ home through Extension Courses. 7 d help7you* lome of these aareSevnhl, hi wnH,s can be obtained through Tm Eti-di lin you mention, and apparently the maker The Etude Music Magazine Wow is the most opportune time to clip the coupon below. It will bring youvou la of no special note. However', an Italian The Wheels Begin to Move CHICAGO 50th SEASON information about our lessons which will be of untold value. So don’t waste The Young Violin Teacher. violin, made by a reputable maker, should T The World’s largest, and most highly another minute. Take advantageaHvanton-p nfof VnnrYour nnrtnefi,«u..Opportunity. , Every young violinist, upon enter- you paid for It. When you visit some of the THEN WE saw what a prompter has ▼ respected musical publication. ,«>nnot remember"exacHy ^rts! d show It to some of the violin el¬ tught you many years opinion. and violin dealers, and get their whata?o d^next^^th™^7" " loss to know DEGREE—MASTER OF MUSIC 11 Tm W* -mr% TO SUPERVISORS OF MUSIC, SCHOOL MUSIC DIREC- University Extension Conservatory stage There* seems th b< P .‘ ‘ re ,Z‘sa »e a High C_ which train-- their■ — -- violinvrauu graduates ho'w 'tri R‘ ,, \OT the violin student with ai ll K \j U4. TORS, AND BAND AND ORCHESTRA LEADERS, known DEGREE—BACHELOR OF MUSIC DEPT. A-47, CHICAGO, ILLINOIS teach, v’--—Some conservatories^- do have violin SMfn nrrtf»«c*teacher training classes where an experienced high chin rest, also a very thick cushion to to us as such, or who properly identify themselves DIPLOMAS—TEACHER’S CERTIFICATES professronai teacher gives practical instruS b.° under the coat lapel against the Th re ^ ?, nr ipl,,«8 of violin pedifgogv ?lln"1,,or- Y<"> will have to experiment with 128-PAGE BOOK containing 124 Optional 1st Violin Parts (complete, and entirely in the Trachpre LUmtIe '>,ookIpt- “A Guide to New thp*e so a8 to Rp| «*‘p Proper results. Under Authority State of Illinois UNIVERSITY EXTENSION CONSERVATORY, Dept. A-47 1st position) to the Walter Jacobs Standard Marches and Galops; and/or Langley Avenue and 41st Street, Chicago, Illinois. 64-PAGE BOOK containing 141 Conductor-Solo Bb Cornet Parts (full size) from the Thorough preparation for concert, radio, opera and teaching posi¬ Walter Jacobs Band Books; and/or tions. Many special features, weekly recitals, concerts with full ; catalog, sample lessons, and full information regarding course I X hplow teaSchmby “selvfn^as1’^1!8! haVe learnpd to '!"llnh T,'D inrlirntes the importance they orchestra, lectures, school of opera, training in students’ symphony teachers7 ThevV™ S84?n,s to their own Jttach to this lit lo post In its effect on the 48-PAGE BOOK containing 51 1st Violin Parts, some full concert size, of the Walter orchestra, bureau for securing positions. □ Piano, Normal Course Trumpet „ . ^ ol'Slf ,h,‘ vi",in- Jacobs Overtures, Suites and Selections, mostly of medium to very easy grade. Instru¬ for teachers 9u,tar . . th! watchful eyeeaofln^eirh<’2,SPlv(‘8' u'ndpr Teaching. mentation includes Eb Alto and Bb Tenor Saxophones. Clarinets and Cornets for Bb Ear Training and teachers have assistants who eft. .pome ' .11 a in d -- mtm of violin □ Piano, Course for Stu¬ instruments. dents Sight Singing their own—beginners a^d even® l"n"' attained -- - SUMMER MASTER SCHOOL History of Music □ MandolinMondnlln S S P>'P»s. The master^tea If' .V.1'va:""•> I2ISI L“J—.—-hr Cni.etlUnited States,States. particularly in To All Others These Books Are $1.00 EACH □ Public School Music Choral Conducting achool music, the weak point is that Three Summer Sessions—May 14 to June 24, □ Harmony □ Saxophone ---e attention can be paid to each pupiL Please supply your permanent address and present school □ Piano Accordion the earlier stages of teaching, at least, □ Adv. Composition teacher should Tie permitted to confine his location (if any) and indicate your musical status. June 25 to August 5 and August 6 to September 16 attention to a single pupil, if the job Is to ITiJ .T in an artistic manner. I-ntcr on- One Hundred Twenty Artist-Teachers when the pupils have been taught individ¬ WALTER JACOBS, Inc., 120 Boylston St., BOSTON, MASS. Name ..... Age . ually, and know something of violin technic, Jneobs’ Band Monthly and Jacobs’ Orchestra Monthly, $1.00 per year, each. Htey can play in classes or groups with great Special Summer Courses in Public School Music, School of Opera, School Street No. ItaSlian\oU^ mutual benefit. of Acting, Children’s Musical Training, Class Piano Method (Oxford), •" Italy In ‘ Theatre Organ Playing City . . State . Grip. How long have you taught Piano?. How Used and endorsed exclusively by such Send for free catalog. Address John R. Hattstaedt, Manager many pupils have you -ads: ‘'Aloys!hVaarbceo1n^r- -star**PB°o^^.7,?J.i(!l? JlSoHE masters as Bauer. Gieseking, Iturbi, now?. Do you hold a Teacher’s Certificate? . Have Lhevinne, and scores oi others. Hear AMERICAN CONSERVATORY OF MUSIC . Have y0U Seventy. S and play the new Baldwin. You'll studied Harmony?.Would **&& & in • you like to earn the Degree of Bachelor k«Pl«y£^SjSoSSSSTSl.a T5? SKmS 575 Kimball Hall, Chicago, Ill. of Music?. TODAY’S GREAT PIANO BALDWIN PIANOS • CINCINNATI 180 ens, or even earlier. Thus they have had 1? pla<4 ”*• tbp frog an,S scrpw nr" pat march. 1936 181 THE ETUDE ■

QUESTION AND ANSWER DEPARTMENT Conducted by Karl W. Gehrkens CHICAGO MUSICAL COLLEGE Professor of School Music, Oberlin College Rudolph Ganz, President Harold E. Ray, Business Manager Musical Editor, Webster New International Dictionary

Courses leading to degrees Bachelor of Music, Bachelor of Music Education and Master of Music, with major in all the instrumental departments, in voice, theory, composition and Public School Music.

1936 SUMMER MASTER SCHOOL

First Session—May Nth to June 20th Major Session—June 22nd to August 1st Third Session—July 20th to August 29th

In addition to the regular faculty, several nationally and internationally known Master Teachers will be engaged for the Summer Sessions.

SPECIAL STUDENTS MAY ENROLL AT ANY TIME

Write the Registrar for Summer catalog and infor¬ mation on special courses.

Chicago Musical College

64 East Van Buren St.

Chicago

HIGHER EDUCATION

IN MUSIC

• jaguar. fully recognized. Bachelor of h

For catalog and literature write ARTHUR C. BECKER, Dean ROOM 400 • 64 EASTLAKE • CHICAGO SCHOOL OF MUSIC

A professional school 3SMOPOLITAN in a university environment SCHOOL OF MUSIC For Free Bulletins Write to SHIRLEY GANDELL, V ‘ ~ ' SCHOOL OF MUSIC 1830 Sherman Avenue Evanston, Illinois NORTHWESTERN

UNIVERSITY

MILLIKIN CONSERVATORY OF MUSIC DECATUR, ILLINOIS LAWRENCE COLLEGE Offers thoro training in music. Courses leading to CONSERVATORY OF MUSIC Bachelor of Music Degree. Diploma and Certifi¬ cate in Piano. Voice. Violin. Organ. Public School Music Methods and Music Kindergarten Methods. Bulletin sent Jrte upon request W. ST. CLARE MINTURN. Director

183 VOICE QUESTIONS Established in 1857 Cutting those Gordian Knots of Music Chicago Conservatory is Answered By Laura R. Balgue EASTMAN SCHOOL OF MUSIC America's First Music School By Frederick W. Wodell Distinguished, faculty of 165 of teaching all branches of Mo auestions will be answered in THE ETUDE unless accompanied by the full name Zd address of the inquirer. Only initials, or pseudonym given, will be published. The University of Rochester Howard Hanson, Director Raymond Wilson, Assistant Director

This is an endowed institution of The orchestra of 110 students, national scope offering courses in band, ensembles and chorus broad¬ all branches of music. The recog¬ Public School Music, O. E. Robinson; Piano cast over NBC system, Thursdays, nized University degrees, B.M., Normal Courses, Edgar Brazleton; Special 3:15 P. M.,; E.S.T. M.A. in Music, M.M. and Ph.D Repertoire and Interpretation Classes, Glenn in Music are granted. Due to limited enrollment early Dillard Gunn and Edgar Nelson; Band, George De Witt; Dramatic Art, Class Piano Library facilities, physical equip¬ registration is advisable both for Normal, Theory Classes, under the direction ment and University affiliation af¬ summer and winter sessions. of expert teachers. ford unusual opportunities for graduate study. The Placement Bureau has avail¬ able candidates for professional THREE SUMMER TERMS Several yearly concerts enable positions and for teaching in col¬ First Summer Term—May 11-June 20 composers to hear own works per¬ formed. leges, public and private schools. Major Summer Term—June 22-August I Third Summer Term—Aug Summer Session June 22-July 25 Fall Session Opens September 22 Fall Term Opens S For Information and Catalogs Address:

Write for Catalogue A Arthur H. Larson, Secretary-Registrar Eastman School of Music, Rochester, N. Y. Chicago Conservatory is a Provisiona if National Association of Schools of Music - JUILLIARD SCHOOL OF MUSIC — OBERUN CONSERVATORY a. —»... * ....* ii. ,**. John Erskine, President 1 k x , i » i . was talking with me in a studio of 3 • '< I may teach music JUILLIARD SUMMER SCHOOL ; of M U SIC “!!?„'cCi"eqD"rolt w' wer' <“sc““n8 in"" p"k,ic M George A. Wedge, Director July 7 to August 14, 1936 Instrumental and vocal courses he confessed. ‘‘I thought a degree was a sol I teachers. But one is young and Theory of music and composition degree, and that was that. Now, after enthusiastic, and a trifle likely to be im- Music education ^>br Qlrbelatti JnstitHtr nf (T)uait Special department for high school students Lecture and demonstration classes meeting twice weekly r of Music Degree, Pi Voice teaching methods and materials. .... Fraser Gauge Piano teaching methods and materials.Guy Maier Violin teaching methods and materials.Louis Persinger Church choral music and accompanying.Hugh Porter Modern orchestration and harmony..Roy Harris "The Gist of Music”. George Wedge Form and interpretation... George Wedge SCHOOL OF MUSIC .,. Layman’s Music Normal Course.Harriet Johnson OF THE UNIVERSITY OF MICHIGAN because5 For catalog address «■« , 130 Claremont Avenue Room 221-M New York, N. Y. tTonserd atortt ifTHusic JS&mes: Affllltutufh VnMerbtr N SKm“tl Association Schools of Music MILLS COLLEGE Near San Francisco, California | Sum&rSe£on J Prescriptions for Specific Faults k SUMMER SESSION of MUSIC—June 22 to August 1 (6 weeks) Complete Curricula Leading to Degrees in All Branches of Music Faculty of Distinguished Artist Teachers ATLANTA -.P^rrYYr ■ Guest Teachers CONSERVATORY of MUSIC Marcel Maas noted pianist and teacher of Brussels, Belgium Pro Arte String Quartet of Brussels, Belgium

A residential summer school for men and women. Dormitories on cam¬ pus. Many recitals and concerts. Summer or Winter bulletin on request.

Address—Luther Brusie Marchant PIANO TEAC 1936 BUIXETINS Dean of the School of Music 85th Year Mills College P. O. California I fationalJPiano-PIaying Tournament NATIONAL VuiLD OF PIANO Zoellner School INSTITUTE OF MUSIC OF MUSIC AND FINE ARTS 2100 S. Western Ave., Los Angeles, Calif. long Beach. Calif. Courses in Piano, Voice, Violin, Cello, Organ, SUMMER MASTER CLASSES Theory, Dramatic Art, String Ensemble SUMMER SESSION—JULY, AUGUST, 1934 Folder on Request—Dormitories. FOLDER ON REQUEST Free and Partial Scholarships Awarded

march, me m THE ETUDE 187 THE MARCH, 1936 World of Music "Good INSTRUCTION WHERE SHALL I GO (Continued from Page• 130) SPECIAL NOTICES ‘QW Music on Pian0j Voice, Violin and Publisher AND Develops all other Orchestral Instru- TO STUDY? Culture” ments. Harmony and Com- ! posi Coui :rpoir ANNOUNCEMENTS Individual Instruction for beginners lr,at,lon of Music Clubs> was solofst wl“ he j or advanced students. Moderate Philadelphia Orchestra on December 6th ed 5 Private Teachers Tuition fees. Dormitories—Branch ^h, when he was enthusiastically applai 3 Schools. f°r his interpretation of the Concerto 11 A, " (Western) > SPECIAL NOTICES „ ' , j. , „ . for Violin and Orchestra,” by Mozart. s ARCH BAILEY ; J Courses leading to the Degree of VIOLINS! Thompson, 1788 & ,,*<• „ Bachelor and Master of Music. 8‘ M Distinguished Baritone and Teacher of Singers, „ essier, 1800; others. Bows: Dodd. Prelf1^ Pupils may enter at any time during others. All fully guaranteed. R w V"a I Oratorio,^ C^orroer^ancT^ovie^ Engagements. I rler, Elizabethtown, N. Y. ■ f er- the year. phia, prize of one hundred dc en , 1541 Westwood Blvd., Los Angeles, Calif. Advance of Publication No High School Education t _ awarded to H. P. Hopkins, foi of « Phone West L. A. 31548 WANTED: Financial assis^rTTV Offers-March 1936 quired except for the Bachelor and| ■Moonrise for women’s voices. Easter program Master of Music Degree Courses. l VERA BARSTOW ssvssvn aa ?£« been completed, r » Concert Violin—Teacher—Chamber Music “ All of the Forthcoming Publications Mr. Choirmas¬ pn N 1831 N. Beverly Glen Boul. Los Angeles, Calif. , in the Ofers Listed Below are Fully ter? Are all of CHOOL of MUSIC teacher and composer, as well as a leader iin ; Phone West Los Angeles—322-37 « ,o/ TEMPLE UNIVERSITY assxsiJrsaaTSiiwvrS Described in the Paragraphs Follow¬ the numbers in 1812 Spring Garden St., Phila. of : CHARLES DALMORES 3 ing These Works are in the Course of rehearsal? If not, ed " 12 Years Principal Tenor with Manhattan, , Preparation. The Low Advance Offer there’s little time THADDEUS RICH E. F. ULRICH, B. M. Mr. Cummings w college graduate with conservatory train’ to spare. April lng, accompanist for violinist, singer Prices Apply to Orders Placed Now, Ue I Teac^C" Codncer;sCaL0d?oPeMoSv;es 3 string trio or piano—duo team. Non-pro: 12, Easter Sun¬ W « Repertoire in French, Italian, German , fessional. Address E. H. c/o Etude. with Delivery to be Made When day, is only a re " 5873 Franklin Ave., Hollywood. Calif. « r- J Phone Hempsted 9949 » Finished. few weeks hence. Bibds of All Feathers—Musical Sketch— ^ ^ Although there remains but a « ; M&rfd ABBY DE AVIRETT College of Fine Arts ANNOUNCEMENTS rmarmlU VOCAL TECHNIQUE IN SONG Not a Bit Too Early short time for Music Magazine. . TEACHERS OF PIANO [ Syracuse University E“Xd Speech-Volume Two-Shaw and rehearsing a full- “ 108 South Larchmont Los Angeles, Calif. » EXPERT PIANO ARRANGING—Com- LiNDSAr—Each . • - length cantata, unless your choir is excep¬ of Music Evening Moods-Album of Piano Solos.30 • It is not a bit too early to start at once to plan for your Summer Degrees: master of Music tionally proficient, one of the shorter, less i"f : ROBERT HURD ^Ve!K&oroVPennI! Kht LKN FLEMIN”. Marchette Band Book- Classes. Music, particularly the Piano, is undergoing a great boom. elaborate cantatas may prove equally attrac¬ riano, Piano Teacher Training, Voice, J Vocal Teacher and Coach , Violin, Organ,g»u, v^cuu,Cello, Harp,narp, Composition, Pasts, Single Copies—Each.15 Piano sales increased last year 34% and a leading manufacturer of tive, if well sung. Cantatas such as He m Radio-Concert, Opera, Moving Pictures < Pakts, 25 or More Assorted—Each.10 Public School Music huespondence singing course. very high-class pianos announces that $3,000,000 in advance orders Lives, the King of Kings by Risher (50c). » and Popular Repertoire Small Monthly Payments Piano (Conductor’s Score).25 The Rainbow of Promise by Baines (60c) All^ the advantages of a large University, Special e « 472 S. Lafayette Park PI., Los Angeles, Calif. " Dr. Wooler. ISlf Boone Coiirt. have been received this year from dealers. Other manufacturers all C J Phone: Federal 7703 ] Lakeland. Fla. Piano Studies for the Grown-up Beginner .40 and Life Eternal by Norwood Dale (60c) run music students, 5 pipe organs soprano of a past generation, at the Pa Sabbath Day Solos—High Voice .30 report magnificent gains. but 20 or 25 minutes but contain fine music SUMMER SESSION July 6 to Opera, died on August 14th, in the Fren h I HAROLD HURLBUT Sabbath Day Solos—Low Voice .30 First determine where you will hold your classes. Most teachers numbers and tell most effectively the beauti¬ Sacred Choruses for Men’s Voices .30 capital. Born November 4, 1870, at Manr - J Voice Teacher of Dick Powell, Erik Rhodes and . will conduct them in the home studio. Then map out a course ful Easter story. There is still time to re¬ Dean H. L. BUTLER Singing Melodies—Piano Album .25 hearse some of the splendid anthems that dorf, Switzerland, she was educated at La - < Other Screen Stars, de Reszke Exponent > om 3 5, College of Fine Arts MASTEB TRANSPOSING in 3 hours Six Octave and Chord Journeys—Piano— ^ (including history and theory, if feasible), making it as inviting and have been written for the church services on sanne and Geneva, as a pianist; but “ ; 7150 Beachwood Drive Hollywood. Calif. w patented method. Principles cssen- Syracuse, N. Y. entering the Paris Conservatoire her fi *“ All- Unique test free. Box 5915, interesting as possible. Next, begin to talk up Summer Classes, show¬ Easter Sunday. Send for our 8 page folder Dept. 4, Kansas Sty. *11 Ten Famous Solos—Clarinet, Cornet. vocal ability was discovered. She creat I : DR. GEORGE LIEBLING Alto Saxophone. Trombone — With ing prospective students how much may be gained by not permitting “Easter Music” which lists cantatas, anthems, Duet Parts and Piano Acc.—Each Book .30 the Summer to be frittered away in profitless idleness. carols, services, vocal solos and duets, organ r J Master Classes—June, July, August 1936 ! “HARMONY BY CORRESPONDENCE” numbers and even piano pieces for churches BERTHA VAUGHN given at the Opera-Comique. This was not individual pieces in the painted set-up used know the story of her art, its history, who is March to be submitted before March 14, long after his return from Italy and it is not acquainted with the individuals responsi¬ music. The composer’s daughter, Dorothy Der.PhGiibwt' Raynol 1936, to the Centennial March Editor, 3 Voice Teacher of Many Young Artists 3 Y1 recorded that Ambroise Thomas had some in the window, and the j1.0"56®’ „ , , ble for its growth and development, or those Gaynor Blake, here describes and illustrates Gazette and News, 3 IS Pine Street, Tex¬ < Now Before the Public little hut on the most distant lull, all had the ideas originated and developed by her < Folder on Request influence in seeing to it that Massenet’s La their windows lighted. The church m the who have contributed noteworthy perform¬ arkana, Arkansas, from whom further par¬ < 702 S. Crenshaw Blvd. Los Angeles. Calif. GEORGE S. MADDEN Gmnd'tante was thus produced. ances of its masterpieces—such a teacher is mother. Of this work she says, “I have re¬ ticulars may be obtained. focal center of the set-up also showed the counted actual experiences which I enjoyed as Scientific—Mental Art of Singing In addition to his many operas, Massenet lights behind stained glass windows. Close at a distinct disadvantage. Bits of informa¬ i on psychologicel 100 P. C. tone vibra tion of this kind imparted to students, as a member of my mother’s kindergarten and Schools—Colleges 3 Private Teachers By a Singer Who Males Singers wrote a number of oratorios, orchestral suites, examination of some of the nearer houses vocal solos, choruses, and pianoforte music for incidental to the lesson period, serve to stim¬ of her pre-piano classes. I have sought to as¬ THE SOUTHERN CALIFORNIA FES¬ < (Eastern) Mefr olitan Optra House, I42S Broadway, N. Y. C. showed little lace curtainings at the windows, semble and pass on to others in practical, TIVAL of the Allied Arts offers numerous two and four hands. His best known operas ulate interest; and the student who is inter¬ Tel.: Penn. 4-2634 Christmas wreaths, and there was even a usable form what she so spontaneously gave BRAUNo_ prizes and scholarships of One Hundred to ore Thais, Manon, and Le Cid, the Aragonaise glimpse of a Christmas tree within one of ested is the one who succeeds. One Thousand Dollars, in Music, Drama and 3 KATE S. CHITTENDEN from the latter being a number that is pro¬ Regular readers are familiar, by this time, out in the classroom.” < Pianoforte — Repertory — Appreciation RICHARD McCLANAHAN the houses. , . , . The directions for the pantomimes are Speech Arts, Dance, Art, Poetry, and Cine¬ grammed most frequently. The whole scene in the window set-up with The Etude Historical Musical Portrait 3 THE WYOMING, 853 7th AVE Representative TOBIAS MATTHAY Series. Turn to the page in this issue which complete, with descriptions and clever straight matography, in a contest to be held from May . new YORK P Massenet became professor of advanced as if viewed from a second floor room win- CONVERSE COLLEGE ’ 4th to 29th, 1936. Open to all America. Par¬ ■ composition at the Paris Conservatoire in presents this valuable feature and note the line figures illustrating the action and posture veritable mine of musical information con¬ for each measure of the music where re¬ ticulars may be had from Mrs. Grace Widney ” ALBERTO JONAS 14 STEIN WAY BLDG., NEW YORK CITY 1878 and held that position until 1896. He CONSERVATORY OF MUSIC Mabee, 1151 South Broadway, Los Angeles, Yas the youngest member ever elected to the densed in the 44 biographical notes that ac¬ quired. The rhythmic movements include hand and arm action, body action, foot ac¬ KNOX California. «“ Ce, TeachtrTeacherd offSpani many^ famous Piano pianists Virtuoso - FRANTZ PROSCHOWSKI Academie des Beaux-Arts, having been only company the pictures of musical celebrities, xa occordcd that honor. past and present. Many enthusiasts are tion, relaxed motion, and free pantomimes. I Tel Endi«ttT2 2084* NE7' YORK C,TY Vocal Teacher making a scrap-book of these pages, keeping The music for each pantomime is a part of 200 V Massenet died at Paris August 13, 1912. THE ELIZABETH SPRAGUE COOL- I ^d'^^c^Wednesdays^hiladelphia ’. 57th St., New York sr Sri*0f c $rs> them for permanent reference. As tile series the book, and includes such familiar songs NORTHWESTERN?] IDGE PRIZE of one thousand dollars is ", (Frank) (e7^) --~ Tel: COLumbus 5-2136 affixed to a fine net which was invisible to of musicians’ portraits and biographies is be¬ as The Clapping Song, See-Saw, The Frog¬ Choirmaster s Hand Book the eye against the blue sky background. gies’ Swimming Pool, Rub-a-dub-dub, and offered, in a competition open to composers « LaFORGE-BERUMEN STUDIOS EDWARD E. TREUMANN ing presented in alphabetical order this is of all nationalities, for a chamber music work The let-up in the window measured over ■ Voice—Piano Concert Pianist—Artist-Teacher A brand new edition of this convenient ^ven feet high and nearly six feet wide, and quite practical. If you have not started your for four stringed instruments. Compositions to the selection of appropriate music scrap-book of this series, or if some of the A single copy of this important new work must be submitted before September 30th, 3 Frank LaForge teacher of Lawrence Tibbett since Oct. Recommended by ^ ^ or the choir has just been issued. It con- utilized a depth of over four teet. # pages are missing, we are prepared to supply may now be ordered at the special advance mmm. .COLLEGE Sauer and Josef Ju“t prior to the Christmas . windows, 1936; and particulars may be had from the 14 WEST 48TH STREET, NEW YORK |!Vd!i Carnegie Hall, Suite 827, 57 h St. at 7th Ave. t m®,a most helpful classified list of anthems any of the copies, beginning with the initial * publication cash price of 75 cents, post- "i?Tu“h^Ri^ReMonablfCni0Se^USlt' fth'shDd Coolidge Foundation, Library of Congress rk City Presseh’b Retail Store had a very interesting 4 Tel. Trafalgar 7-8993 Te*‘ ^ ilumbus 5-4357 I .• ‘ho various church celebrations and fes- • “T", in the display- of marionettes ar- issue, February 1932, at the nominal price of Washington, D. C. Summer Term June 1st to Sept. ; throughout the year. Choirmasters are 5 cents each. (iContinued on Page 190) xxxxxxt MV‘ ed to send for a copy. It’s FREE.

THE ETUDE MARCH, 1936 „ . .. . a audience or congregation. In order to Dm educational Vocal Technique facture) to the price arid one of these binders Music for the Commencement Sabbath Day Solos When Voices Are Changing v;de> in a convenient volume, suitable num- Educations q ; ^ Will be sent you, all charges prepaid. This Chorus Book for Boys bers for the repertoire of capable groups of Jn Sons ond opGGCh ——1 —il. .• the Publisher’s Monthly Lette Program High Voice Low Voice For that difficult men singers this new collection has bee,, ov W Warren Shaw in Collaboration A FAVORITE An unusually heavy publication schedule period when the boy compiled Much of the material may be With George L. Lindsay rs of today hold his composite voice is undergoing the utilized by a quartet of trained men singers, In Two Volumes— Vol. £ COMPOSER qfe; this year has delayed the completion of these Bilbro’s Middle C Kindergarten volumes. It has been the experience of music change from treble but the contents chiefly seek,Jo furnish good mi reception accorded the first volume of publishers that books of this kind are per¬ Quality to tenor or bass, chorus numbers for men’s votes. There will . n 1, wlien it was published in January, Book it is essential that only be some splendid arrangements from the manently in demand, especially if the con- this most cordial. The publishers have A New Edition nts include usable numbers. the middle register of choral works of such master composers a. . riven every assurance that m many Theodora Dutton There is a bit of real economy for church Beethoven and Handel and there also w,u Thf ALriclgmusic C deDartmentsdepartments this will become In order to make this popular piano in¬ soloists in purchasing sacred songs in book erally speaking, most be a good representation of original choruses school ,„xp struction book available for use by those individ-" form. The frequent demands made upon four-part writing is be¬ for men’s voices by some of the best ot the~A JXnicai details in the publishing teachers who prefer to teach both clefs from 80 u a 1_ them make the building of a large repertoire yond the normal capa¬ present-day writers. For good measure, and c „„t quite the very beginning, a revised edition has just Srompmer» at soi groups postpone action until it becomes nec¬ f this the second volume,.. the verv beginning n revi^d editl™ t,.= vt™ desirable and almost a necessity. bilities of school boys at this time. to help meet every demand, a Christmas and 01 Ti’JTnd" therefore, we are continuing bee" published using the Middle C approach, have used them. As, fc_ . essary to make hurried decisions that must But convenience suggests that as few as an Easter number also have been included. completed aim, month at least This will no doubt enlarge the sphere of use- month s issue of The Etude carried the often be disappointing because of the lack of The material of this new book ranges from he advance offer for ^onth, ^least.^ of a ^ mghod ^ployfd by firsfcoS possible undesirable numbers be included in unison to three- and four-part songs brought It will be some time before the engravers, time for a sufficient number of rehearsals. the book that is to be placed in the singer’s printers and binders finish their work in mak¬ Programs of this kind vary extremely, as ithin the vocal compass of this group. mies^of 'the'secondsecona volume atai theuic speciespecial ™a"y. Pr ra------^tic^al teachers-, “ in;.. the instruction of library. It is the ambition of the editors to jn addition to the original material, written ing this book ready for the market, but in n price, 40 cents postpaid, will children of the pre-scliool ages. luch depends upon the number of OUu- the meantime, those wanting a copy may publication have every single song in this compilation a especially for this collection, there Se"the book. just■ as... soon-- as.... it appears-- A copyCODV of thistllis new edition may be ob- was a dents and their individual or combined avail¬ file an order for a single copy at the advance number that soloists will s representation of favorite classic works from the press. Educational Vocal Tech- tained for examination from the publishers, mothe ability for the occasion. Perhaps the most in church and at religious gatherings. of publication cash price of 30 cents, post¬ favored musical feature of the commence- tor voice. S, Vol. One, is priced at $1.00 a copy. Theodore Presser Co., 1712 Chestnut St., been i Therefore, there is still time this month to Special care has been taken in the selection Philadelphia, Pa. Price, 75 —‘ ~ Dntto order copies of Sabbath Day Solos at the men’s or°womeiFs voices.0" There^s an almost T"T T 1° ' ■ ' s which will satisfy the boy mind, and ' ' ' 's covered to fur- Advance of Publication endless variety of material available for small pttpaS iT sure tT ^ Evening Moods Offers Withdrawn all theahre gewaywflOvT from11Za triositl0nS and°f, thiSquartets ,Hnd to’ “§massed BJ r£fwheteoi^Lg‘° nature. Album of Piano Solos The music educator dealing with bo.vs will Readers of these pages always observe with choruses. In these days, too, it is a compara¬ Contrary to the ideas of some “ultra- interest the information given under this cap¬ tively simple matter to develop an effective do well to secure a reference copy of this modemists, - still is a demand for book at our special advance of publication MELODY' tion. This month one finds exceptionally m- instrumental ensemble group of players - jsical compositions. Aside ipreitinff announcements. Despite an excep- among members of the average student body. cash price of 25 cents, postpaid. from the steady sales of our published piano t3v heavy schedule, our Publishing De- The average audience always presents Compositions of Theodora Dutton We are prepared to assist in the selection pieces and books of pieces that frankly appeal Wment has “stepped on the gas,” so to much for the observant indrvidual to enjoy as of suitable music and are at the service of Piano Studies for the through the melody, rather than startling ” k and this month we are able to an- ■ g'ven by the offering from the platform or PIANO SOLOS every one needing help in that direction. Our and intricate harmonies, the orders received ^ the publication of four works pre- sfa«f; Hie matter of applause alone is fas- Grade Pric Cat. No. Title Grown-up Beginner _ 13000 Keeping Step.. regular patrons need not be reminded of the “in advance of publication" for thus book are , -i . • ,i%_„ lw,i110 nnw cmatint? to consider. Sometimes it is quite .25 13786 The Knight Errant P character of the service we are always ready The title of this book, as it appears at the a most convincing proof that people still love briefly outlinedeSCr‘-‘.ig in the following paragraphs,paragraphs apparent that the applause is a formal act „„ „„c .25 the Nuns. to give and new customers with commence¬ of publication °/ politeness and it is cold and short. Other 176i3 The B* .30 23309 Learning the Alphabet. head of the article, is a trifle misleading and beautiful music. And to show that this love Of course, the sperial advr-* —1u,:—*“• .40 17733 The Lonely Princess.. ment program problems may depend upon of melody is not confined to beginners and times there is a spontaneous and enthusiastic Carnival Roundels H" experienced staff’s intelligent and pains- will no doubt be changed when the book is prices on these works are i. .35 14236 Lullaby . published. These studies from Burgmiiller, players of limited ability, we might point eopies may be obtained from your dealer burst of applause, but it has no insistency rw»r .40 23302 Marching Song. taking response 1' ) all requests for special to it and dies down quickly. Then there is 1773i Come Along!. .25 13953 Mazurka Noble. assistance. Heller,, _mornLoeschhorn andaim otherouter educationaleuucauoua, ou.t1 t*,at th,“ .b°°k .,la'S l*;Cn described 48 » the publishers at the fair retail marked price. .30 16808 Merry Marchers. authorities are not strictly for the beginner collection of pieces in grades four to six. The Easter Lily by Loretta Wilson is a the type of applause which is somewhat slow 17614 Cossack Dancers. .25 16038 Romanza Appassionati By l.he ,way- we have issued a descriptive at the piano, in fact, the easiest of them will 0«c who acquires a cony of this volume starting but is provoked into being a full AhFires^Ie Lulia u .30 17728 ’Round and ’Round- folder listing Commencement Music and a musical playlet for children between 14237 Round Dance. catalog of Awards, Medals, Diploma and just about fit in the study course of the adult W,,U de,18h‘ th« fl,"e selection it contains twelve years of age, and is suitable for presen- « ave. °.f approbation, perhaps only by a few 16807 Fi t Pi 13964 Russian Dance. Certificate Forms, Pictures, Musical Jewelry, who is well along in the first year of piano °f ™*nposilions of the r X, not only in Sunday schools ami discriminating .., the audience who recognized Pianoforte: After the 16349 Singing in the Moonligl Marchette Band Booh instruction, or who has mastered the work plative *type,VT" transcriptions of hymns and krehes but also on the Easter program in instantly qualities to winch the less cultured 23308 A Sleigh ride Party... etc., that will be sent FREE on request. Are Out; Last Night’s 14239 Song of the Buglers. .. in a piano method such as Grown-Up Be- sacred songs and pieces suitable for playing public and private schools. The cast calls bad to be awakened. And so on, the various At Five O’Clock in the Arranged by Mayhew Lake in church or the Sunday school room anil in ins : Little Pickaninny. „ ..... , ginner’s Book by William M. Felton. for seven girls and four boys, but any num- types and measures of applause might be 14238 First Sorrow. I30 22967 A Southland Lullaby.. Birds of All Feathers Young bands and school groups take great They are especially intended for the use the home “when evening shadows fall." .25 15395 Springtim ber mav be used in the chorus. No special analyzed. 23307 Friday Afternoo.i. .30 13952_ Sumi r Night. Walt: delight m playing spirited marches. For this of aduit students ;n bridging the betweell Prior to publication orders may be placed y:._.nA o.nv.U.mplete diJqkmsdirections Similarly one can analyze the reception ... A Musical Sketch “‘to-be-published collection Mr. Mayhew the first instruction book and the ability to is required and c—, given published music works. Those which 16929 Gondolier’s Serenade. 7 Through Love ’ ’ ^ m.u me aouny m for sin8,e copies of this volume at the special for staging and costuming are given right in .30 16382 Tc --__- Military’ March By Mildred*-__, Adair m one , of the, foremost, , , bandsmen.. in this- p*ay„playlav thosemuse eanyearlyearlv medium gradecrmle pieces,.ieee« withwitnwill, advance casl> Pricc> 30 <*«>•*. postpaid. the book. Time of performance, 20 minutes. have such merits as to awaken a large host '. Good.MornmK' ,a,o 15038 A Waltz of Today. From year to year the kind of entertain- pm,Jf ect<^ *j°m the The°do»e which the literature of piano music abounds— of music users to an appreciation of them, 17732 Honestly and Truly!. .30 23306 What the Birds Say. Price, 40 cents. something of an insistent “encore ap- 13788 Humtari»n Dance. /., .40 17730 The Windmill. ment that pleases most and draws the largest 1 '-ataiog a group of out- compositions by Schumann, Mozart and Around the Maypole by William Baines ii .25 16348 Yesterday and Today. patronage changes, except the kind where tn. ,, Sf sHraaS: attr“- nizing this fact, and the additional one of the Counterpoint and Composition; in it the 6572 Playful Kittens—Laics Encore (Continued) Beware of Swindlers varied in character. The program consists of thlt idd ?“ | ' T h a?con,Panymg texts phenomenal growing interest in band and or- composer may record the final drafts of his 7473 C ■---- |-Uj|g■ „ - ,: '25 CANTATA We must again caution all music lovers to short songs, piano solos, duets and trios, a studentdand rlnvid^ e g/he beg!n,ni“8 cheslra "ork ' • the schools, we have selected works against the loss of the original MSS. 2®“®* ®y^°wea^^nJncL^MacCiiimo^t 2 A0 Dawn of Spring—2-Part—Kountz. $0.60 beware of the man or woman who offers The musical recitation, a violin solo, and a rhythm t t t t* i first recital r!crfn aPPr°priatei material for ten of our most popular copyright numbers (Records of this kind are important regard- 592g in the Blacksmith’s Shop—Par- Etude Music Magazine at a cut rate. Al- band number. A two pianos-four hands com- en * OHal 1 ales less of any subsequent change in ownership.) low ■■■■■.. • SA i25 OCTAVO—MIXED VOICES, SACRED though thousands of fine men and women earn position is included for use where two pianos Melodious Studies for the Development of these”UWhat ;Tfine-^'l8■ Jon,of -...... - u-. Presser’s Library Manuscript Book has 80 i*®!! He^l's^MriodXEnodmann..'. 4^ •40 10737 Jesus Is Mine—Blount. $0.12 their living through securing subscriptions for available. All of Miss Adairs playlets Style in Piano Playing the vounu nianist and • ^ be for or duet combinations. While their main use (9” x 12”) pages of the highest grade music lg462 Thoughts at Sunset—Huerter.. 4 15623 Jerusalem—-Parker .■■■■■ -12 magazines, too many unscrupulous people offer . first- tried- c_. ... .he Lown Iar^ class By Harold Locke fuf ^± P^ly be as solos with piano a««m- paper, each ruled with 12 staves. The sheets 24116 La Cascade—O'lpic.. 4 .85 6095 AUs^!d^-mnshaUd...??!?!...“!? .08 magazines at any price they think the sub- work and well tested. They are always at j , are thread-sewed and the book is designed 2613718666 LaIn BelleArcadi Espagnole —Schmeidler 5 •60 20173 The Setting Sun—Baines.12 scriber is willing to pay, pocket the money, marked by action, variety and continuity, all APP/flmg secondu gradec material_-« must■ I-be -t the first grades oTthe^no ^ ^ “ to open and lie flat on the table or music and then fail to send the subscription to the of which arenrc essential factorsfactn-s in any„„„ success¬ available tl the teacher from several sources leachers and parents wishing to please Everybody is doubtless familiar with some rack. There is a substantial stiff cloth bind¬ SHEET MUSIC—PIANO DUETS OCTAVO—WOMEN’S VOICES, SACRED publisher. . material of the supplementary you?gster with a brand-r— * -■ ful performance. ing. The price is $1.00. 4414 Haymakers’ March — Zimmer- Etude representatives carry the credentials A last chance is offered this month to se¬ type 'ATt&JJt&tZSScan not be handed out with a sameness Little Classics Orchestra Folio will be wel¬ *°’4® 10217 Jem . Palm Sunday—Par- $0.12 of this magazine which will identify them. cure a single copy at the special advance of to every pupil. It is not only because of the --r comed by directors of school orchestras who Read carefully any contract or receipt offered difference of individual needs of pupils, but vance °f publication cash price publication cash price of 25 cents, postpaid. s only 25 Recessional, l Loire Life, The Gypsy Trail, l recognize the value of inculcating, early in OCTAVO—WOMEN’S VOICES, SECULAR you and do not permit a solicitor to change also because in neighborhood and smaller cents a coPy> postpaid, the student’s training, an appreciation of the it. We cannot be responsible for the work c. . ... , T community work tmthe teacher must needs pro¬ Heard the Voice of Jesus Say, My Heart Is 20816 The Pip* a Haven, The Green Cathedral, 1 Shall Not better things in music. These excerpts from PIANO SOLO COLLECTIONS 21135 A Song of Love—Fibich-Douty 3 of “crooks.” oix Uctave and Chord Journeys vide variety so that one pupil will have some¬ welve Mother Goose Melodies—Berwald.. $0.60 35065 Cradle Song—MacFadyen * thing different to “show off” than another. Sacred Choruses for Men’s Pass Again This Way, and Awakening. In the works of the great masters are just about ie Moming- Study Pieces this list are three sacred solos for those de¬ as easy as it is possible to make them. The ineful Tasks—-Thompson. 20212 The Song of That is why a new set of worth while second Voices siring selections suitable for church perform¬ instrumentation includes all of the instru¬ PIANO INSTRUCTORS _isp—Spross.. NEW CLASP PINS for mi • ■ By Dene Rodgers 6gradeiouc avuuj.study pieces is always certaincenam otof a Every year new stands^ , . ance. This is probably the last month in which gratifying reception, and that is why it is not bv^anv board standards are being set, ments usually found in the modem school ' ' OCTAVO—MEN’S VOICES, SECULAR School ancl Church Musicians The demand for solo material for the in- orchestra. Parts, 35 cents each; piano, 65 Stgdent s^Book.. copies_of this unique educational work may with pleasure Theodore Presser Co. soon hisher nlane of tki°r au, ,rlt.v., but by the -or sum materia. ™ -c ... <.nn . —- 6115 The Alphab Obtainable in the following be ordered at the special advance of publi- will have on the market this set of ten study mineral become l 8", l° PeoPle in above named sl.mld be well met cents- First Year at the PianiSgfnners— 4Villiams. 1.00 21167 Swing^ Lov Sweet Chariot—Art. ® cation cash price, 25 cents a copy, postpaid, pieces which help the pupil in mastering of scW mW at?CUst°me^ Development ^ thls new “Bering, which may be ordered *A—10 £t? Gold—. $2.00 Only the teacher realizes what a perilous various technical phases such as crossing of festival the 1 n . e”ll0n g,ven music m ?

Jimmie Goes Shopping JUNIOR ETUDE CONTEST

By Eugenie Gluckert The Junior Etude will award three before the eighteenth of March. Results of pretty prizes each month for the best and contest will appear in the issue for June. Put your name, age and Class in which JmME entered the corner drag store of COURAGE SYRUP, brown pills neatest original stories or essays, and for you are entering on upper left hand corner Tt was old Mr. Wiggins’ store alright but for BING-THUMP FEVER, LIGHT answers to puzzles. e inside certainly was changed. TOUCH POWDER in dainty silver Any boy or girl under sixteen years of of paper and your address on upper right hand corner. If your contribution takes Jimmie spied his friend Billy over at boxes, cans of MEMORY POLISH, pac¬ age may compete, whether a subscriber or soda fountain. Billy had played over kets of PERFECTION CAPSULES, jars not, and whether a member of a Junior more than one sheet of paper do this on L radio Sunday during the Children s of QUARTER LICORICE NOTES and Club or not. Class A, fourteen to sixteen each sheet. Hnar and this morning he had played his others of PEPPERMINT WHOLE and years of age; Class B, eleven to under Do not use typewriters and do not have £.te for Assembly. Jimmie wished he HALF NOTES. fourteen; Class C, under eleven years of any one copy your work for you. could play like Billy but of course thought On the counter were some TIME age. When schools or clubs compete, please LOLLYPOPS, CRESCENDO LIME Subject for story or essay this month, have a preliminary contest and send in only ^He'was just about to congratulate Billy STICKS and PIANISSIMO GUM “Am I doing my best in music.” Must the best five papers. when the clerk said, “What flavor?” DROPS, boxes of SHEET MUSIC contain not over one hundred and fifty Competitors who do not comply with all -words. Helen Oliphant Bates “Flute, please,” Billy replied. STATIONERY, MAJOR CLEF PENS of the above conditions will not be con¬ By All contributions must bear name, age Timmie thought he must have heard in¬ and MINOR CLEF PENCILS, MUSIC sidered. APPRECIATION CHOCOLATES and and address of sender, written clearly, and Characters: With chromatic melodies, subtle and correctly and looked at the ice cream chart Names of prize winners and their con¬ The Musical Automobile Musical Color Schemes Mmself There instead of chocolate and a large bottle marked PRACTICE be received at the Junior Etude Office, The Chairman, Miss America. fine. tributions will appear in the issue for June. TONIC. 1714 Chestnut Street, Philadelphia, Pa., Delegates, in national costumes: (or may Chairman : The representative from Swit¬ By Mary Clarene Suter 3a the flavors were listed as Violin, Association Jimmie began to think. He certainly zerland, the country that is noted for its Piano, Voice, Flute...... appear in any costume). Betty was in a very grumpy mood when should buy some of these things, especially By Gladys Hutchinson echo effects, its yodlers, and its Alpine “I’ll take Violin,” he said finally. Ireland Norway and she entered Miss Allen's music studio on that Practice Tonic. But how could he horn players, will now tell us about “Any money?” asked the clerk. In order to become a member of the . Scotland Sweden Saturday morning. get them without any money? A Sense of Rhythm Ladder Puzzle “Musical Automobile Association” it is ___ Swiss music. “Five cents,” replied Jimmie, offering Spain .. Russia After having played badly out of tune “You don’t need money at this counter, (Prize Winner) Change the word PLAY into the word imperative that all laws of traffic are France Also delegate^ from Switzerland : it to him. , ... for several moments, Miss Allen turned to “Not that kind,” snapped the clerk. I my boy,” said the clerk, just as if Jimmie A sense of rhythm Is, I feel, essential to WELL, by changing one letter only, on learned and obeyed. One of the .most im¬ i .Switzerland other countries In beautiful Switzerland, you 11 hear her in surprise. had spoken his thoughts aloud. “Just your musicians of any kind. From the monotonous each rung of the ladder. Answers must portant rules is “eyes on the road” (on Lovely music that radiates cheer; mean SUCCESS MONEY.” ' Poland and visitors. “Betty,” she said, “you really should be wishing to correct all those ailments of 1 of the drum include all the seven words. the page) while the green light is on. The Peaceful, placid and sweet is our song. Of course Jimmie had none and although uic pianoforte, rhyt— — — -- — taking painting instead of violin lessons.” yours is enough. Let me have your order.” mentals. Even though such pieces a — driver may look down at the brakes (key¬ Scene : A large room, with piano. Every- Or sturdy, wholesome, straightforward Billy offered him some he was so ashamed turnes and berceuses would seem to be dreamy “Why. what do you mean?” exclaimed Jimmie had quite a heavy package by board) only on the red light. A good ■ body is standing about visiting. The and strong. he quickly turned away and wandered and to contain little rhythm, there is an her pupil in bewilderment. the time his order was filled and wrapped, underlying rhythm which must be followed. driver will learn to feel the position of the chairman takes her place at the table, fac¬ Chairman : Polish music has majestic towards the rear of the store. There on It is my opinion that a sense of rhythm P U Miss Allen smiled. "Your playing is but unfortunately it somehow slipped, and brakes (keys). ing audience and sounds the gavel. power and originality. Poland, will you the shelves he found quite an odd assort¬ can be obtained by listening to other mu¬ Chairman : Will the meeting please come ‘dark brown’ this morning. Really, the ment of medicines and things. There were bang went the bottles and boxes all over sicians play. Also by strictly counting m all No one really desires a collision and that give your report? color scheme just doesn’t seem to go with practicing, and using a metronome in many is just what will happen if you do not learn to order. big red bottles marked EXERCISE TAB¬ the floor. “Help” yelled Jimmie and found instances Once this sense Is obtained, it is the beautiful weather we are having. Now to keep your eyes on the road (page). (The delegates and visitors take seats. LETS, pink and white boxes of SCALE himself sitting up in bed. “Another try this next piece and use a ‘pink and sssars w Be sure to do this the next time you As each delegate is called upon, she goes OINTMENT, lovely lavender bars of dream,” he grinned, “But just the same obtained'it.’have Ic^one ^ tie prlncYpIl drive through music land. to the front of the room, and faces the blue’ color scheme. Those arc the prettiest CORRECT FINGER SOAP, bottles of I’ll do more practicing from now on. of hues. When you are playing try to elements of all music. ,, Red lights are found at the end of a audience. Each delegate may conclude RHYTHM PERFUME, cartons of DE¬ Billy’s not going to be the only one to Bob Boggess (Age 14), Class A, imagine how the colors should blend.” Washington. group of streets (a group of notes which report by playing folk-song or character¬ TERMINATION TOOTHPASTE, jars play in Assembly.” 7 wFk.k- indicate a phrase). istic piece from that country.) Betty laughed merrily. “This is going Mark out your own signals on your map Chairman : Dear friends, we are gathered to be fun. I’ll make it light and fluffy for A Sense of Rhythm the pink, and soft and melodious for the (sheet of music) so. that you will know here from all parts of the world to study (Prize Winner) the characteristics of the music of differ¬ blue.” just where you may stop and look down, Letter Box There is rhythm in everything and it is and where you must keep eyes straight ent nations. First, I want you to think “Now you have the idea,” said Miss Shamrock Game one of the prime essentials of music. Khythm A Sense of Rhythm ahead. for a few minutes about Ireland, the land Allen after Betty had played for some min¬ io net only seen by the eye or felt by the DMy sister*plays’the violin and I play the nent of a hand or finger, but it pulses (Prize Winner) of buoyant tunes that go both high and utes. “Your tone has improved wonder¬ y Mrs. L. S. Trezevant piano. She is in the Sunday School orches¬ _gh our entire bodies. Any child will low in the same song, thus extending fully. And, if I’m not mistaken you are tra and in our own school orchestra, and the unconsciously sway or make some kind of The sense of rhythm Is expressed with our in a much better humor than you were special quar bodily motion whenever he hears music with musical Instruments ; also in song, and poetry over a large compass. My fathei a._ marked — -o obi-ring-- rhythm.~ Tf Ireland : when you first came in this morning.” i, but he -. you will watch a child of three or four years anThe popularity of Negro spirituals Is due Betty laughed as she put her violin back of age when a band goes marching by, you to their distinct sense of rhythm. The Negro The Irish lilt, light hearted and gay, Poland: He*plays3UthePviola in “the “quartette and the will find him beating time by some motion. can dance so easily because rhythm is just The Wearin’ o’ the Green Keeps Irishmen happy upon their way; in the case. Even grown-ups will often tap their feet, nod a part of him. _ Varied is the music of our land; 8C I0wishe?ecould do more than just the trio. their heads, or strum their fingers when they Our cowboy songs have rhythm. We sway Each task has its special working song, “On rainy days when I feel dull and dis¬ There is no place for a pianist in either the hear strongly accented music. .„ . with The Last Round-up for it is the lilt of By Carmen Malone Sometimes it is very simple, sometimes mal I’ll make my playing bright and happy It Is my idea that all children should have To keep the day from seeming long. it is grand; orchestra or quartette. I am going to.begin this music which appeals to us. by using red and yellow.” playing duets with another girl. Maybe you an opportunity to express themselves rhyth¬ My mother plays while my baby brother Chairman : Next, we shall learn of Scot- Stately polonaise and mazurka too have some suggestions. . mically, especially in school music. This is recites his nursery rhymes He sways his ' land, another country which, like Ireland, Miss Allen was much pleased when Betty From your friend, done by marching, skipping, skating, hopping, body and sometimes takes his little hands You’ll hear, with melodies that are appeared at her next lesson in a merry Nads a Butler (Agell),^ and by many other means. and strikes the keys. While this is not har¬ - makes use of “occupational, - . . songs.”, - Scotch fresh and new. Californii Mary Rickey (Age 13), Class B, mony, it Is rhythm. mood, and played with all the colors of the Ohio. My own sense of rhythm began to be de¬ characteristic “snap,” their humor, their rainbow. And she never once used “dark t,_Playing dnets is a splendid iai veloped when I began to study music at the northland will describe their sturdy, dia¬ age of five, continuing until this year, when use of old modes, and their varied and brown.” as it helps in reading and rhythm and < Club Corner My cat wears green around her neck— tonic music, with its occasional note of sembie.smnble061 Playing *WITHWITH. someone,som a better accompanist ' Wthan „c Uu.vc nine members, from the age of four Edith M. Cripe (Age 10) Class C, Norway and Sweden together : to fourteen. Our Rhythm Band leader ~ Indiana. With shamrocks in a row. Scotland : Prepare for this game by making one nnvone else, and then people will prefer thirteen.^ Bome^or^- From Norway and Sweden we bring : instrumental1" solos! Sometimes our songs are rollicking, Melodies that ring four-leaf clover card for each player. glad; In one corner of the leaf a composer’s ~e specialize in slng- I wear a tie of emerald hue, With the vigor, fresh and strong Wishing and Wishing ine 6negro spirituals, In which we use of Puzzle Corner To celebrate the day Sometimes they are dreamy, sometimes name is hidden, and all the four corners Prize Winners own arrangements. We also study the live, Of our bracing northern song. of great composers, and are now studying Answers to December Saint Patrick charmed the Irish snakes they are sad ; By Monica Tyler-Brown of the leaf must be filled out by the player. Chairman: We shall now hear from Rus¬ for December Puzzle: the lives of negro musicians. The name of Jumbled Instruments Puzzle: By music, legends say. We’ve songs for weaving, and boating Each card bears a different composer’s our club Is The Mozart Music Club. sia, the country whose music has a great I wish I were a VIOLIN! Jane Katheryn Fuller (Age 15), Class If there are any Etude readers who have name. If the player cannot fill the card, old Etudes to spare, we would be glad to Flageolets deal of repetition of motives. I’d touch hard hearts, let heaven in. A, Maryland. _ I’ve practiced many Irish tunes Songs to help you, whatever you do. Russia : he passes it on to his neighbor. The player „ get them, as each member is making a scrap Cornets Chairman: Will the delegate from Spain, Jeanne Bergeim (Age 13), Class B, We always like to hear; Our folk times are often minor, and sad ■ A golden HARP I’d like to be, having the most cards, correctly filled out, From your friend, the land of spontaneous, rhythmical ac¬ wins. Wisconsin. _ n Daisey Gaffney, My keyboard was the magic wand T“y express the struggles our people ’ And play Spring’s songs of ecstacy. Forest Hicks (Age 9), Class C, Cali¬ 2311 Clarkwood Road. Apt. 4. That brought the old songs near. companiment, and fascinating colorful have had. Some suggestions for the hidden names Cleveland, Ohio. Cymbals music, now spirited, now sad, please tell fornia. Bag-pipes Our music paints pictures of those who Or silver FLUTE), like thrushes’ song, are: Haydn (lofty, lion’s lair) ; Rameau us about the charming music of her I’d play and sing, the whole day long. (male sheep, French for water) ; Purcell Tubas A sweet and lovely Irish lilt country? Harmoniums Plying barges, or plowing the soil. (a pocket-book, a measure of cloth) ; Bee¬ The ivories sing to me, Spain : Trombones A PICCOLO I’d be for fun. thoven (a vegetable, a kiln). As, patiently my fingers worked Melodies rich and graceful I hear, Chairman: We would like to have re¬ Ukuleles To form a melody. ports from all the countries, but the hour And laugh, as up the scale I’d run. • Castanets are sounding clear ; is getting late. Tambourine. Tambourines and guitars will play Poland : I move we adjourn. Or I would be a CLARINET; The seventeenth of March is here. Glamorous rhythms, vivid and gay. __Engla: Honorable Mention In honor of the day I second the motion. The world’s sad woes I would offset. Honorable Mention Chairman: France, will you please speak Chairman : Before for December Essays: "The Harp that Once thro’ Tara’s Halls” to us about your lovely, artistic mur'-’ : Before we part, let us sing for December Puzzles: And "Minstrel Boy” I’ll play. France : our convention song. In solemn song I’d sing mv tune T5lWa..HoM>kiss, Hazel Grant, Alfred Conry, Everybody standing: If I could be a deep BASSOON. Diversified rhythms, neat and clear, w! Bmdtr, Mary Isla Crtunpler, Mane Barbara Young, Jennings Seago, Jessica We’re loyal friends from far and near Jeanne Ouellette. Jean Blevin, Thalia Hems, Hoshino, Carolyn Agulnick, Mary Ann Mc¬ We like these tunes, but most of all, And colorful harmonies you’ll hear And Urpma Kanfmann, Virginia Dolmage, Ro- Ginnis, Mary Catherine Solbeck, Lillian King, Or I would be a ’CELLO, too: g™ Knopf, Kathleen Fawthrop. Anne (Our reason can be seen), In France, where intricate figures com¬ Berthilda .Jenkins, Nadia Stoll, Beatrice Gold. ToI o study.iTn W1 the!l g3the music.r togetherof every eachland. year! Rich, mellow tones I’d sing for you. Iean« Krom, Lovaine Christensen. Evelyn Thomas, Gloria Blackstone, Marie The cat, the dog, and I prefer bine J!LLouvenia Byrd, Donald Sperbeck, Mary Ellen White, Augustine Whitelsly, Rhoda And to give each other a helping hand. "The Wearin’ o’ the Green”. l t Ailee, Mary Leigh Porter. Yvonne Hods- Reeves, Natalie Jameson, Bob Westlake. Curtain Were I an ORGAN, I would be i D.?r;s Welter, Fannie Mink. Alice Ken- JUNIOR MacDOWELL CLUB, POTTSVILLE AND CLAREMONT, IOWA “eay, Helen Erday, Marilyn Sage. 192 All these in one, in majesty. 193 march, m6 THE ETUDE highly favored songs Harriet Ware OF TWO SUCCESSFUL

AMERICAN COMPOSERS

John Barnes Wells

A Selected List of John Barnes Wells’ Songs

Just Smiling (b flit—E flat) . $ .40

Kitty (b flit—E flat) .50 Lightning Bug (E-F) .40

flatJ3S Little Bird (b flat—D flat).50

A LITTLE ROCK Text by John Borne. Well. High (F-g) Low (e-D) a flat).$0.50 Price, 50e Dawn on the Down. (c-F).50

Dearest Place (c-E) .50 Deep in the Heart of Me (F-g) .40 Deep in the Heart of Me (c-D). .40 Egg-0 (d-F sharp).50 Egg-0 (b flat-D) .50 Morning of Love (c-F) .50 My Lady Love (E-g).40 THE ELF-MAN THE OWL High (d.g) Low (a-D) Text Anonymou. High (E-.) p^ s0c Medium (c-F)

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We Elf Man and Why. ^17^The Owl and A Little Rock.15 PART SONGS- The John Church Company d“W’.' E*8.10 A Little Rock .12 The Morning of Love.\2 THEODORE PRESSER CO., Selling Agents t£“! ::: : ::::: ::::: The Turtle ..12 1712 CHESTNUT STREET, PHILADELPHIA, PA. .10 A Very Youthful Affa.r ■ • ;i# .10 .10 Within’ and .10 Rosario Bourdon raises his baton ... a dainty, feminine figure takes her place before the micro¬ phone . . . the orchestra sweeps into the accompaniment . . . Jessica Dragonette, radio Queen, makes another Friday evening memorable for the radio audience. The 500th performance of the Cities Service Concert draws to a close. The audience in the studio thunders its applause . . . applause echoed in every home where Philco reproduces that well-loved voice. When Jessica Dragonette broadcasts, wheth¬ er it be an aria from a world renowned opera ... a popular melody ... or a haunting folk song ... all the brill¬ iance of her voice, all the magic of her repertoire, soars forth from Philco with thrilling realism. You seem to have been transported to the studio! Later . . . you may be listening to George Olsen in Chicago . . . getting the news from London ... or hearing the final round of a heavyweight bout at Miami. Such is the power of Philco!

The most important step forward in radio this year-the Philco built-in Aerial-Tuning System, which automatically tunes the aerial as you tune the set. It is a Philco discovery that doubles the number of foreign stations you can get and enjoy. It’s built-in . . . not an accessory ... not an extra ... not even in price. And only Philco has it! See your classified telephone directory for your nearest dealer and have a demonstra¬ tion. Philcos are available on the Philco Commercial Credit Time Payment Plan.

PHI LCO THE NEW PHILCO 116X A true High-Fidelity instrument bringing you the overtones that 1 entity an distinguish the many and varied musical instruments. Exclusive Acoustic Clarifiers prevent "boom”. The famous Inclined Sounding Board projects every note up to your ear level. Five wave PHILCO REPLACEMENT TUBES IMPROVE THE PERFORMANCE OF ANY RADIO • 3n Sn r,ln^ ^°U every broadcast service in the air ... Foreign, Amer¬ SPECIFY A PHILCO FOR YOUR AUTOMOBILE ican, o ice, Weather, Aircraft, Ship, Amateur. Complete with ex¬ clusive, automatic built-in Aerial-Tuning System .... $180