Volume 33, Number 01 (January 1915) James Francis Cooke

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1-1-1915 Volume 33, Number 01 (January 1915) James Francis Cooke

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It will deal Recently Published GREAT PIANISTS ON PIANO PLAYING * giving the j THE NEW GRADUS DETROIT CONSERV ATORY C IGNACE JAN PADEREWSKI (NSERVATORY IN T1 aany interesting phases of Music study. Students may enter g?ers Big Problems for Active Music Workers AD PARNASSUM at any time “public “choTMus ment. Send for Catai The F.tvde during 1915 has planned to present some of the big problems of musical In Eight Books Price, $1.00 each life, the discussion of which determines in a large measure the life work of earnest JAMES H. BELL, Sec. 1013 Woodwa music workers. These will be treated in a thoroughly serious yet all-absorbing, fresh, By ISIDOR PHILIPP crisp, interesting manner. The first of these will deal witli what has come to be known as the “dead line” or “danger line”'in life. MASTERING THE SCALES & ARPEGGIOS In this unique work each separate department of technic is considered Price $1.25 by itself, all the studies bearing upon any particular technical point being Passing the “Deadline” in Musical Life classified together and arranged in logical and progressive order. Proceeding in this manner each subject is treated exhaustively in a separate part. The main points thus covered are: 1. Left Hand Technic Double Notes srewr 2. Right Hand Technic Octaves and Chords 3. Hands Together The Trill 4. Arpeggios THE STANDARD HISTORY OF MUSIC Various Difficulties entirely new in musical journalism. It will be brought up In'" a light ^bTcTwifi'compd The entire literature of educational piano music has been ransacked in ord _ ,___rtistic death whirl Price $1.25 to select the best possible studies adapted to each of the above classification A First History for Students at All Ages Monsieur I. Philipp, leading Professor of Pianoforte in the Paris Coi A complete, concise, understandable series of forty "story-lessons." Abundantly servatory, is admirably equipped by knowledge, experience and natural talei illustrated. Self-pronouncing. Handsomely bound. Up-to-date. This book is now in for the compilation and preparation of a work of this type. This new Etude feature will be accomplished through data which Mr. Thomas Tapper use in hundreds of History classes and clubs from coast to coast and has been the means Every teacher should examine a set of these works. Sent of a broadspread revival in general musical interest wherever introduced. Let us help on inspection and subject to our usual liberal discount. you start a History Club through a very successful plan which has helped others. be interested in this whether they are All the above books sei price. Write for circulai THEO. PRESSER COMPANY THEO. PRESSER COMPANY Philadelphia, Pa. 1712 CHESTNUT STREET - - _ _ PHILADELPHIA Remember—every new friend you make for THE ETUDE means a new impetus for musical art in your community. The Etude—Theo. Presser Go. Built especially for people of high artistic discrimination who appreciate the difference between good and best. 1712 Chestnut Street Philadelphia, Pa. PIANOS Your Correspondence so licit ed STRICH & ZEIDLER ” and PLAYER-PIANOS D E. 140th St. and Jackson Ave., : New York City 3 THE ETUDE THE ETUDE requisites for |j | Chicago | Conservatories—Schools Xeachers I—western j — MUSIC TEACHER MRS. STACEY WILLIAMS AMERICAN CONSERVATORY business manual for music teach Private Teachers Voice Production: Repertoire Souvenirs of the Masters FBS SI 00. This book Is a compendium . In Europe June 15th to Sept. 15th. 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Many ilSssr'' Pre*. E. H. SCOTT Mailers Bldg., Chicago 7 , been especially written Price, 50 Cents PUPIL’S LESSON BOOK. Price By L. A. BUGBEE-DAVIS or muiMTiireu ..is all genuine reed organ l volume of 27 pieces, each containing $1.00 per ao«n. music, not simply a collection of pianoforte of the imperishable melodies of the THE STANDARD LESSON RECORD. WILITHK ET^EPTIOKa'l EACILITIKS^L'o’mPLETE OUOANIMATION AND C0HFBI1IKNSIVE COURSES BAKE THE DANA’S MUSICAL INSTITUTE Price, 50 cents pieces of limited compass. This is one of at classic and modern musters, preceded records withWKU evuoJ.Jstubs.) ZOC.25c. A -me . the best books of its kind ever offered. dv original introductory material by oeo. .he teacher to keep a complete record 12 MINNEAPOLIS SCHOOL OF MUSIC Hinneapolis, WARREN, OHIO contains seven pieces, practically al L. Spaulding and ad libitum textby Jts- pupils, studies and accounts. Eighth sl, s. ORATORY AND DRAMATIC ART «»• Forty-fifth year. Music taught in all its branches. Lessons daily and Private. them in the first grade, which raa; *— Moore. A really unique idea. The LESSON AND PRACTICE RECORD. THE RECOUNIZED I.EAIUNU IN8TITDTIOK1 OF'THE[NORTHWEST pupifs;y Buildings (or practice (new). Pure water, beautiful city and healthy Not a death ■n f°«y-foU used as recreations in connection with cove, page of the book contains half-tone (Package of 25 cards.) 25c. FALL TERM OPENS TUESDAY, ® ® .t.ndard to .Imll.r vears Superior faculty Every state and country in North America patronizes the school. f ine recital pianoforte Instructor ; or they may be portraits of all the composers represented. Lil with an orchestral concert and soloists every Wednesday hfc . ™pl‘s 'w'1' as first' pieces to follow any inStruc. The Standard Violinist THE STANDARD PRACTICE RECORD for 64-page catalogue blue book and historical sketch to WM. H. DANA, R.A.M., Prest. ^ book. They will also prove available for (Pad of 100 slips ) 1 5c. Furnishing a w eek kindergarten work. They are all very tune¬ Twenty-Seven Pieces for form upon whicli to record directions for prs ful and well adapted for email’’ ’hands. “ tice as well as results. Each piece has appropriate Violin and Piano Juvenile Musical Poems NORTHWESTERN OHIO SCHOOL may be sung, all in chara BILLS AND RECEIPTS. (Package of 10( 17 1 • IT • •*, SCHOOL OF MUSIC Price, 50 Cents By CARO SENOUR 2 Sc. Lyceum Arts Conservatory BLANK BILLS. (Large size 6x9, package of £ Elias Day, Dir. Frank A. Morgan, Mgr. Valparaiso University VALPARAISO--- ,NDIANA. is one of the best collections of Price, 75 Cents The University School of Music offers courses in Piano, Voice, Violin, Organ, Theory and Public School Music. Violin and Plano music ever compiled, 25c. Offers courses in Piano, Voice, Violin, Public Students may attend the Music School and also take, the regular work at the University. PIANO TUNING The Education of the Music contains many more ^pi^tian^one^ usui s a collection of twenty-nine chil- MUSIC TEACHERS’ DESK TABLET. School Music Dramatic Art, etc. “It is THE EXPENSES ARE THE LOWEST _ngs with words and music by Caro (Package of 100.) 15e. For all memorandum different.” Catalog explains. Ask for it. Tuition, 320,00 per quarter of twelve weeks. Board with Furnished Room, J51.8G to $3.00 per week. 10th Year Diploma. Free Catalog. Teacher larger range in selection. ’ The pieces Senour. These songs are intended for the especially practice directions to the pupil. KATE JORDAN HEWETT, Sec. Catalog will be mailed free. Address Henry B. Brown, President, or Oliver P. Kinsey, Vice President D. O. BETZ, Director l l • ADA, O. By THOMAS TAPPER i all Btyles and suited to all possible School, Kindergarten and Home. The com¬ CLARKE’S HARMONY TABLET. Pad o Box K, 523 Fine Arts Bldg., - Chicago, Ill. 42ND YEAR-STUDENTS ACCEPTED AT ANY TIME. casions. The pieces are not all of equal poser has been very successful m interest¬ 100 leaves ruled musio paper, 7x10, 25 c. Price, $1.50 difflculty, but are within the range of the ing young children, and these songs cannot average good player. This volume should fail to please. They are varied in char¬ STUDENTS HARMONY TABLET. Pad o A most Important work for all teachers be In the permanent repertoire of every acter, covering all sorts of interesting sub¬ 76 leaves ruled muBic paper, 7x7. I Sc. THE COLUMBIA SCHOOL OF MUSIC who aspire to conduct their profession on Violinist. It Is recommended alike jects. The verses are bright and pleasing BLANK MUSIC COPY BOOKS. THE MARY WOOD CHASE SCHOOL OF MUSICAL ARTS CLARE OSBORNE REED, Director . lines most widely approved in modern music teacher, student and player. and the music throughout is fitting in MARY WOOD CHASE, DIRECTOR-Author of “Natural Laws in Piano Technic.” study. Mr. Tapper shows what knowledge Prices, 1 Oc to 35c. character, always tuneful and easy to sing. BLANK MUSIC PAPER. 12, 14 or 16 line Piano—Voice—Violin—Theory Public School Music and proficiency the teacher must have and Endorsed by musicians as one of the foremost American Schools for training professional students. Its Special Training Depm-taenj^Teacher^ TIME then makes clear how this may best be ob¬ and Vocal, size 14x22 inchez, per quire, 40c graduates are holding high salaried positions in prominent Schools of Music, Colleges and Universities. ‘ tained. The book is finely bound In cloth (Postage lie extra.) It* artist students are playing with success with famous American Orchestras and other well known organi¬ and comprises 224 pages. BLANK MUSIC PAPER. Young Players7 Album 100 leaves 7x8}4 with wide Bpacing. 25c. zations. Artists of international reputation at the head of every department. Year Book furnished upon The Standard Vocalist request. Address the Secretary, E. H. LOGAN, Fine Arts Building, Chicago. 72 PIECES FOR THE PIANOFORTE BLANK PROGRAM FORMS. For Coneerta Price, 50 cents 0 Fine Songs for 50 Cents or Pupils’ Recitals. 50o per hundred. The Standard Organist large and compreht :olleetion ( DIPLOMA FORM. 21x19. Price 1 So. Parch- ngs, both s suited 1 ment. 25c. UNIVERSITY SCHOOL Beethoven Conservatory Cosmopolitan School of Music 43 PIECES FOR THE PIPE ORGAN age compass This fs TEACHERS' CERTIFICATES. 11x8'/. 5c. e found in any One of the oldest and best Music Schools in the United States N.W.Cor.Taylor and Olivo Sts.,St.Louis,Mo. Price, 50 cents a every one attractive, MUSICAL PRIZE CARD. 6/11)4 inches and Dramatic Art a all styles, chiefly by a, uuv Lime and find therein a song adapted 1 Oc. OF MUSIC One of the best collections ever published. ters, and largely in the for almost every possible demand. The REWARD CARDS. LHho in Coloi ALBERT A. STANLEY, A.M., Director Mrs. W. S. Bracken, President The pieces are all good and interesting, o' ; exceeding Grade III. songs are chiefly by modern and contem- 11 CINCINNATI CONSERVATORY of MUSIC: established leer || Intermediate grade and moderate lengtt eristic pieces, reveries, •nvy writers,•• Then.luej- — -i-ft *“*“ Ann Arbor, Michigan written in all styles and suited to all pui dinte grade, and w _ Assisted by eminent faculty of 50 artists; poses. Both original organ pieces an for all occasions Highest grade instruction under faculty of artist Offers to prospective students courses of transcriptions are included in goodly pre handsomely printed fr teachers. A gathering place for advanced study based upon the best modern educa¬ portion. The book is handsomely printed, —ant m All Pianists Students students who intended to study abroad. from special large plates. Affiliated with the University of Michigan. Audi. tional principles. Diplomas and degrees 10 Five Note- conferred. Many free advantages. and organizations. Chorus of 300. Orchestra of SO. Splendid women’s gymnasium. Sfccond Students May Enter at Any Time Operatic Four-Hand FOR THE Pmuine Addition to the Literature semester commences Feb. 8,1915. Anthem Offering Send for Announcement. By Mrs. C. W.KRC of Pianoforte Technic For particulars address Secretary, Box A COLLECTION FOR GENERAL USE Album Price, 7 CHARLES A. SINK, A.B., Secretary 44 Auditorium Bldg., Chicago, Ill. FOR THE PIANOFORTE 1200 Maynard Street MISS BERTHA BAUR, Directress, Highland Avenue and Oak St., Cincinnati, 0. Price, 50 Cents The seventh volume In our phenomenally Successful series of anthem1 collection? Operatic transcriptions for four hands a. Anthem Offering contains seventeen number?, larticularly effective, since it is usuallj in all styles, suited to various occasions, all lossible to arrange them in the orchestral X- ._, NEW GRADUS DETROIT CONSERVATORY OF MUSIC BURROWES COURSE 0FST^IC by successful writers. Some of the com¬ aanner. Our new volume is modeled upon be found to be deci posers represented are Berwald, Camp, ur two recent, collections which have proven attractive. They a FRANCIS L. YORK, MA., President FINEST CONSERVATORY IN THE WEST 42nd Year Kindergarten and Primary—Correspondence or Personal Instruction Rockwell, Roberts, Meyer, Bibunt, Bird, o successful, namely, "Standard Opera Al- -.cteristic rhythms Happy Pupils-Satisfied Parents—Prosperous Teachers. Classes are doubled by use of this method Stults, Stair and others. In general ex¬ ium,” for piano solo, and “Operatic Selec- ompanied by ap] Students may enter Offers courses in Piano Voice, Violin, Organ, cellence this collection is In nowise behind ions for Violin and TianoIt will contain ■my t-* * PARNASSUM . _ . • Theory, Public School Music, etc. Academic KATHARINE BURROWES the others. It Is fully up to the standard „rems from all the standard operas, arranged at any time Department. Send for Catalog. and is bound to become popular. in the best possible manner, all of medlur- difflculty. _ : Books Price, $1.00 each D. 502 CARNEGIE HALL, NEW YORK CITY, or JAMES H. BELL, Sec. 1013 Woodward Avenue DETROIT, MICHIGAN Dept. D. 246 HIGHLAND AVE., HIGHLAND PARK, DETROIT, MICH. Elementary Piano Technics, Study Pieces in Octaves Concentrat By ,S,D0R m,L,pp FOR THE PIANOFORTE FOR THE Fle work eaoh separate department of technic ia considered Op. 19 r r studies bearing upon any particular technical point being /1C%)Effa Ellis Perfield Centralizing By A. SARTORIO. Op. 1021 DUNNING SYSTEM By Dr. J. M. BLOSE By ALOIS r and arranged in logical and progressive order. Proceeding I JWf Teaching System and how to blend Price, 60 cents Price, $1.25 r . TMgr Keyboard Harmony with Melody Practical and Artistic in Theory and Application School of Price,acl1 subject is treated exhaustively in a separate part. The Building may be studied with A simple elementary work of technic, om A masterly exemplification of mod._ Presenting a new world in music alike to beginners and advanced pupils. “Progress’’ that mav he taken up In the early stages o octave playing for students of intermediate A technical work covered are: Normal Teachers in the large , instruction, including five-finger exercise? or somewhat advanced grades. There the 20th century slogan along every line of human endeavor and interest has Music. simple chord exercises, and arpeggios in all eight studies in all, each one working fostoand^omerv^fld Technic 5. Double Notes cities and finished with Gertrude Radle-Paradiz some particular point. Mr. Sartorio’s t Effa Ellis Perfield never been more thoroughly and practically exemplified in educational lines than in is always interesting and melodious, _ and ImoothTpeTri-uk114! Technic 6. Octaves and Chords the originator. the Dunning System of Music Study for Beginners. 'udies of all kinds he is at his very departments of technbgether 7. The Trill condensed logical fori ° o \r • . , Burdened teachers are realizing this more each year, also that there is a demand for experts along this VOCATIONAL EDUCATION v choice of technical material. ' 8. Various Difficulties J LEARN HOW TO TEACH line of teaching, endorsed by Leschetizky,Busoni, Carreno, Gadski, De Pachmann and many others who irature of educational piano music has been ransacked in order 2ss PRESS nossible studies adapted to each of the above classifications 'hilipp, leading Professor of Pianoforte in the Paris Con- ^ggpfi Sep- FOR SALE AT LOW ADVANCE PRICES Sec., Box 8, 20 E. Jackson Blvd. IDLSON’S^BUROPEAN REMINISCENCES POPULAR CHICAGO, ILL.

PIAN0- SEpCi°a«^E F. F. GUARD’S FLAGLER’S ANTHEM BOOK M^-VEiaSiSR MUSIC PUPILS’ LESSON BOOK AND PRACTICE RECORD PRICE, 10 CENTS ■;?EriANOFORTE.E W M WIIAT TIIEYp DO ^ IN^ WONDERTOWN srhs .tifea’to si For Further Information About N SPENDING MONEY sasrjs &SS of your music kiviog friend, will ..Write if you bring T„. F,„|,„ ,o ,hui, Mtuutiou.

THEO. PRESSER CO., Philadelphia, Pa. THEODORE PRESSER CO., PhilaRelpliii, P,. 5 THE ETUDE THE ETUDE A NEW CALENDAR FOR 1915 I p.aqtfriv I CONSERVATORIES [SOUthe^ 10 cents each; $1.00 per dozen, postpaid I EASTERN 1 SCHOOLS-TEACHERS I —< | NEW i We illustrate herewith the calendar which we have NEW YORK Conservatories—Schools Teachers prepared especially for 1915. The musical subject reproduced will be very pleasing to music lovers, being Ruskin School of Music Atlanta Conservatory of Music entitled the “Hall of Fame.” It is a gallery of all the RAY G. EDWARDS, Director Granberry Piano School great musicians posed in the most artistic manner. Size The foremost school of fine arts 9J^x 14 inches. The picture is most attractive, there Features: 5^TEMmbiewhS.1‘‘HS5l in the South. Advantages equal to those anywhere. Teachers’ Training Courses being nothing more appropriate than this calendar as a present from a teacher to each member of the class. NEW YORK SCHOOL OF MUSIC AND ARTS FAELTEN SYSTEM. Booklet Send for Catalogue. Most excellent also to present to musical friends, being « 56-58 West 97th Street, New York City CARNEGIE HALL - - NEW YOR inexpensive, artistic and dignified. We have on hand a limited quantity of the calendars MR. and MRS. CROSBY ADAMS Southern University of Music, Inc. RALFE LEECH STERNER - - - - Director Crane Normal Institute of Music of last year, in three or four styles, with pads for the GERAKD-THIERS, KURT MUELLER, Directors conduct A MID-WINTER CLASS 353 Peachtree Street, ATLANTA, GEORGIA year 1915. An assortment will be made up from this for Teachers of Piano for the Study of Teaching Material Two connected th stock at the same price, 10 cent* each, or $1.00 per dozen. in thoir Home Studio in Nlontreat; N. C., (near Asheville) December 30, 1914 to January 12,^1915^ specialists. Certificates, Diplomas, Dormitory Statistics: | aV|!Ih'tctl Tem’ht'rs . . . 70 All Branches of Music and the Arts taught New York’s Modern Up-To-Date Music from Carolina from the beginning to the highest artistic M School with POTSDAM, NEW YORK finish by . faculty composed of | Dormitories in School Buildings and BLANK MUSIC PAPER ESTABLISHED 1857 Learn Harmony and Composition ir ha^been^nadeeMcUy the^ame^for^num'ber^yoars^mftve h^e^l^fi^^omplainttoheai MADE IN 12, 14, 16 LINE AND VOCAL, SIZE 14x22. conservatory America’s Most Eminent Teachers Proper Chaperonage Be sure and get that manufactured by this house. du a nnnv OPEN THE ENTIRE YEAR. PUPILS MAY ENTER ANY DAY I) LADUU 1 BALTIMORE, MD. TABLETS, ETC. HAROLD RANDOLPH, Director TERMS, including Tuition, Board, Practicing, etc., on application Wilcox School of Composition Clarke’s Harmony Tablet, 100 leaves 7 x 1014 inches in size.P™e, 25. Bo* E. 225 Fifth Ave., New York City, N. Y. Including Synopsis of Harmony. „ Its endowment enables it to offer exceptional advantages in music culture in all grades and branches SEND FOR NEW BOOKLET 7CinlTves 7.x.7 .in.8i.ze:: :::.:::::25

OF THE CITY OF BLANK MUSIC COPY BOOKS EDITH LYNWOOD WINN NEW YORK HOME STUDY NEW YORK INSTITUTE OF MUSIC Institute of_ _ Musical ArtFFrank Damrosch. Director SCHOOL OF MUSIC TR,NBOSTONRT’ PUBLIC SCHOOL MUSIC 560 WEST END AVENUE (Corner 87th Street) _mn.rrtrt I nr Mlimr. Miss Winn^returns from ^Europe Sept. 1 and as used in the Public Schools of New York City. an ENDOWED SCHOOL o {or students of natural ability Eight years’ work. Harmony and other subjects. ALL BRANCHES TAUGHT BY EMINENT PROFESSORS The opportunities of the a„d no others will be accepted. For catalogue endorsed1 by°Elrnan^Auer ancTZimba 1 ist.' Boarding Accommodations for Students in Buildup ^ CLAY withanearnestpurpose todoseno I Claremont Avenue, New York. Resident pupils. Teachers’ Courses, Ensemble E. F. MARKS, Smerf 2w!:i2hfUSt?,'Neaw York and full information address SECRETARY, 12U v-i_ VICTOR KUZDO WRITE FOR CATALOG

usic Teaches Most Exquisitely the PIANO TEACHERS. Art of Development."—DTskaell Faust School of Tuning The THE NEW VIRGIL Six Easy Pieces (Both clefs), .25 National Conservatory MUSIC EDUCATION CALVIN B. CADY ■ Teachers’ price, 12 cents postpaid of Music of America PRACTICE CLAVIER eCtSXmb“UUniw“ty?N.CY! ***’ Send for free thematic catalogue. Incorporated in 1885 and Chartered in 1891 ist,Principal,27 Gainsboro St., Bostoi L. D. Lasselle, Boulevard Sta., Boston, Maas. by Special Act of Congress Far superior in its latest construction to any PRIVATE AND CUSS WORK IN PIANO, other instrument for teaching and practice. HARMONY, ETC., RESUMED JEANNETTE M. THURBER, Founder and President NEW YORK, SEPTEMBER 23rd Thirtieth Scholastic, Year VIRGIL SCHOOL OF MUSIC BOSTON (Saturday.) SEPTEMBER 26th Artistic Faculty : Lfch- NORMAL CLASSES Courtright System of Musical Kindergarten For catalogue and prospectus address: NEW YORK, OCTOBER 7th MRS. CQURTR1GHT CARD WILL PERSONALLY TEACH ONE CLASS tenberg, Leo Schulz, Henry T. Finck, etc. 1205 Cameron Bldg., 34th St. and Madison Ave. BOSTON, OCTOBER 10th OF TEACHERS THIS WINTER IN NEW YORK CITY Fees Moderate Admission Daily Address and Studio The oldest practical and most scientific method of instructing children in music ever placed before the IRGIL NEW YORK- - NEW YORK - - 15 CLAREMONT AVE. music world. Teaches Piano from the start, Sight Reading, Transposing, Rhythm and Ear Training. . . Address Secretary, ' BOSTON - - - 6 NEWBURY STREET 126 W. 79th Street - New York City or Southland Seminary, St. Petersburg, Fla. one ^stemguaranterin^rerults1! *7vruTfo^fi articulars. T ma '"fill EDnY AVE.? BRIDGEPORTCONN. STUDY HARMONY iMTCDltUTinMAI MUSICAL AND EDU- and COMPOSITION INTERNA11UINAL cational agency by MAIL Shepard School of Music, Orange, N. J. The American Institute of Applied Music MRS. BABCOCK Training School for Piano Teachers lAL_C’ONSEhVATOEf \ (METROPOLITAN COLLEGE OF MUSIC) gives aU instruction and corrects a) l and Public Performance. New York City I^FFERS Teaching Positions, Col- Piano Teachers’ Course also by Mail—prepared by 212 West 59th Street ^ leges, Conservatories, Schools. Frank H. Shepard, Author of "Harmony Simplified”, 'S/C/ Complete courses in Voice, Organ, Pi »ts, Public "Key”, “Graded Lessons in Harmony”, etc. Even Music, Theoretical and Historii Also Church and Concert Engagements CARNEGIE HALL, NEW YORK i KATE S. CHITTENDEN, Dean AGNES SHEPARD, l

Your Music Is Torn! CHARLES VEON, Pianist. STEREOPTICON LECTURE RECITALS Pennsylvania THE VIRGIL It will Take One Minute to Music Lithographing Repair it by Using “MOZART AND HIS MUSIC” Company PIANO SCHOOL CO., MuItum-in-Parvo Binding Tape 114 N. 13th St.. Philadelphia, Pa 42 WEST 76th ST., NEW YORK Manufacturers of Transparent Adhesive MendingTissue Music Engravers and Printers The “Tek” The Bergman Clavier Theo. Presser Co., Philadelphia, Pa. Combs Broad Street Conservatory The Bergman 2 and 4 Octave 1 individual and careful attention. Your needs are considered. On entrance you are assigned Urchestra ana uctavo wiusw, HIGH GRADE instruments for travelers Multum-in-Parvo Binder Co. sr especially adapted for developing the best inyou. Daily reports keet> the Director in touch 624 Arch Street Philadelphia, Pa. .- entire School. Daily supervision shows you how to work. Four Recitals a week give you WORK AT REASONABLE PRICES. Copyrights The Bergman Child’s Pedal imple opportunity for Public Performance. YOU MUST SUCCEED MASTERFUL ADVANTAGES AFFORDED EXPLANATORY CATALOG for we give you a'- safe, sound, sure foundation. We develop your latent qualities. Modem and scientific methods insure to you economy of time, money, labor. Reciprocal relations with the U. of Pa. MARKS’ METRONOMES Training Courses for Teachers, Public School Music Supervision. Tuning Course. LADIES’ DORMI¬ TORIES. A School of Inspiration, Enthusiasm, Success and Loyalty CHORUS CHOIR retail more Metro- Every instrument we sell We handle only those GILBERT RAYNOLDS COMBS, Director_1327-29-31 S. Broad St., Philadelphia Compiled by W. T. GIFFE WRITING BOOK is than any house is guaranteed against of the best makes ob¬ VIRGIL PIANO CONSERVATORY e world. mechanical defects. tainable. Price, 30 Cents PRICE, 15 CENTS Music typography in alt Its Branches Famous for Instruction in Technic, Pedalling, Interpre¬ THE STYLES ARE: NO BELL, This collection of anthems from standard AND TUNE BOOK PLATES and modern sources is especially designed tation, Theory and Harmony Playing. American Maelzel with door attached .... . 32.2S Hugh A. Clarke,D<>c- for chorus singing, and as the anthems are Special Courses for Teachers. American Maelzel with detached lid. . 2.25 LESSONS BY MAIL not difficult, they will prove available for French Maelzel with detached lid . . 2.50 Dudley T. Limerick: J. T. L. (Best) French Maelzel with detached lid In Harmony, Counterpoint volunteer choirs.' There are but few solos TERM BEGINS JANUARY 4th, 1915 3.00 -GOSPEL SONG PLATES- and even these might be sung in unison. PRICES NET TRANSPORTATION ADDITIONAL DISCOUNTS ON TWO OR MORE and Composition The organ part is full and effective but not as to the proper nia THEO. PRESSER CO., Philadelphia, Pa. 4618 CHESTER AVE., PHILADELPHIA, PA. JSfo. 1 o S. Ricks Street, Philadelphia difficult to play. The anthems are espe¬ FOR INFORMATION WRITE : characters and signs usi cially strong in rhythmic effects. MRS. A. M. VIRGIL, Director West 76th Street, NEW YORK Please mention THE ETUDE when addressing our advertisers. THEO. PRESSER CO., Philadelphia, Pa. THEO. PRESSER CO., Philadelphia, Pa. m THE ETUDE whei THE ETUDE ilSat&unn * IVERS & POND PIANO 1 PIANOS THE ETUDE GRANDS, UPRIGHTS, PLAYERS de LUXE Aside from the delight the Bald¬ Send for Our Catalogue and Literature win tone gives you there is the S ONE of the largest added pleasure of the associations A America has just passed through a very critical period. Last makersof first that must cling to it. Every man’s mind is a sphere,—a world in which great accom¬ Spring fear-mongers were abroad laying the seeds of financial panic. L class pianos in the plishments of the human race first come into being. Huge as is St. There are the memories of exquisite Chopin recitals by Their mouths were soon shut by reports of marvelous crops coming world we ask the oppor¬ Paul’s in London it is no bigger than the mental sphere of _ Sir de Pachmann; of songs in which you heard “nS|"^hich from all over the country. Our wonderful soil fairly shouted pros¬ tunity to place our cata¬ of the Baldwin blend with Sembnch s voice, ^ Rtreneth- Christopher Wren, the man who conceived it. All of the glorious the pure melody of Elman’s violin was sustained, strength¬ achievements you enthusiastically admire were built .first in the minds perity from sunrise to sunset. All America rejoiced. logue in the hands of Then the harvest hour of golden beauty was shattered by the every intending buyer. ened by the Baldwin. of men. There is after all no joy greater than the joy of achievement, Because of many memories like these, musicians love the doing something big and grand, attaining a noble purpose. _ If you bolt from Vienna. The world was to know another war more ter¬ Over 400 Leading Baldwin just as you do the things in your home which are seek happiness for 1915 and plan to get it from your music, start rible than anything man had ever dreamt. Enter the fear-monger Educational Institutions priceless because of,their associations. first of all with a strong mental picture of just what you propose again with his bodings of disaster. Musicians, most of all, were to and nearly 60,000 Ameri¬ You can hear the Baldwin in almost every city in America, to do. Like Galatea breaking her marble bonds and coming into a suffer havoc from the breakdown of all lines of industry in America. ' either at our own salesrooms or at our dealers’. Baldwin can homes now use and living being great thoughts quite as certainly come into material The Etude took it upon itself to reassure its readers by point¬ Grands 3800 to 310,000. Baldwin Uprights 3550 and up. recommend the Ivers & existence if those who think them have the tenacity of purpose and ing out that the war was sure to bring a kind of grim prosperity to America,—a prosperity greater than this land has ever known. We Pond. Write for catalogs the energy and common sense to bring them about. This does not mean that the girl born to be a successful physician can write a great advised strong confidence, hard work and the American attribute of symphony merely by fixing the image of a symphony in her mind. quick adaptation to new conditions. Now, wonderin' reports of OUR RENTAL PURCHASE PLAN Our gifts are as deftly limned as are our features. The beauty prosperity are beginning to come as we have staggered to our feet ---- — - — --; by which we ship on little surgeons” who agree to alter the shape of your nose or your mouth after the first blow. $500,000,000.00 in' new business resulting me...* or your chin may change your whole expression but there are no largely from the war is the first outcome. At the office of The Cincinnati Chicago New York Etude we have been as busy as ever and at this New Year Season IVERS & POND PIANO CO. j dealer, is the safest, fairest, surgeons who can alter your talents. Know yourself and first of all St. Louis Indianapolis Louisville we feel that we owe a debt of gratitude to the musical public which 141 Boylston Street, Boston, Mass. ( most JJberal method of time 1 Denver San Francisco determine whether what you are seeking is really within your grasp. did not “lose its head” at a very ticklish time, but which saw that ■ P1“atiST to”* «“r ne” catalogue and valuable I buying we can devise. For However we insist that miracles can be accomplished by those l information of value to any THE GRAND PRIX- PARIS ,1900 who percieve that great things are simply realized thoughts,— what at first appeared like a great impending; calamity to our national Name. 1 intending buyer, mail the THE GRAND PRIZE- ST.LOUIS.i904, materialized ideas. Have faith in your star, dream big things and financial condition is really quite the contrary. 1 coupon now. THE WORLD'S HIGHEST HONORS Last of all things did the musicians of America, bound so closely Address.. | know that the mystical change of a great thought into a great thing occurs only in the mental furnace that burns long and fierce. by artistic ties with all the warring countries, want such a war as Making oneself over by right thinking is the habit of the hour. this. We had no desire to have our feelings shocked, our business Save us onejesson from the world war. Let us learn what hate has jeopardized, our regular life disturbed. The war was none of our done—and beware. Think war, dream war, prepare for war, force inviting and very naturally we were not consulted. We were forced the youth of the land to spend the three best years of their lives to suffer these things whether we liked them or not. Nevertheless, THE MASTER WORK IN AMERICAN MUSICAL EDUCATION making ready for war, mistrust the man who might be your friend, we. realized at the very outset that if The Etude did not set forth build huge cannon and place them in the roadway as a “welcome,” the real truth very positively and confidently many music worker: IN FOUR BOOKS practice shooting at human effigies, send flying ships freighted with might place their own businesses in jeopardy through needless fear. dynamite over your neighbor’s land and what is the result? Przmysl, They needed a strong hand of assurance and thousands have profited PART I.—The Two-Finger Liege, Crakow, Verdun, Ypres, Metz, Louvain. That is the hate from it by keeping energetically at work instead of spending their TOUCH AND TECHNIC Exercises (School of Touch). way. Hate digs unnumbered sewers in the harvest fields of Europe time fearing what the next day might bring forth. PART II.—T he Scales and fills them with the best blood of seven nations. . Of all things, the last wish of any Arperican, would be that of By DR. WILLIAM MASON Rhythmically Treated profiting by the misfortunes of another. We have been savagely at¬ (School of Brilliant Pas¬ Music of all the arts is the art of peace, harmony, beauty. Your sages) . musical career for 1915 will flourish in such manner as you re-make tacked in Germany, a land peopled with many of our best friend's, The Life Work of Our Greatest for intimating that. America can not fail to profit by the great war. A Method of Permanent Importance PART III.—Arpeggios yourself of those things of which music itself is made. Think Rhythmically Treated beauty, love, nobility, righteous strength, kindness, charity and as Nevertheless we maintain that we owe to our readers the duty of in Piano Teaching American Piano Teacher (Passage School). sure as the sun sets the world abloom in spring you will find your placing the real facts before them and saving many from needless' The permanent character of Dr. Mason’s During the fifty years in which Dr. own soul blossoming every day. That after all is the only way to loss to which a lack of confidence, positiveness and faith invariably Mason taught in New York he was unani¬ original ideas in piano teaching, their simple leads. The business opportunities before American teachers and practical usefulness in the eveiy day work mously regarded as the foremost of Ameri¬ make your new year really happy. If you have never sincerely tried of the teacher, all proclaim his American can piano teachers. He had a positive this plan you may have a delightful surprise, and' perhaps health, musicians are greater now than ever before for the man or woman genius for discovering the principle em¬ PRICE OF EACH, $1.00 genius for invention and his exhaustive wealth, friends and success in the bargain. who is willing to work harder than ever before. European training with the greatest bodied in technical problems and then explaining it so clearly that the exercises teachers of the last century. Thousands o f teachers The son of an educator, Lowell Mason, he he provided for its cultivation invariably produced -results and successful pupils. have found this work indis¬ was brought up in an artistic home atmos¬ pensable for years. The phere, which combined with “Yankee Com¬ Among them was the noted pianist William Sherwood and many foremost teachers. of time removes all question mon Sense” as well as long association with as to its immense value. A REAL HAPPY NEW YEAR such teachers as Moscheles, _ Hauptmann, Fortunately the ideas of this great peda- Richter, Dreyschock and Liszt led Dr. gog have been preserved in his life work, NEW YEAR GREETINGS TO YOU, OUR FINE AND LOYAL FRIENDS WHO HAVE BEEN WITH US FOR Touch and Technic, so that they are just Mason to realize that the subject of piano A TWELVEMONTH, A DECADE OR BEST OF ALL NEARLY A THIRD OF A CENTURY. THINK OF teaching demanded an altogether new and broader treatment. As a result he pro¬ as useful for teachers to-day as th ey ere when taught personally by duced Touch and Technic—of unsurpassed value to all teachers and students ol Dr. Mason. THAT,-A THIRD OF A CENTURY OF CONTINUED FEALTY TO THE IDEALS WHICH THE ETUDE SUPPORTS! NOT MORE THAN ONE PUBLICATION IN A THOUSAND MAY BOAST OF SUCH A RECORD. THE MOST ENTHUSIASTICALLY ENDORSED MUSICAL WORK OF ITS KIND DO YOU WONDER THAT THIS NEW YEAR’S GREETING MEANS FAR MORE TO US THAN THE MERE FORM OF PRINTING THESE WORDS. TO WHOM COULD WE WISH MORE JOY AND PROSPERITY THAN TO THOSE WHO HAVE MADE THE ETUDE A WELCOME GUEST IN THEIR OWN HOMES FRANZ LISZT I. J. PADEREWSKI RAFAEL JOSEFFY O. GABRILOWITSCH Touch and Technie is, in my opinion, one of MORE GRATIFYING STILL IS THE FACT THAT THE CIRCLE OF OUR FRIENDS IS EVER INCREASING Your Touch and Teel read.it carefuUy'a^Yave ‘found 'feature TO EVERY ONE OF YOU AGAIN AND AGAIN OUR HEARTIEST NEW YEAR GREETINGS.

A more valuable work has never been offered to teachers. Liberal discount allowed. Sent on inspection upon application to publisher. PUBLISHERS, IMPORTERS, DEALERS, THEODORE PRESSER CO.,!i SHEET MUSIC AND MUSIC 1BOOKS PHILADELPHIA, PENNA.

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Practical Ideas for Busy Music Workers Mined from Real Teaching Experience

A Practice Calendar Musical Sandwiches The Wrist in Octave Playing I have arranged a practice calendar, one page for At a recent musicale of my younger pupils among When the wrist is relaxed and acts in the capacity each month (9 months in all). On each page of this other light refreshments I served “musical sandwiches.” of a hinge stiff octaves are well nigh impossible. How calendar a pupil’s name is inscribed at the top. Under These were made of two sugar wafers of the nabisco shall we relax the wrist? This is very simple and the name are divisions of months running laterally type filled with a musical picture cut in small pieces. one may always know whether the hand position is a across the page and the divisions into days of the Of course the little folks did not eat the filling but desirable one by the same method. Simply keep the tnonth running perpendicularly. Thus every working took out the picture and “had fun” matching the pieces fingers relaxed. It is impossible to have a relaxed day has a little space of its own. At each lesson the wonders, music will give happiness beyond the possi¬ in a sense vulgarized it so that many of its manifesta¬ until a complete picture was formed. After that they wrist if your index finger is relaxed. While playing Irty-n_-—-- bilities of any other agency created for that purpose. tions can not be regarded in any way as artistic, yet pupil records his practice time in the day spaces. Those ate the sugar wafers. Bach was the subject for one octaves these fingers should fall naturally in their curved ..e Arion Society of New "York. He had prevh who have done the required amount per day are re¬ portant positions ln Europe—notably that of t If music is a language which begins where word? end. much has been done toward establishing standards of afternoon and after much effort I managed to get position and at the same time feel entirely without any warded with a little star. The plan encourages pride, Orchestral Concerts—and had toured w‘ ' or a vision which is made clear long after the eye can taste and educating our people to an appreciation of a number of pictures of the old Cantor. The children stiffness or restraint. Let the index finger be your Tausig...... 3 " ™Frank“— and Walter, both promptness and steadiness. No pupil wants to have f whom h e risen to high positions in the musical life of no longer perceive, it is nevertheless a medium which music in its true sense. Vast numbers of people already enjoyed putting these together immensely. C. E. C. guide and your playing will be bettered. America. in 1873 Dr. Damroseh founded the Oratorio the other pupils see a bad record. Prima E. Baker. Society, and in 1878 the Symphony Society, succeeding, in in its highest manifestation demands not only a heart recognize the real mission of music and pay proper C. A. Caton. a way, concerts of the Thomas Orchestra at Steinway Hall. full of feeling,' but also an ear and mind well educated homage to it, but we have as yet only scratched the Alternating Phrases In 1884 he inaugurated a season of German Opera at the Making Harmony Interesting Metropolitan Opera House in New York, which attracted to understand its noblest appeal. surface here in America. The situation demands not It is all very well to explain the nature of a phrase Use the Music Dictionary There is something especially fascinating about any¬ wide attention through his masterly interpretations of only the concentrated effort of every true musician to a pupil and then to indicate how phrases in general Wagner. In fact, for many years Dr. Leopold Damroseh thing which savors of the puzzle. In teaching harmony It is rarely a good plan to tell the student the mean¬ MUSIC FOR THE “EVERYDAY” MAN AND WOMAN. but also a large addition to the number already at should be played. The main difficulty is to get pupils was the leading force ln music in the metropolis of the new I have used pages from old hymn books to advantage. ing of a musical term. The best way is have the world. Ilis useful and distinguished career was cut short “As most men and women have to spend a great work in and out of the profession in order to achieve to be on the outlook for phrases, to observe them con¬ by his death in 1885. I tear out these pages, and after taking care that the student look it up in a musical dictionary. I expect part of their lives in duties the object of which is results which may be called adequate. stantly. My little pupils have a never failing interest Walter Damroseh was horn in Breslau, January 30, 1862, harmoniqs with which the pupil could not be expected my pupils to investigate every term in a new piece, and Is two years younger than his brother Frank. Both merely to obtain the wherewithal to prolong life, it “Much has already been accomplished among the m a plan I have tried. I play the first phrase of the sons were fortunate, not only in having a musical father to be familiar are circled with a blue pencil mark, I find out what it means and have the definition well seems to me an absolute necessity that music should women of our country but the men are still largely piece^ being studied and ask the pupil to watch listen who knew the greatest musicians of his time on terms of request him to “figure" or mark all the other chords written out at the next lesson; this is always helpful intimacy, but also in having as their mother a well-known enter their lives largely and constantly in their hours ‘barbarians’ as far as the arts are concerned. Many and “catch" the second phrase “on time.” This he singer, Ilelene von Heimburg, who married Dr. Damroseh with their proper marks (I, IV, V, VI, etc.). A fresh to them and to me. Let the student have a chance when he was the solo violinist under Liszt in the Grand are perfectly content to jog through life, thinking only leaf at dvery lesson is a fresh puzzle for the pupil, does beautifully. Then I play the third phrase, the to do the thinking. G. M. Greenhalgh. Ducal Orchestra at Weimar. Walter studied with his father, of dollars and cents long after it is necessary to think pupil the fourth and alternate thus to the‘end of the and as good hymns are usually written with great care Draeseke, von Inten, Boekelman and von Biilow. Upon his of money at all. What individual is so unfortunate Piece- Bertha V. Hughes. father’s death, In 1885, he became the conductor of the for the harmonies, this exercise has proved most A Valuable Studio Picture New York Symphony Orchestra and the New York Oratorio as the man who admits that the accumulation of ma¬ helpful. C. A. C. Society and assistant director at the Metropolitan Opera terial goods is a sufficient aim and ambition? The Making an Etude Index In every music studio, there should be at least one House. In 1892 he made the New York Symphony Orchestra a permanent organization and in 1894 he organized the trouble with such men is that they are dead but (Jo picture, in which there is a hold, strong object in the A Triangular Trick All of us who must economize time realize the great Damroseh Opera Company, which gave remarkably fine pre¬ not know it. Let us cultivate the love for music more foreground, with the background faint and distant, but sentations of grand opera, particularly Wagnerian opera, value of the “Table of Contents” when we wish jo —-,-•- — Mr. Damroseh has written among the young men of our country. At present I have found a triangle of great help in getting clearly defined. Such a picture is a great help in refer to some special article in a magazine or book. Al¬ two grand operas, The Scarlet /,< music appeals principally to women and young girls. pupils to beat time regularly. They beat while I play illustrating the bringing out of a melody, whether in of which have been given several t though each issue of The Etude is carefully indexed The interest among men is almost nil. with clock-like time and then I in turn beat while the treble or bass, or woven between the chords. The they play. It is really surprising how pupils who “can and an annual index is published in the December issue I have sometimes been undecided just which issue to lights and shadows of pictures may also illustrate the The following is an interview with Mr. Damroseh, not” learn time can be helped by the regular beats relation of major and minor harmonies. which he gave to The Etude in November: THE RICHER, GRANDER LIFE. emphasized by the triangle. Mrs. Susie Bristow. consult to find a wanted article. This difficulty, how¬ ever,^ has been easily and simply overcome. I have cut Helen J. Andrus. “Is there a real need—a human need for music in “Musical America has great problems still ahead of daily life? To him who has not answered this really it—problems as great as those we have already solved. A Club Idea the “contents” from each number and pasted them in a ' board covered note-book in chronological order. As I Halt! momentous question to his own satisfaction one might We shall need men and women to deal with these One of the difficulties in club work is keeping the keep my Etudes packed in a cabinet, the issues for each ask in turn—What is the main object of life? To problems in a big way. Education and education alone juvenile officers interested. It is one of the short¬ When I find an excitable pupil growing nervous year on a separate shelf, it is a simple matter to find what purpose do we live? If the end and aim of life will make these champions of the future. But it will comings of little folks to go at things with great zeal over a few blunders it is always a good time to cry quickly a desired literary or musical selection. is happiness, then we must ascertain what can produce not be the conventional schooling that will produce and then lose interest shortly thereafter. My plan was rialt. The more the pupil does in such a condition the real happiness. The artist and the philosopher would the really great. They must know what the last three Hazel M. Howes. to have the president of our Junior Music Club serve worse the results. It is better to stop before a diffi¬ certainly say that happiness comes through-the appre¬ hundred years have produced in music. The dramas cult page and let the pupil solve the problem in silence only three weeks, when a new president was elected. A Comparison that Helped ciation of beauty. By beauty we must not conceive of of Euripides, Sophocles, Aeschylus, make it possible The succeeding presidents vied with each other for for a minute or two. For instance, if there is a diffi¬ that external beauty of nature alone—the beauty which for us to reconstruct the life of that day in a mpst more and more successful management of the club Last Fall I had a bright eyed little beginner who cult chord with unusual accidentals, it only confuses frankly admitted that he did not like music and did brings delight only to the eye-—but we must compre¬ astonishing manner. Shakespeare is a reflection of the and the result was that every one “had a chance to the pupil to insist upon a correct performance without hend that supernatural beauty which comes to us days of good Queen Bess. ‘be president” and all were satisfied. B. S. not want to practice. I asked him what he would giving the pupil a chance to study the chord. A little rather do. He immediately piped, “I’d rather ride my through the creative mind of the master artist. In “Beaumarchais foreshadowed the revolution which wait and a little concentrated attention in silence this respect the artist is closer to God than the rest burst over France and tore down the conventions of A Lesson from Elocution bicycle.” “All right,” I replied, “why riot play that will often work wonders. E J M you are riding your bicycle here. First you must learn of mankind, and being gifted with a vision of beauty that period. Why should not the amateur have a For impressing upon the mind of a pupil the neces¬ to balance yourself right on the piano stool: then you which the ordinary world has not yet perceived, he is knowledge of musical history reflecting the periods as sity of a strict observance of all marks of expression As In a Looking-Glass must take hold of the' handle bars (the keys) right able, through his art, to make that vision real to the nothing else can? Take, for instance, the marvelous and the rules for accenting and phrasing, this method Next we must learn the roads well (the scales) then fifty years centering around the beginning of the has proved to be very successful: Read aloud to the be?nnalWd f T a youn* miss who has we must see all the interesting and lovely things beside been allowed to have her own way more or less in “Alas, for the man whose sole object is merely to 19th Century. Note how by successive steps music pupil a paragraph from anything at hand, with a mo¬ the roads (pieces). This is only one of a thousand her home, consequently this tendency shows in her accumulate material things. How, indeed, is he better advanced through Haydn, Mozart and finally Beet¬ notonous voice, without accents, inflections and pauses, comparisons which will help the teacher who deals musia Despite all my efforts to teach her hand posl- off than the beggar whose only aim is to live from hoven, triumphantly proclaiming the freedom of man making the effect as ridiculous as possible; and then hand to mouth? Certainly the greater and nobler pur¬ with childhood at its imaginative age. W W 5ers‘ft ln dan8ling her wrists way be- and preaching 'the universal brotherhood of love in the read the same paragraph according to the rules of pose of life is not merely the sustenance of life Ruby Jenison. Ode to Joy of the Ninth Symphony. elocution Helen J. Andrus. usedusTd eve^mhevery other meansV<5 C °aaXed teacher’ entreated has ‘to scolded invent andto through eating and drinking. Who will deny that we Naming Studies were all placed here so to pass our days with actions MUSIC AND THE MAN OF AFFAIRS. Missed Lessons, Double Work glateTaround ^ which, if they do not make life eternal, will at any Once I came across a piece that was of little more “When men of wealth or men of affairs have turned The evil of the missed lesson is brought home to all interest to the student than an average study hut the line with the keyboard. When the childFagain^ rate serve to make every moment richer in beauty. to the study of music and its benefits to the community, pupils with especial force when I point out that after With the mature perception of what real happiness is smaller pupils seemed to be interested in it because sumed. that lazy position, I asked her to look Into the many have resolved to foster music with very liberal a missed lesson the next lesson is almost invariably it had a name. The study without a name suggested it becomes clear that the cultivation of the sense of means. There is something very significant in this. poorly prepared. The missed lesson really means nothing. Then I took it upon myself to name cer¬ the beautiful does more toward achieving real soul Walter Damrosch. These men are supposed, by the public, to be business double work, as the pupil is required to prepare a new tain studies according to what they suggested to me, delight than anything else, and that the appreciation of men, pure and simple. They are supposed to demand lesson and study the old one at the same time. It is the beautiful is the base of all higher education. a dollar in return for every dollar given out. Some Rlso a money Joss, as he virtually pays twice for the the names ranging from flowers and butterflies to of relaxation, in order that their lives may not be millwheels and even various kinds of machinery. I “The first principle of all educational work should of them are all that, but they are something far. more. same lesson. This has in a measure solved the missed he to build up the power to eliminate the ugly things merely animal. The man of affairs who tries to do have no doubt that the student’s interest was increased without music atrophies part of his soul—blots out They are business men with a real vision. They realize lesson problem for me. r. E. Faeley. many a blunder free us and T vl U'S ’twad frae of life; not only to annihilate evil, but to be able—if in this way. H. D. Verles. one of his god-given privileges. Music has obtained the value of music to the individual and to the state. not apply to their pupil, Gertrude MJ SSuS" not to destroy—at least to ignore the material life a strong foothold among the civilized nations of the Boston owes its splendid symphony orchestra to the which constantly seeks to crowd in upon our inner enthusiasm of Colonel Higginson who, as a young self and to choke our aspirations. Someone may say world, and accompanies us all from the cradle to the grave. man, became an ardent student of music, and later, that this is not practical, that it is too Utopian. Not after becoming one of the great bankers of this coun¬ The Etude Needs Your Idea OUR DEBT TO MUSIC. at all. It is the most practical life plan of all, for of try, decided to found and endow a model orchestra. the moment it comes to you Keep a pad and a pencil what consequence is it for a child to learn how to “Indeed, one might ask what the condition might In New York, Mr. Harry Harkness Flagler, a highly at the side ot your keyboard and never miss an oppor¬ employ figures, language, maps and sciences if the sole be if the world were not blessed with music. The gifted and accomplished musical amateur, endowed the tunity. Send it to us in not more than seventy-five purpose of this knowledge is to be for material gains mhpiL, tlTHS’EnSrii'Tk Ss™ Sflto’iSa; not. It ia the idea the before higher appreciation of art may he one of the signifi¬ orchestra of the New York Symphony Society with an every practical teacher comes across a fine idea. Why words and we shall be glad to use it if in line with our only? needs; it not, we shall of course return it. Write on a an essay. But be sure that it iTareai y! are af'ter‘ n cant outcomes of the war. We have seen with what income of $100,000 a year. Mr. James Loeb endowed °u An ldea is the inspiration of the “Music is an art in which the conception of the some common-place that * rea 1 ,a* not mere horror the world has greeted the destruction of a the New York Institute of Musical Art with $500,000. you h^e had better ideas than any THEFTmf l°71 9a£?r and ad0dreSS’ Idea Department. beautiful is in no sense based upon the physical world on this page. If you think so write your idea down at 1HE ETUDE, 1712 Chestnut Street, Philadelphia, Pa has thought of We are more *eacher or stude great library and a great cathedral, not for the sake Mr. Andrew Carnegie has given liberally to churches, pay for real ideas but h? ■ an*lous t° get ai which surrounds us. Its power to evoke an inner rut your name and address on the manuscript. We of theology so much as for the sake of art and learn¬ irrespective of religious beliefs, with the view to en¬ real idea before youTa^ dream of beauty is greater and more immediate than ing. Fortunately, music cannot be destroyed. Music abling them to install better organs. Mr. Joseph that of .any of its sisters, and in minds and hearts is everywhere where men and women can be had to Pulitzer gave a fortune.to the New York Philharmonic that have been educated properly to appreciate its make it, and though the very promiscuity of music has Society, and, indeed, it is possible to record many 10 THE ETUDE THE ETUDE » munificent gifts to music made by men of means. In When to Use the Pedal the field of opera Mr. Otto Kahn, Mr. W. K. Vander¬ bilt, Mr. Clarence Mackey, Mr. Harold McCormick, By HANNAH SMITH Mr. Jordan and Mr. Stotesbury have contributed mil¬ lions toward giving America the best opera in the •As soon as the foot has been trained to control the ing by the finger of the lowest note of the chord, tt, world. It jmust be very obvious that these men have mechanism of the pedal with ease, and the habit has tone of w hich must, since the key cannot be held bv given abundant proof by their enormous donations and been well established of pressing and releasing it, not the finger, be sustained by the pedal. by the time they have given to the study of music that simultaneously with the action of the finger, but always With arpeggios on the same chord the pedal may they regard it as one of the vital things in life. lagging a little behind, comes the question of when usually. be held throughout; always, in the middle and “I wish with all my heart that the rank and file of and where to use the pedal appropriately. upper octaves. The strings of the highest notes of the i American men would feel this and resolve to devote Many of the pianoforte pieces in general use for pianoforte have no dampers, and in that region the I more time and attention to art than they do at present. teaching have been edited with more or less exact only effect of the pedal is to enrich the tone by ]eav. | The benefits they would receive could not be counted directions for pedaling, but many more still retain the ing related strings free to vibrate. Indeed, even a j in dollars, but if we had a unit of happiness as definite ancient signs—Ped. *—or are printed entirely without scale may in the upper part of the keyboard (prac. | as the dollar, they would all die millionaires. The reference to cooperation of the pedal in their per¬ finally all notes that lie above the treble staff) be J played with pedal; especially if there is a good sns- 1 attitude of American men in respect to music is about formance. The absence of any directions whatever is taining harmony in the bass. seventy-five years behind Europe—not the Europe of far better than careless, indefinite, or or misleading Beside the use of the pedal to connect tones which Krupp and Armstrong, but the Europe- of Keats and signs. These latter a conscientious student will earn¬ estly strive to follow though often with a result so cannot be connected by the fingers, its aid is indispen- f Hauptmann. As a boy my father was prevented from contrary to the natural musical instincts as to be heard sable for enriching and beautifying the quality of tone studying music openly, but had to practice in secret with a sort of pained bewilderment. Since the aim of by the admixture of harmonics. from his father who thought that music was not a good teaching must always be to make the pupil finally Strike a key of the piano and prolong the tone by j respectable profession. I do not like to believe that independent of the teacher, comprehension of the prin¬ holding the key down—that is, by keeping the damper there are any fathers living to-day who would hold ciples underlying the correct use of this most important raised from the single string—and hear how as the tone so low an opinion of music, the greatest of all arts. and, indeed, indispensable factor in modern pianoforte dies away it loses not only in force, but also in qual- ! [Editor's Note.—Dr. Smith N. Penfield, for many years a notes and doubtless giving personal examples at the gether. Do not try to measure off mathematically the Accordingly, to please my grandfather, my father well known organist and teacher of New York, has taught playing is infinitely more to lie desired than the ity. Now strike the same key with all the dampers for nearly half a century. IIo was a pupil of both Moscheles piano till steadiness is secured. length of each note. In fact the successful player of studied medicine at the University of Berlin, but he absolutely conscientious following of merely arbitrary raised by the pedal, and listen how, as the tone dies and Hauptmann. The following article is rich with ideas such passages does not know, does not even notice kept up his musical studies at night, and culled from Dr. Penfleld's long experience. Etude readers COMPARATIVE RHYTHM. _ the complete understanding of these prin¬ away, it becomes richer and fuller, gathering into itself who desire practical technical studies in the principle of just how the two hands compare. He simply knows he had received his degree he told his father, ‘I have ciples, and mastery of the means of producing the the sympathetic vibrations of all the strings to which playing three against one will find the work of Charles W. . Next and preliminary to our main study, the exact that starting at some accented point and playing one now done what you demanded, but I shall never prac¬ I.andon entitled Playing Two Notea Against Three of much desired effects, are best attained by using for study it is related through its harmonic chord. value in supplementing such valuable suggestions, as those comparative rhythm of all notes, regular or irregular, hand a little or a good deal faster than the other tice medicine, as the only love of my life is music,’ only those editions in which the pedaling has been Therefore, every melody note should have its tonal of Dr. Penfield.] * must be established. As exercises for the acquirement they arrive together. and musician he forthwith became.” carefully and intelligently indicated by either composer, beauty enhanced by allowing the sympathetic vibra¬ of this do not abound, the following set of practiced For the practical working out of these directions in editor, or teacher. The special bete noire of the young piano student tions of related strings; that is, by freeing those strings exercises is submitted. actual playing of piano music take such a composition The best method of notation for the pedal is un¬ is the proper execution of the various and not in¬ by means of the pedal from the dampers which usually as the Chopin Fantaisic Impromptu in C sharp minor, THE APPRECIATION OF TONE QUALITY. doubtedly this I-|t the downward perpedicular line frequently irregular groups which it is 'his duty and prevent such vibrations. Op. 6f). Make an exercise of one or more measures, for the pressure, the horizontal line for its continuance, should be his pleasure to disentangle and straighten treating hands separately and afterward, together on Y LEONORA SILL ASHTON. and the,second perpendicular line for its release. Noth- WHEN TO CHANGE THE PEDAL. out. If he has a mathematical turn of mind and the lines here suggested, accenting as directed. mg can be simpler, or show more exactly the instant Since the pedal prolongs the tone, it is evident that has been taught to count aloud, the regular, or what Measures 13 to-24 inclusive are good ones to com¬ of time at which the dampers are to be raised from when the harmony changes the pedal also must be we may call the geometrical division of notes, whole, , How many musical students can actually hear the mence with, as they require accents anyway. the strings or allowed to fall upon them; for, of changed—released to permit the dampers to fall, and half, quarter, eighth, sixteenth, thirty-second, sixty- difference between a full sound; satisfying tone, and a course, it is only the damper pedal—that toward the so eliminate the tones of the former harmony, and fourth, will give him little difficulty, even without as¬ harsh one? How many can tell when a piano is a right of the player—which is now to be considered. PRACTICAL DIFFICULTIES. then quickly pressed again to prolong and beautify sistance of a teacher, and even the introduction of sweet-toned instrument or not? If you will be per- The -primary function- of this pedalpcuttl is15 tolo continue that which follows. One may not always, however, Now we call attention to some practical difficulties triplets will doubtless make no- trouble, unless it be fectly honest with yourself, you must admit that many the tone after the key has been released. Whenever hold the pedal through a succession of notes even in the working out and mastering of these exercises 3 against 2, 3 against 4, etc. Then the practical diffi¬ musical sounds fall on undiscerning ears. This should *onea which are to sound legato cannot be connected when all belong to the same chord. A melody played on the lines here indicated. culty begins. not be, and there are many ways of correcting this W the fingers, the pedal must be used to bridge over on the pianoforte should sound as nearly as possible It is the common experience that groupings of 3 How many ambitious students we have met, fault. the gap between them. Naturally, therefore, players as if it were sung by a voice. But if the pedal is gainst 4, 4 against 5 or still higher are more easily anxious to commence study of Beethoven and First of all comes the old, old rule: “Train yourself T'th S1.™11 hands wil1 be obliged to use it much oftener held through several melody notes, even if there is and surely adjusted than 2 versus 3. This results from naturally taking up his First Sonata, and in their Play the above continuously but repeating each to listen.” Just as the mouth of the child is trained tha” thoae more 'argely endowed by nature; and no no discord, they all sound together, which totally de¬ the fact that a group of 4 or more notes is a more to speak, and the eyes to read, and the hands to play: sy*te'n °j marking can exactly suit all cases, childish innocence imagining that the slow movement measure four times, at first with hands separately and stroys the impression of song; for no singer can pro¬ independent phrase than one of 2 or 3 notes and has would be the easiest, only.to find themselves, as the afterward together. Always accent. Set the metro¬ so by constant effort must the ears be trained to hear; mel"dvVreach, of tlle Playei duce more than one tone at a time. a more defined swing of its own (from one accent or the finer faculties of that apparatus will become melody notes which are to be prolonged7 while^he inelegant but forcible expression puts it, "up against So the pedal must be changed for each note of a nome at first j=80 and afterward increase to J=92 to the next). So these longer and faster groups ac¬ dormant. ngers are occupied with accompaniment in a different it.” With patient perseverance they wade -through melody, excepting the very shortest, when the pedal quire a certain momentum of their own, independent ! It would be well for the teacher to use the same part of the keyboard, legato chords which cannot be may be either omitted or held over, the short duration thirty-six measures, but at the thirty-seventh they In absence of a metronome, count aloud. played without lifting the hand from the keys; in all of what the other hand is doing. plan for demonstrating tone-production, as in unfold¬ of the note rendering the fault almost imperceptible. stick, fast. Even their teachers are usually of little When the whole is in steady time, then skip around But young players pretty early run foul of the ing the mysteries of pedalling and phrasing. You will these cases successful performance depends absolutely Rut in slow tempo, in which the pedal can more easily practical assistance, even if they can themselves play in order of measures but still play continuously. upon the cooperation of the pedal. But even in passages troublesome bugbear of 2 against 3, at their objective play a line both correctly and incorrectly for your be often changed than in quick, it should have a fresh the Adagio with ease and correctness. • They hardly Now we come to passages where one hand has the consisting of chords which lie close enough together point, the next accent: pupils, and then leave it to them to decide the nature pressure for even the shorter notes; and, as better know how®they accomplish it. “It just goes itself.” to admit of being played without raising the hand regular time and the other the irregular. The writer has found this treatment to work satis¬ of each. command of its mechanism is acquired, for even the the connection can frequently be made only by pain- The rationale is that such players have the sense of factorily in all cases where scholars were patient and So with quality of tone. Play the pupil’s little pieces very shortest. fu and ineffectual effort. A much better result is rhythm well developed. But when it comes to giving IRREGULAR TIMES IN DIFFERENT HANDS. earnest. The following exercises are recommended. over for him, first with a stiff, hard hammering touch, There is no doubt that decided musical talent is obtained by freely separating the chords and covering directions to pupils, their explanations do not solve As usually studied such passages generally develop Accent smartly and keep the counts at same speed. indispensable to exploit all the possibilities of the pedal, trying not to let him know by any outward manifesta- the breaks in the tone by the pedal. Players who lack the difficulty. along these lines. The hand that has the regular or but the principles upon which its correct use is founded what you are doing: and then with the loose wrists normal movement of the passage is first played and can be comprehended by any intelligent pupil, and and arms, bringing forth a full, beautiful tone' "play # staccato, fhe hand hHed^nd^rXL^ after^ch THE PROPER SEQUENCE OF TONES. probably goes steady or reasonably .so. Then the other several different ones, till he hears which is right, and chord ; the tones being sustained''ty the pedal. But the It is easy to tell the proper sequence of tones in hand adapts itself as best it can to the first and prob¬ which is wrong, without assistance. pedal must, of course, not be used with be ,m!l"by “y in,"li8“* ■* the two hands in irregular groups and even to decide ably gets the correct sequence of the notes, but beyond This is for the teacher " “* ““ «*«. to** in the highest range, of do. , Now there a 5 meant to be really staccato, " nor always 'with ^he ■ mathematically what exact fraction of a count should that quite comes to grief, and the resultant effect is ways in which the pupil may aA, Prescription for the use of the so-called portamento notes belong to each note of such group, and possible for frequently like the following absurdity: discern the various degrees in quality of which are intended be revnlafert ’ 14 W'M> like the use of his fingers, rr some people to apportion the parts to each other, but Try and listen to every sound that comes to your to be slightly separated. if accurately done while slow . the attempt fails in notice. Some will be disagreeable—so much the bet- J* nions exact spot where there is a note for such half count, or other irregularity, Y. Take that part alone; divide learn from that what is beautiful and what is other¬ Stojowski, Jaraslow de Zielinski and others, makine artlcIes by Sigismund so that the player is always noticing the actual rela¬ it equally and play it at the speed that a metronome r—r f r ti wise. A teacher can do much, but it lies with the in¬ tion of whole and half counts. or the ear says is correct as compared with the gen¬ l l dividual student to cultivate his musical hearing; and the English, German, French, Russian, Italian and Amiri ^ ^ CqUal mterest with The use of “ands” should be quite discontinued eral movement of the passage. Now play part X once then to search out by diligent practice and trial of cant importance in the libraries of thousands of progressiv^ 1SSUeS’ & SeHeS °f signifi' before one becomes a slave to them. As to other or twice alone; then again part Y; perhaps more times technic to produce with his own hand that which is of stcooive music workers. sub-divisions of counts into three or more notes the thus. Then when you play the two together, watch intrinsic worth. application of other syllables can not be recommended. the hand Y and keep it absolutely at its established They are usually more of a drag than an assistance. speed, and make the hand X adapt itself to the other The teacher should count with the scholar simply, but playing as nearly as you can at its own steady “1—2—3,” etc., while accurately hastening the short jog. Accent persistently and bring the accents to¬ THE ETUDE 13

The Outlook for the Young American Composer An Interview with the Distinguished American Composer, MRS. H. H. A. BEACH In this article we have urged the importance of actual accents. These may and should be dropped Secured Especially for THE ETUDE by MR. EDWIN HUGHES when they have accomplished their purpose, the secur¬ ^ .---- . ing of steady rhythm under difficult and awkward cir¬ j—jj—y —~ ^ cumstances. HOW WOULD YOU ANSWER THIS [Editor's Note.—The following Interview was secured lectures and class-room work, and the object was of exclusively in America. I realize that in making this Play the part Y alone, repeating each measure four by Mr. Edwin Hughes, the well known American pianist anrl times, starting so slow that you can play to the end QUESTION? teacher In Munich, Germany, shortly before the outbreak of course to develop general musicians where there was statement, I am apparently speaking againstmy own the war: For the last three years Mrs. Beach bus resided of the exercise with the same speed of counting. When evidence of talent, and to raise the appreciation and work, which was done entirely in America until three BY ROSE CRIFFES. abroad. Our readers will notice in the following article that, this is secured it will not be much more of a job to add like all liberal-minded Americans, she appreciates the desira¬ understanding of music as a whole among the college years ago, when I came to Europe for the first time. bility of residence abroad for Art workers. At the same students. Of course only a small fraction of the Still, without at all advising a permanent residence the part X. Have I musical talent? Every student has asked time it should he remembered that Mrs. Beach's triumphs three thousand or more students take the course in in Europe, I am convinced of the broadening influence In each following exercise (A to F), repeat and himself this question many times. If we only could are solely the result of her American training, and had been achieved entirely before she ever crossed the seas. music. The majority of the young men like to have of European musical culture on the American composer compare the measures for separate hands until perfect throw aside all of our love for praise, fame and money, Mrs. Beach was horn at Hennlker. N. II.. September 5, a good time while they are at college and the musical who can make a more or less lengthy sojourn in one steadiness is secured. Then join on the ensemble and get right down to the bottom of our hearts, we 1867. Her musical studies were conducted In Boston with E. Peru lib, C. Baermann and J. W. Hill. As early as 1883 she part of their education does not reach much higher of the European music centers. At the same time I measures without any break. A moderate or rather would be able to answer it very quickly. Unfortunately generally before they have fairly well established a appeared as soloist with tile Boston Symphony Orelns.ra. levels than those set by the glee and mandolin clubs. would advise him not to remain too long. fast tempo will be found easier and more useful than we are so wrapped up in pride, in the desire to make Thereafter her work as a virtuoso was paralleled by her one quite slow: sense of rhythm. For the assistance of these we in¬ unusual' accomplishments in musical composition, which However, out of the small number who do take ad¬ The wonderful thing for the American musician a fortune from our ability, and to gain fame, that our dicate a scheme for working out mechanically this range from Symphonic and Choral works in larger forms to vantage of the course in serious music, therp are going to Europe is to find music put on a so much latter problem. true musical'natures are being killed. delightfully musicianly songs and pieces' in smaller form which are entitled to recognition by serious minded musicians always a fe|p who possess real talent. higher plane than in America, and universally recog¬ Suppose we had all the money that we could use for everywhere. America may well he proud of Mrs. Beach as Professor Paine’s own compositions exhibited noth¬ nized and respected by all classes and conditions as Count aloud these imaginary measures: every want and luxury; suppose we had everything Mrs. Beach has never failed to proclaim her pride in America. ] ing that one could brand as specifically “American,” the great art which it is. There is indeed such a tre¬ for our pleasure, that we might wish; suppose that but had a more international character. Many of them mendous respect for music in Europe that it is almost it were impossible either to win praise or criticism There is no questioning the fact that the young beautiful, including his opera Asara, impossible to convey this feeling to persons who have by our musical ability; would we study just for the American musician who intends to devote himself to never been outside of America. Music is in the air sake of the melodies we could bring out of the music? composition can acquire all the material for musical constantly, wherever one goes. Would we work for hours each day—as we are doing composition quite as well in America, under American nu UkLf rcrr- Quite near iriy home in Munich is the beautiful Hof now—because we loved it; because it is our very life, teachers and in American music-schools, as in Europe. Garten where hundreds of people go to drink a cup and we Could not be without its soothing influence? Until he has “found himself,” in fact, it is much to of coffee under the shade of the horSe-chestnut trees If we work for the pure joy of music itself, we may the advantage of a young composer not to come in hen take the Mendelssohn Song Without Words in E flat, on warm summer afternoons. Twice a week one ©f be sure we have talent. So many of us think we want too close contact with any of the commanding musical fourth book; divide the measures each into three and the military bands from the garrison gives a popular to Play, when we only want the glory of playing. Our personalities of Europe. work it out on the following scheme, at first accenting I think that to a very considerable extent there is concert there. The other day when I was enjoying each count one. ’ Soon the,accents may be dropped. real ability lies in what we truly desire to do, regard- less of praise or criticism. developing in American composition as a whole to-day a cup of coffee under ■ these delightful circumstances a spirit that is really American. It is not so much that the first numbers on the program of this “popular” we are developing an “American school” of composi¬ concert were the Overture to Mozart’s Magic Flute tion, but more that there is a different line of develop¬ and a long selection from Wagner’s Parsifal, which ment in different individuals, that each is seeking his lasted certainly twenty - minutes. own way. I might compare it with the spirit of DAILY OPEN AIR CONCERTS. American independence; each man is a law unto him¬ Nearby is the Ode on Plats, where nearly every noon self to a large extent. The fact of my having been at the changing of the guard before the Royal Palace, The Best of the New Music Issued by the Leading Publishers entirely in Europe during the past three years has cut a splendid military hand gives a short program of me off to a great measure from following the most standard musical compositions. The crowd which Selected, Graded and Recommended to The Etude Readers recent developments in American composition, but gathers at this time of day in front of the Feldherrn This list of piano music and songs represents a gleaning from the new music of the various leading -publishers off A f from what knowledge I have been able to glean I can Halle, where the band is stationed, numbers hundreds, are graded m a scale of ten: from Grade 7, very easy, to Grade so, very difficult, the stage of virtuosity. The com-ba//* ™™ *? m0lUh' Tht *ieces say that our composers are progressing rapidly and that they are not adhering to any “school.” and thus music of the ijest sort is offered daily to the y the capital letters H., L. and M., standing respectively for High, Low and Medium. When the song is °L‘ w ™dicat'd in a general way public. There is a great lack of such institutions in g published m several keys, it is so indicated. INSTRUMENTAL S OUTSIDE. America. It is of immeasurable advantage to the American on that we have had to OLIVER DITSON CO., B composer to come to Europe also in order to try his accept help from the out in music as in all other mettle side by side with his European confreres. My lines of culture. In mu ve have been fascinated by one nation after anc in turn. The modem own experience has been that my work has been judged entirely on its merits. In my concerts o’ positions duringf the last seasons I had to appear before , but its influence I think CLAYTON F. SUMMY CO C' audiences in whichhich I had pipractically no one whom I knew, m mmi s -rj&ik8 ^‘:God * and it was a great satisfac Mrs. H. H. A. Beach. "'a-Bsp I this is as it should be, for I am very much win the attention and the warm expressions of apprecia¬ ich sort of limitation on musical which unfortunately has never had a public, hearing, tion from such totally strange audiences in a foreign 'elopment of the American com- although there were promises after its completion for country. In Europe one has the f :eling that music is not a production at the Metropolitan Opera House. is broad lines as possible. He must regarded as a mere form of amusement, but as a Most of Paine’s pupils, as well as nearly all of our great, serious art. One of the numerous signs of this country; his field must be the whole'wo r°ld. ^ ° successful American composers, supplemented their is the naming of streets after famous composers. In work in America with further study in Europe. Of For the young aspirant to honors in musical com¬ every German city of importance one finds a Beet- position I should advise that great stress be laid on those mentioned above Foote was the only one whose education was entirely American. the acquirement of a broad general education, an all and so forth. around intellectual development, in addition to his Horatio Parker studied in Munich with Rheinberger “To return to the American comooser in his native Ail That I Ask.' d 3 purely musical training. Our university schools of and Edward MacDowell was entirely a European pro¬ land, I may say that there is a eat deal of untouch duct (with the exception of his early *"5* ' The ■ Kin* ' of * -60 music are I know working toward this end, but my material for musical i in the works of c with Carreno in New York), “ knowledge of their activities is too limited to permit American poets. an English compos from America when he me to judge in how far they have succeeded, or Coleridge-Taylor, ing in Europe until he had whether they have succeeded to a greater extent than one would certainly tnink that our native compos SM:: our better class of conservatories. At any rate' the hood and had already published a number of composi¬ should find numerous springs of inspiration in the aim of; the university schools of music is to produce tions. These earlier works of MacDowell show no poetical works of their own countrymen. I do not musicians in the broad sense of the word, instead of distinctively American traits, exhibiting as they do the mean to indicate that American subjects or the work producing brilliant piani strong influence of Raff, who was MacDowell’s teacher. of American poets should be the sole source of in¬ return to America that spiration for American composers,, for as I said before HARVARD’S tic began to write music : showed forth characteris¬ I am opposed to all restrictions of this sort, and I tics of his native soil. k LIST OF A FEW OF Some.of our best known composers have been pro¬ believe that the American composer must have the' fg: ; ducts of the Harvard University School of Music, such world as his field of work. OF THE THEO. PRESSER CO. WILL BE FOUND ON PAGES RESIDENCE ABROAD. as Chadwick, Converse and Foote. Professor J. K. I should advise all American composers to go abroad UTILIZE OUR HISTORY. Paine, who was the teacher of these men and and work for a time at least, in order to come into the head of the music department of Harvard for There is not much of our history that is available immediate contact with the wonderful musical life and for musical settings, for the simple reason that it is many years, was a very dear friend of mine. He atmosphere of Europe. The results of their work are conducted his course at the university entirely through all too recent for the necessary haze of romance to certain to be finer and broader than if they remained have been sufficiently drawn over it. How ridiculous 14 THE ETUDE THE ETUDE 15 present in charge of orchestras in the .United States it would be for example, to attempt to put Lincoln or American audiences. We must educate public opinion were larger than it is, this would be undoubtedly of Grant on the stage in an opera. Perhaps later such to the fact that we really have composers in America great advantage to the American composer. things may be possible, but not now. whose work is worth hearing, and we must make our There are, however, some picturesque moments in audiences patriotic enough to insist on having a fair THE DEBT TO WOMEN S CLUBS. Recent Notable Progress in American Music our history which might be made use of for opera share of American music on the programs to which texts, particularly those connected with Indian life and they listen. Fair play is really the expression I should Our composers owe an immense debt to. the many By GUSTAV L. BECKER with the Spanish settlement of California, where many use here, for I would not want that an undue place women’s musical clubs scattered far and wide over beautiful and suggestive incidents are to be found. But be given to American composers on our programs the whole land, which have done an enormous amount here of course we are dealing with something which merely out of a spirit of spread-eagleism. The fact of work in popularizing the compositions of American musicians. They have cultivated the study and the is not typically American from the point of view of is that American compositions are worthy of a chance to be a genius! But all the other serious and per¬ supporting orchestras. In New York City we have [Editor's Note.—The wealth fine things in tb< our generation. of being heard and they should have that chance, appreciation of the works of their own countrymen in .> it nAcessary to severing students will not have worked in vain ! Each those directed by Modest Altschuler (Russian), Arnold a most praiseworthy manner, giving them a chance ectlon o From a musical standpoint the treatment of an along with the works of foreign composers. ttnue some important..- m In the fl one will come to have his or her sphere of good in¬ Volpe (temporarily discontinued), F. X. Arens (Peo¬ for a hearing alongside of the works of European r presented a letter written Indian subject for an opera presents restrictions, and This is then the fundamental requirement, the edu¬ Kn ta. PT.oft,.807, wherein—1.-in D‘r.Dr. Ma»nMasou ont.ined( the fluence among those he comes in contact with, and ple’s popular), Henry T. Fleck (Municipal), Franz to any except an American audience the presentation cation of our concert-going public to the fact that composers. somewhat astonishing advance made ini American mus then, in the next generation, there may spring from Kaltenborn (summer), Pietro Floridia (Italian Play¬ In regard to the position of women composers I matters during his lifetime. In tile pre of an opera dealing with Indians would be impossible. the work of American composers is really worthy of i recent aspects all these musically awakened and influenced people a ers), and others. In Chicago the new “National Sym¬ consideration. may say that I have personally never felt myself Becker reviews many of tb Europeans for example have no understanding for much greater number of talents and the proportionate phony Orchestra,” Max Bendix; in Philadelphia we handicapped in any way, nor have I encountered question.] Indian customs and ideals, and it would only appear The secondary requirement is the impression on the number of geniuses. Just think what a pity it were still have the orchestra, so long directed by Mr. Scheel, prejudice of any sort on account of my being a woman, Does any one consider how great a part, in bringing ludicrous to them to attempt to represent such things foreign conductors who lead our orchestras of the and constantly gaining new fame now under Leopold and I believe that the field for musical composition in to lose even one real musical genius, to have him on the stage. fact that they must give more consideration to Amer¬ about this progress, the average music teacher may Stokowski; in Pittsburg that directed by Carl Bern- America offers exactly the same prospects to young trained to be something he is not fitted to be. It seems ican composers in making up their programs. exert? thaler; in Minneapolis, Emil Oberhoffer; in Los On the other hand the old New York legends of women as to young men composers. that every child should study music sufficiently to show Rip Van Winkle and Ichabod Crane and similar old When these two things have been accomplished, the Between the extremes of the uncultivated, unappre¬ Angeles, Hans Tandler; Cincinnati, Dr. Ernst Kun- The attitude of American publishers toward native whether it has a pronounced gift in that direction American stories might make good material for opera, American composer will be a long way toward the ciative listener, to whom the language of music is wald; Indianapolis, Emil Oberhoffer; Newark, Louis composers is I think a friendly one. Of course music¬ or not. If not, then the parents or guardians may as they contain a great deal that is really American. goal of a rightful recognition of his abilities. Then mostly “Greek,” and the thoroughly trained, refined publishing is a purely business matter, and is regulated decide how much longer to continue the study for Ehrke; Detroit, Weston Gales; Denver, Horace Ture- Tfte situations and characters we can understand fully it will be merely a question of supply and demand, and inspired musician, we have the average music- by the question of supply and demand. But I think purely educational and cultural purposes. man and Signor Cavallo; San Francisco, Herman Perlet as they hail from the foundation of the modern Amer¬ and there is undoubtedly a great deal to be given when student, whose mind, from out of all the loud con¬ the American publishers are after good material, and and Henry Hadley; and in Kansas City, Dr. Carl ican nation, whereas, Indian and Spanish-California the public is ready to receive it. glomeration of sounds” is much better than the tyro don’t care where it comes from. THE WIDER RECOGNITION OF MUSIC. Busch. thetnes must ever remain to a great extent foreign If the number of native American conductors at prepared to find, and at least in part to grasp, the There are also such splendid orchestras to be men¬ to our innermost feelings. musical message. He can understand some of, or a One of our points of advancement is to be recorded tioned as the Metropolitan Opera Orchestra, giving Personally, I do not think that Indian and Negro good deal of, the “Greek” or (Grieg), that is wasted in the fact that the educational and civilising possibili¬ melodies will play a very great role in the future ties of music-study have become more widely., recog¬ high-class concerts at moderate prices almost * every Stimulating Questions for Teachers upon untrained ears. Sunday evening during the season; likewise the Chi¬ development of American composition, although some We have now a considerably greater number of nised, by the educators of other branches as well, By THOMAS TAPPER cago and Philadelphia Opera and other orchestras. critics think that we shall develop along these lines large and well equipped conservatoires, music schools even by the school boards and supervisors, so that There are efforts made to establish local orchestras because of the original melodies and harmonic inter¬ There are, as yet, few books on the pedagogy of we shall call, for the moment, the technic of study. and music departments in general, schools, colleges they are not only improving the methods employed in vals of this class of music. This is something which of high character in almost every larger city in the rpusic; that is, of books that deal directly with the For example: and universities and “Chautauquas” with excellent musi¬ the singing classes of the public and private schools, only time can prove. Union. That there is a demand for these and that art of teaching. They exist for nearly all other sub¬ 1. Is the pupil prompt, systematic, attentive? cal faculties. We find also a most gratifying increase but also that there is a strong movement on foot to they are to a great extent appreciated, shows1 how jects of instruction. And they have been constructed 2. Does he* concentrate fully upon what you say in the number of thoroughly schooled and well trained make music in its more special branches one of the THE PLACE OF INDIAN AIRS. much quiet but steady progress the serious music (in other subjects) by teachers who have been keen and do? private teachers, all turning out well-trained performers, elective or minor studies in high schools and colleges, students of the country have been making in the pre¬ There is of course a possibility of making use of observers of what children do under certain definite 3. Has he established a fixed practice period? singers and again, teachers. It is most plausible that allowing due credit for work done and results ceding ten. years. Indian airs, as a number of works by American com¬ conditions; in brief, the pedagogy of any subject must 4. To what extent does he forget your Instructions such earnest, direct and continuous educational effort achieved. This will stimulate powerfully such efforts posers already have proven, but as for their forming grow out'of its practice. from lesson to lesson? accomplishes more than most other influences. Help¬ as are now being made to establish a higher standard a basis for a national “school” of musical composi¬ MUSIC FOR THE MASSES. Now, the practice of music teaching is very ex¬ 5. Is he handicapped by self-consciousness? If so, ing along musical progress, there are also the “Musical of music teaching. tion, in the sense that Russian folk-songs do to a Among the other educational and cultural musical tensive, Thousands of teachers are engaged in instruct¬ how do you correct it ? Settlement” workers, self denying teachers, studiously And as a consequence, the more efficient music certain extent in Russian music, this is quite out of the influences must be placed the so-called “Brass” or ing tens of thousands of pupils. Out of this vast 6. What is the dominant mental state reflected in developing all that can be of the latent musical promise teachers become, the more advancement may be made question. We are all European by descent, and there¬ “Military Bands,” which although not considered so amount of experience the philosophy of music peda¬ his) work? (Careless, untidy, forgetful, inattentive, in thousands of impecunious talents. Then there are in the particular artistic development of a still larger fore these Indian airs can never really become a part high-class as the regular “Symphony” orchestras, still gogy should evolve. It must not be a theory but a all sorts of musical-culture classes and clubs, musical number of individuals, and in turn there will result of us. They are not the songs which we are used to may have done more to advance the ability to appre¬ practical statement of results that follow upon definite 7\,Ar.e you> on y°ur Pan, primarily concerned in art societies, ensemble classes, amateur trios, quartets, another multiplying of "the general power of musical hear from the cradle on; in fact we only know them establishing correct mental habits in the pupil ? ciate good music among the masses. The music played by hunting for them in out-of-the-way places. conditions. orchestras, ladies’ orchestras, ladies’ choral clubs. In appreciation. This last question immediately divides teachers into by them has of late years had a constant upward trend, Our Negro melodies are also not specifically Ameri¬ While evdry pupil is an individual problem, there fact American women have done marvelous things to¬ Most public performers, as well as high-class com¬ two great classes: Those who arc inlerestcd m the full showing an ever increasing desire on the part of the can. Taking for granted that many of them were not must be a certain number of fixed principles that will wards advancing musical culture in their country. posers that achieve undisputed success, should be placed round of individuality in the pupil, and those whose public for music of true worth. Some of the foremost brought over from Africa, but originated in America, serve the unskilled teacher as a guide. This knowledge Then, besides native organizations, there are flourish¬ either in the class of exceptional talents or genuises, interest is centred in having the lesson done with and bands are those of Sousa, Innes, Pryor, Ellery, they can still not be regarded as American folk-songs should be made definite, and it should come from ing numerous male choruses and mixed choruses of and if it requires 999 exceptional talents before we .he pupil out of the house. There are many avenues Creatore, Nahan Franko, U. S. Marines, Duss, for the whole country. As such they have for us close observation directed upon a sufficient number of various other nationalities. may expect one genius, this may explain why we' have cases to establish a generally applicable principle. Out into the mind of a child and it is a question if they Feruello, Brooke, Conway and a number of others. northerners little meaning. In all these undertakings there is personal, active had several narrow escapes from coming into posses¬ of the general application, the individual requirement nf tk°p vm m£re ,°r !ess direct,y- through the heart Not; Only every city but nearly every town and village The Foster melodies, beautiful as they are, cannot participation, through which most potently the sense sion of a real native genius. Edward MacDowell was will follow as naturally as the twig grows out of the hi ran ,know h'S interests- his tendencies, in this country now has its band or bands,' chiefly be regarded as folk-songs, as they are all from the for pitch, for rhythm hnd for harmonic blending of one of our few geniuses, so far. But we must build pen of one individual. They are too. well known in branch, and the branch out of the main stem of the to svmnath-f th°“®ht: ,to aPP«date his difficulties, and recruited from the amateurs and, although for the tones is cultivated. our “temple of Fame” upon the bones of our prede¬ their original shape to be used to advantage as themes tree.'. ’ douht aH W,1 ,S litt,C troubIes are, without a most part they play what they and their listeners can And as to teacher? He is also one of these, that cessors. Therefore if all our young American com¬ for the composition of works in the larger forms, and The piano teacher may profitably take up for con¬ affection rarg,Ca f°r sccurinS the Walty and understand and appreciate, they now, more often than. directs a chorus or an orchestra! Adding much to posers, besides acquiring a1 thorough general ’musical in addition there would be far too, few of them to sideration, study and observation, such questions as Srogres" ^ mUSt be at the ba^ °f educational ten years ago, play and are learning to appreciate some the general progress, there should not be overlooked education, will diligently analyse and study the works go around in case all American composers wished to these: of the music that is as yet above their heads’. the many that are self-taught. Some of these are only of our best and most original native composers, and use them for such a purpose. 1. What is the best method of making the beginner ,he *» * <>«*> One of the most powerful influences in music, espe¬ partly self-taught, studying some of the excellent text¬ then, learning to recognize therein both the strong and I know too little about our American pageants and familiar with the notation of music? fall into the child’s cially helpful in arousing enthusiasm for the art;, is the books on musical instruction that are now extant, and the weak points and discover what would be the best their music to be able to say anything in regard to 2. What do you observe to take place when the periodic giving of Music Festivals. Some of the their relation to the general development of American then applying the knowledge thus culled in their own step to take to reach still greater heights, possibly pupff makes his first attempts at reading the notes and notable ones have been held at Cincinnati, Worcester, music, but I think that the representation of such scenes playing them on the keyboard? original and experimental way, and partly machine- some one of these will become an American Bach, Ann Arbor, North Shore, Spartanburg, Norfolk, Evan¬ from our history on a large scale must surely have the taught, inasmuch as they gather many valuable points Beethoven or Wagner—who knows! The span of 3. How do you cause the pupil to overcome the 'Con¬ ?dir”«d„tf0nn ist*!** ' $•"" ston, Cedar Falls, Bangor, Me., Syracuse, Saratoga, effect of stimulating the imagination of our com¬ sciousness of hands and keys? teaching. 660 thlS and tbe science of music for their own performances by imitating rnodel per-* 1 2years, 3 4 5 6 1904-1914, in some ways seem only a short time, posers. Peterboro, Sawannah, Canton, Oberlin, ■ Bethlehem, 4. What is the best means of so adjusting the entire formances recorded in the “talking-machines” or other considering the world’s history of musical develop¬ 5fl^"d.’/Urthf; the teacher should be ever alert if she Birmingham, Nashua, Concord, Trenton, Ocean Grovfe; One great drawback to the cause of American music body in its relation to the piano that the maximum of devices. In a general way, too, when it comes to ac¬ ment, yet much has been accomplished. In 1903-1904, is desirous of learning all she can of , * Keene, N. H., and at other places. The magnitude and is the fact that American orchestras and American concentration can be brought to bear upon the art teaching, to note the ob t i> • , f the art of music counting for the extensive increase of musical appre¬ we have had the re-establishment of the New York cumulative effect of such occasions is In most cases performers do not give American composers a fair of playing? ciation, we must acknowledge our great indebtedness Symphony Orchestra under Walter Damrosch. In that place on their programs. With orchestral conductors quite overpowering. There are a number of other in¬ 5. How early in his instruction does the beginner S **■ *»*>• 22 to the now widely available and insistent influence of year the New York Philharmonic Society, with the aid this is in a measure explainable (but not excusable), fluences at work helping our development in music at evince ability to render a complete musical thought? these inventions. of several wealthy patrons, inaugurated a remarkable by the fact that the leaders of our principal American present, and giving great promise of things to be 6. Is the failure to memorize (or remember) simple What we shall come to, in another ten.years, with series of concerts, which enlisted the services of a orchestras are, almost without exception, foreigners. ““ * •* achieved during the next decade. Among these may music, in the beginning, due to careless thought, or the additions and improvements in the direction of the number of the best-known European conductors. During the summer months when plans and programs be mentioned the Music League of America (helping may it be attributed to lack of control over the hands? is sug^esteTheTe^th^'teTcheT1'1 ^ observation as various tone reproducing instruments, is only to be Colonne, of France; Weingartner, Richard Strauss and for the coming season are usually made, they are by reading a standard tnt k i prepare herself deserving young artists get a start), The American most of them in Europe. Now from the standpoint, 7. Does the beginner learn to control one hand surmised, but it looks like a revolution in the field of Kogel, of Germany; Henry J. Wood, of England; and sooner than the other? jects of Pedagogy and °n,fach of tbe sub¬ Federation of Musical Clubs, The Manuscript .Society say, of a German conductor, it is quite understandable traditional music production! It is hoped though that Safonoff, of Russia, the latter in 1908 becoming its principles have been mastered08^ When the general (no longer an urgent need), The American Society of that he should be better acquainted with the work of 8. To what do you attribute the pupil’s forgetful¬ things will not be made so easy for the average music regular conductor. Each appeared in one or more herself looking at the comm 6 teacher wi" find Composers, Authors and Publishers. The. various contemporary German composers than with that of ness of your instructions? lover that he will be led to give up all individual effort, performances. 9. In what proportion of your pupils is a genuine daily work Jth new 7 .exPccrienCe of her larger Musicians’ Associations and CluBs, and as a living composers of any other nationality, and that deeper and its meaning ~i ' ltS S1£n,ficance will be for then would there be lost the chance of developing These concerts attracted wide attention and placed interest in music manifested? strong symptom of a more widely awakened interest in his search for novelties for the next season’s con¬ the one-in-a’-thousand “genius” or even the special tal¬ the society on a more substantial basis, In Chicago it will result in work more**’ und’ bet.ter than a11, in music—the greater number of musical -journals, certs the lion s share should fall to his compatriots. These are merely suggestive of scores of questions superior of quality easily carried out and ent of one-in-a-hundred. For it seems to be a law the “Thomas” Orchestra, after the death of its that include all the vital questions in the simpler peda¬ both weekly and monthly, with largely increasing cir¬ of the human race that one hundred music students, founder Theodore Thomas in 1905, was taken over by gogy of music. Any teacher who will keep a definite culations, exerting beneficent influence among music WHERE THE BLAME LIES. all more or less of equal mental equipment at the Frederick Stock, who continued the development and record of the problems that arise in her daily teaching n ™si' teachers and students, which is well-nigh compelling. When this same German conductor is engaged as start, must study and practice for years, most of them and of the best means she can primarily find to solve do this and be a dreamed OnWK1^' °ne Cannot expanded still further the range of good influence of We have also to give high credit to the various Opera the head of an American orchestra, however, the mat¬ striving for a high goal, and that only one among them them, will be a benefactor to the profession of which mg in the specific condition G w 4 Spue.?,fic happen- this excellent organization. The above-mentioned or¬ enterprizes, such as those under management of Henry ter takes on another aspect. It would hardly be fair she is a member. a superabundance of peoole ;n ,u h ,whlle- There is will turn out to be a “remarkable talent” a “fine suc¬ chestra and the Boston Symphony, as well as those in W. Savage, Milton Aborn (Century), Henry Russell, to place all the blame on the shoulders of our foreign A further series of questions—no less interesting nations will weave romance on anv^L' Wh°Se imagi' cess ;” while many more than a hundred of these suc¬ the following list, printed in italics, are now on a conductors, for a great part of it lies with our own we need in the nartioil n any subject; but what Max Rabinoff and others, that promote opera in our than those already suggested—may be based upon what cessful ones will untiringly strive for still higher permanent basis financially. Besides there have been native tongue, and employ preferably deserving Amer¬ achievement, and, yet only one of their number prove organized a number of high-class, more or less self- ican singers. 17 16 THE ETUDE THE ETUDE with the least amount of interference. As a general Of course we must not forget to pay our tribute of ing field without bitterness and with real interest in rule it is necessary to tell the student only the most gratitude (as well as dollars) to the imported great my work. At the time I felt that I was fitted to teach necessary fundamentals. The time saved can be better European artists—opera and otherwise—for the model- and that I was producing the best possible results with applied in arousing the enthusiasm of the embryo performances they have given us. Their example has my pupils. Now I know that I could have done a inspired many a young American student to do better hundred per cent, better work had I been properly musician. work. But now we have also a great number of equipped, had I approached my work from a different BREADTH OF TRAINING. “American” artists of high rank and achievement, who standpoint. This experience has been but the average A broad training does not mean that the teacher is need not be and are not ashamed to proclaim their and what I have since learned must be just what The Effect of the Great War on Music Here and Abroad to load the student down with dates, facts or theories: nationality either here or abroad 1 countless others are now learning by useless experi¬ knowledge is shown more by a continence of talking By LOUIS LOMBARD We should also bear in mind how much we owe ence. To learn by experience is good—but it is costly than by a needless display. The value of a broad those of foreign birth, who have come to make their to the student. training lies in the power it gives the teacher to un¬ An Address Delivered before the Philadelphia Music Teachers’ Association home here, and with their enthusiasm and the great Looking back over these years of teaching I can derstand his pupil, to inspire enthusiasm in those with power of their art have exerted themselves to help now see that my sole aim was the instruction on my us reach higer levels. whom he comes in contact, but, more than that, in the A REMARKABLE CAREER. of you, Members of the Philadelphia Music Teachers’ the foreign brand. In Europe musicians and composi¬ instrument. As the students came to me they were tions from other lands are sometimes deliberately There are so many notable ones in the list that men¬ exquisite pleasure which may be derived from a [Editor’s Notes.—Italy's viva test scientist, Lombroso, Association. examined as to their musical knowledge and technical once referred to Mr. Louis Lombard as "Tile most versatile ignored, and now and then cabals may be organized tion will only be made among the composers and musi¬ tremendously broad mental horizon. of living men,” and It would ' - Your committee asked me to speak about “The Effect efficiency and prescribed for accordingly. The results against them. Kindly note this is said in a spirit of cal directors of the genial Victor Herbert; and among The reader who scans this short article on the mu¬ finance, law, mu9ic and litera of the Great War on Music Here and Abroad.” To were good, but not what they should have been. It Lombroso was not exaggerated. strict neutrality, for nearly every European nation the pianists and teachers the greatest of all such, Rafael sician and his training may, perhaps, put it down and Mr. Lombard was born in France in 18(11 and entered the foresee that effect in its fulness at this early stage is may be the same way with the physician. A patient Marseilles Conservatory at the age- of nine as its youngest should be included in this indictment. Here we do Joseffy,—adored by all who know him well, and who exclaim: “It does not tell me just how to do it!” That difficult, yet those who run may already read some of comes for treatment, suffering, say, with some lung pupil. At fourteen be was left an orpliun and was engaged the opposite: we often neglect our own product, while surely could have no enemy 1 is just it. If any one person were able to prescribe o yean the consequences of this universal calamity. ■trouble. The doctor prescribes. The patient improves Regardless of the optimistic reports of citizens, welcoming with open arms a foreigner upon the mere a definite receipt for personality, and which would slowly, with occasional relapses and probably • never a Uticn whose “wish is father to the thought,” I regret to be¬ presentation of a passport issued by his ever truthful apply in every case, personality would be of little value. . .lea Philharmonic Society. Later ... __ ... gets entirely well. If the physician had inquired he entered the Columbia Law School, but eventually returned lieve our musical season will be bad financially, and impresario. The American artist deserves more recog¬ HOW BREADTH OF TRAINING HELPS THE might have found that the patient was working in a Personality is valuable insofar as it is self-acquired, nition. To encourage him, however, we should not Iu 1889 Mr. Lombard founded the Utica Conservatory of that, in Europe, many musicians shall feel the pangs TEACHER. factory where the' constant presence of dust made a and therefore different. The value of any instruction, Music and School of Languages, which was noted for the of hunger. become jingoistic, foolishly proud and satisfied. permanent cure impossible. With music it is just the whether it be written or oral, lies in its power to efficiency of Its work. Some years later the founder sold this institution and became connected with large business A few among the numerous depressing facts are same. Unless we prescribe for the mental ills of the cause people to think. Culture, knowledge or person¬ already public property. Even in neutral European PATRIOTIC MUSICAL BOYCOTTS. BY ARTHUR JUDSON. enterprises, emerging after a comparatively short time with ality, or whatever one may call it, is valuable only very large means, a result accomplished by men of affairs, Boycotting good music for patriotic reasons is now student, unless we look after his mental and intel¬ but never before by a professor of music. countries the majority of opera houses and theatres lectual environment, there is little use in feeding him when self-acquired and not when fed in homeopathic Notwithstanding'bis activity in music and in business he are closed. Among belligerents musical life is almost practiced abroad. This seems like cutting off one’s There are two kinds of teachers: those who are constant doses of technical or musical knowledge. doses by some so-called teacher. Independence, initia¬ found time to write several books, addresses, pamphlets, dead. The Bayreuth season was given up. The Phil¬ nose to spite one’s face. Happily, nothing so puerile bom pedagogs and those who are forced into the field hundreds of brochures, the comic opera Juliet, the grand Personally, I should now prefer to have my general tive in self-culture, as well as in musical instruction, opera Errisinola and a score of compositions for voice, piano, harmonic concerts, under Nikiscli, were abandoned. has yet been done by us. Our art life could not be of instruction. band and orchestra. knowledge than my musical knowledge if I were to are the things which the average teacher needs. Not Important music journals have suspended publication. what it is, nor remain thus, without the constant ex¬ -The teacher who is a born pedagog is as natural in One of his books, The Observations of a Musician, has begin teaching. Technical and musical knowledge can to' be told how to do a thing, but to have pointed out been published in large editions in English, French, German Music publishing is paralyzed. Toscanini’s tour in ample and inspiration of the best European models. his vocation as the artist who on the concert platform and Italian. The English original was written twenty- be acquired in a comparatively routine manner and with what should be done: that is the road to a broad train¬ Russia, Caruso’s in Germany, and other enterprises in Music and the other arts are not the exclusive gift of arouses the enthusiasm of multitudes. Though his seven years ago. a normal amount of application, but the knowledge ing for the American musician. Louis Lombard is a naturalized American citizen and any France and England were abandoned. any one race: all men should share alike in them. Is audience may not be as large, indeed, being but one, one who has ever met him never has anv doubt as to his which makes a real teacher, who inspires enthusiasm This winter there is to be no permanent opera in painting Italian, music German, sculpture Greek? No, or perhaps a few students at any one time, the pride in the country of his adoption. In 1898 he was chair¬ in his pupils, is to be acquired by some special effort. man of the Executive Committee of the Music Teachers’ Boston, Chicago and New Orleans. In other places beauty belongs to humanity entire. principle governing the success of his work is the National Association at the Chicago Fair ; he was the sole the opera season may he shortened: some other large So costly and protracted a war must force the Old Personality is often confused with magnetism and delegate to North and South America to the World’s Con¬ same. The line between the work of the concert artist World to economize in every way and to omit all, deemed a natural gift. There are those who impress TEN LESSON PRELIMINARIES. gress called by the late Pope for the improvement of the musical undertakings, too, will probably be given up and the true teacher is one of quantity and not of music in the Roman Catholic Churches throughout the or postponed. Military, dance and church music, also save the most necessary expenditures. For many one at the first meeting, who seem to make one do world : he has been honorary president of the Swiss National quality. The true teacher is one who, having the music teaching may not seriously feel the retrench¬ years luxuries will be much less used abroad. As a things because of some unseen power, but that to my BY GERTRUDE M. GREENHALCH. Musical Festival: he was appointed by the Italian Govern¬ technical side of his art at his finger tips, yet possesses ment as a member of the musical jury at the International ments our people must make as the war continues, but result we shall have a greater influx of excellent mind is not personality. Personality, for the musician, Contests held at the Expositions of 1902 and 1911 at Turin ; that ability to inspire enthusiasm in his pupils. Mu¬ he was president of the artistic commission of the Inter¬ concert and operatic artists will have smaller incomes— musicians. With more artists keenly competing, bet¬ is the sum of his musical knowledge, his technical I. See the lesson room is properly heated, having a sicianship, thoroughness, these pass as for little unless national Theatrical Society which a few years ago controlled if any. . There is to be no exportation of pupils: that ter music will become less expensive. One might de¬ proficiency, his appearance; his surroundings (insofar warm even temperature and no draughts. the leading opera houses of Italy and South America; in the teacher is able to inspire his pupils so that each 1902 in Cairo, together with Camille Saint-Saens. he con¬ may compensate for the importation of teachers. New duce therefrom that the demand for cheap composi¬ as he makes them), and, above all, his breadth of view. difficulty surmounted becomes an incentive for work. II. The light should be plentiful and should come ducted a symphony concert at the Royal Opera, and there, compositions will become rarer in Europe. Young tions and poor musicianship should soon decrease. The teacher does not, as he so often thinks, deal over the left shoulder. If there is a window facing " id by Saint-Saens’ request, a The second class, those teachers who are forced into was first performed. He was composers being at the front and aged ones finding Have no fear, the large majority of our public will with facts, with figures; he deals with people. The the pupil, have a dark curtain put over it. - - -.v In 1911 and that same year little inspiration, save for war songs and elegies, may continue to relish insane popular songs and brutish the field of instruction because of the difficulties of _ entertained at the Royal Palace in Bucarest by “Carmen studio is the battle ground upon which two personal¬ leave more elbow-room for the neglected American dance music. The dealer in musical shoddy may not the concert field, is much more numerous. No op¬ III. The piano stool should be of the correct height. Sylva,” Queen of Rumania, who Invited him to perform ex¬ ities meet, that of the teacher and that of the student. One with a back to it is best, as growing children can- tracts from his opera Errisinola. composer. earn less; the first-class musician, however, will not probrium attaches to the teacher who enters this field An enthusiastic recognition has attended his leadership The success of the teacher depends on his ability to not sit upright for long without getting tired. Tired, of the Berlin Philharmonic and the principal orchestras of be so well remunerated, because the demand of his because of the impossibility of attaining his ideal as Paris, Cairo, Milan, Algiers, Nice, Lucerne and Budapest, understand the personalities with which he comes in uncomfortable pupils mean inattentive pupils. WELCOME AMERICAN MUSICIANS. limited market cannot expand proportionately to the a concert performer; in fact, most of the best teachers contact. Personality, or breadth of view, if you will, i For the past seventeen years he has resided in Europe, IV. Provide a footstool for small children who where, as patron of art, virtuoso, composer and conductor, We disdain our native artists while Europeans make supply. Patrons of the best art, though ridiculously are thus made. There is something about the con¬ is created by the contact with people, with life in his talents won him recognition among the best. His famous little tin gods of theirs. Their press gives them the few in so vast and rich a population as ours, are stant preparation for public work, about the study when sitting at the keyboard cannot reach the floor residence, Trevnno Castle, which originally cost two million general, and the conclusions which are drawn there¬ with their feet. four hundred thousand dollars, was built by Baron von free space usually reserved in the United States for doubtless increasing in number, but not so in normal which has for its ideal the pleasing of many people, from based on a fundamental knowledge acquired from Berwles to create at Lugano, Switzerland, a Temple of ratio to the nation’s growth. i Music analogous to that built for Wagner at Bayreuth by which may eminently fit the player for developing the an acquaintance with the personalities of the past, f ihe,PT° Si°01 should be at the distance [the Bavarian King. talents of others. However, there is also a great f om the keyboard, so as to enable the student to use 3 Since Mr. Lombard purchased his magnificent residence MUST WE FEAR NEW COMPETITION? gotten, perhaps, by reading, by seeing pictures, by his arms freely. danger. The holding before one of an ideal, of a [in 1900 artists of every country have been welcomed there, hearing concerts, by studying past and present-day 'and each summer his private symphony orchestra, which In the beginning there will be little to apprehend dream of success, for years, and the final dashing to has included among its members large numbers of the civilization, through politics, or by any other means. theVL?tenm rh° C°me int0 the heated room from from the competition of newcomers, because, unless the ground of that ideal, often breeds in the aspiring notable musicians of the world, gives daily symphony con¬ If I were asked to indicate in. what way such a before bShOU , ,glVe" ^ for their hand* *0 warm certs under Mr. Lombard's direction. Since 1900 he has preceded by wise advertising, even the most talented artist a feeling of disappointment and bitterness, which before being asked to play. conducted 900 concerts, usually directing the entire program personality might be developed, the answer would be will not be recognized at once. -Our listeners are in¬ makes the constant instruction of pupils a dreary without score. that one should make the study of people and customs triILR7intd StUdentS that their nails should be Even before Louis Lombard became conductor of the sufficiently educated to judge for themselves. It takes grind. This need not be. trimmed short enough to avoid clicking on the ivories. Trevano Castle Orchestra many distinguished musicians were first and music second. Of the day available for among its members, such as Victor Herbert, Cesar Thomson, time and money for a new artist to inform, or, rather, study and advancement the smaller part should be de¬ . bright, cheerful teacher, a bright cheerful Loeffler, Oedshorn, Hasselmans, etc. to misinform, our readers about himself. I say “mis¬ THE VALUE OF AN INTERCHANGE OF IDEAS. stuffio, guarantee a bright, cheerful pupil One wing of Trevano Castle is devoted to a spacious opera voted to technical advancement and the greater part house and concert hall, splendid in design, tasteful in inform” advisedly: it is often only the childish legend, There are many articles written about the education to general musical knowledge, to meeting other people, decoration and amply provided with scenery, mechanism and the simon-pure falsehood from his manager that sticks of musicians, but most of them are concerned with the you «m Winhe I?80" in your "find, so that appliances for the successful production of any class of to discussing questions of. present interest, to the •A- - g ght away °n a definite working basis. artistic entertainment. In the opera house Gounod con¬ liks a burr in the hair of memory, while a just criti¬ technical aspects of the art. These articles are of great formulating of opinions on subjects worth while and unprepared to modify yoUr plan, however, ducted his Faust and Glinka's Life of a Osar was given in cism would be Chinese to most of us, and many of usefulness, indeed many of them take up points of the presence of Czar Nicholas III. Recently Mr. Lombard’s to a definite study of some phase of history, civiliza¬ f the need occurs. opera Errisinola was given in the same opera house with our periodicals might regard it as “poor copy,” as teaching which arise only after the student has com¬ X. Have a pencil and writing pad t enthusiastic appreciation of noted critics. The libretto of tion or art. Such studies should be carefully hand, and a Errisinola was written by Puccini’s collaborateur, Illiea. unmarketable grandiloquence. Competition must bene¬ pleted his work under a master. Any suggestions proportioned. range all your music Mr. Lombard’s hospitality at Castle Trevano is famous. fit each one here by raising standards and repaying, if which aid the young teacher to solve the peculiar Mascagni, Leoncavallo, Faure, Fogazarro, T. P. O'Connor, The average teacher taking up a course of real study you know exactly where Max Ooldherger, and many others equally gifted, have been not in dollars, in higher ideals: it is the soul of com¬ problems of imparting his knowledge to many and m literature, art, or what not, will be surprised to find among his guests. During the past fifteen years more than merce and an efficacious incentive in all other pursuits. various mentalities are of extraordinary benefit In it a real labor and that he has almost no basis upon 8,000 Americans, including William Jennings Bryan, General In these days of “America for Americans,” our pub¬ fact, such a paper as The Etude is a definite proof Greel.v and Judge Gary, have visited Mr. Lombard in his which to erect his structure of knowledge. It is there¬ famous residence. Mr. Lombard has always welcomed his lic ought to be warned it is not self-sufficient in music. that the interchange of these ideas is enormously RESPECT FOR MUSIC TEACHERS. American friends with the same cordial greeting he has fore wise to begin such studies with a carefully ----- extended to crowned heads, ambassadors and other magnates. To speak otherwise is but trying to catch the rabble. valuable. But there is a side of the musical profes¬ lined course of reading or study, and with Indeed, a list of the guests at Trevano Castle reads like a Let musicians leave the monopoly of crowd-tickling to contemporary Hall of Fame In Music, Art, Science and sion which is much neglected—the breadth of training variety of subjects to prevent stagnation. sufficient win notic^thL1 there" are1 r°Iumn.S °f the dai|y PaPers Statesmanship.] the domain of politics. which makes the teacher a success. Such studies, however, must be considered only as a Every city in this country of one hundred thousand It is immaterial whether the teacher is born a ped¬ Ms. President, Ladies and Gentlemen :—- foundation for the real study. As Pope says: “The or more should have a good permanent orchestra and agog, with the natural desire and aptitude for‘im¬ opinion and it ;« , gnificant barometer of public To be among my former colleagues after a quarter opera. In communities of that size a sufficient part of proper study of mankind is man.” A teacher who has parting knowledge, or whether, driven into the profes¬ of a century makes me feel twenty-five years younger. the public could soon be made to turn some of its a broad view of mankind is the one who inspires en¬ .oU:; s “b .-h*' *■ -t- sion by force of circumstances, he takes up the work I am grateful for this invitation to be with you this attention to other than inferior entertainments. In thusiasm in the student. To produce a real player it Nevertheless there is still LZV g better treated as a means of livelihood: in either case there is the evening, and I thank your efficient President and each many European cities even smaller, and whose inhabi- bly in making the teachbg^r^t'S necessity for breadth of knowledge and training is not necessary that the teacher should examine every technical point and elaborate upon it at each lesson; As a young musician preparing for concert work, it is surprising what the student can do if only the it the bir'bra"nsClaAs ^K and afterwards faced by the necessity of teaching I devoted - every moment of my time to the fitting ’of main points are touched upon, the minimum of ex¬ planation given, and an opportunity given him for the myself for my musical work. Barred, finally, from ing-stock, and when " ’ * g°VerneSs wi]1 he a laugh- the concert field, I nevertheless approached the teach¬ independent working out of problems. Once a principle is outlined the student should be allowed to apply it primarily by WWit Hoe r™7 Wi" be judged people” does for and w*th i : young 18 THE ETUDE THE ETUDE 19 citizens, and thanks to its natural resources, the United tants have not the average culture of our own citizens, spirit. Considering alone the pecuniary cost of this States hag truly become the trustee of humanity! a good orchestra and opera are maintained. It is true useless war, it is not difficult to foresee the lamentable Still I fear that, far removed from the burning we cannot have State or Federal aid. But we do not economic condition in which the Old World will be home,’the piteous wail of hungry babes, the shriek need it. Our people are prosperous enough to buy for years. Twenty-five million dollars is the daily cost, of the wounded, the uncanny mumblings of the dying, what they want, or what some intelligent purveyor can equalling, in two weeks, the entire price of the Panama some of us fail to appreciate how beautiful is our op¬ make them want. What they could save by attending Canal. The Canal, however, will be a perpetual source portunity to relieve the needs of those martyrs across fewer performances of variety stunts, so-called “musi¬ of income to us and of benefit to all mankind, while the sea! Far from that Europe-wide Calvary the How Classification Helps in Music Study cal comedies,” would alone go far toward the support the money spent for that carnage is not only wasted, mental image is softer. While abroad I could hardly of the best forms of music. but is being used to destroy all forms of wealth and sleep or eat. Ghastly visions would haunt me at night, CLARENCE G. HAMILTON. millions of human creatures. And does anyone know and in day time a bar of lead filled my bosom. But CHILD-LIKE OPERATIC EXTRAVAGANCE. how many more millions will die during and after this I no sooner sailed than sleep and appetite returned. Professor of Piano Playing at Wellesley College We are as child-like as extravagant in operatic bloody cyclone through cold, starvation, exhaustion, To-day distance has entirely dissipated the cloud which affairs. The costly high C’s of an uneducated fellow usual diseases and unusual epidemics? For every one enshrouded my spirit. Nevertheless, in thoughtful mo¬ and the frills and laces—musical and millinery—of an life lost upon the battlefield, three deaths must occur ments the awful truth suddenly surges forth before my over-advertised prima donna are not essential. It is elsewhere. consciousness and wrenches my heart. the ensemble that makes the opera: not detached vocal May everyone appreciate fully the noble duty provi¬ double notes; those with varied rhythms, etc. A simi¬ soli, but well-balanced forces artistically guided. A DO MUSICIANS NEGLECT SYSTEM? These cards are then arranged in alphabetical order, MUST WE HAREOR PAUPERS, CRIMINALS AND dentially thrust upon our people. Let us remember according to the title of the exercise: thus, the above lar group of exercises deal with figures involving three capable conductor and a capable stage manager—func¬ A primary source of efficiency in business opera¬ that he who quickly gives doubly gives, and that an tions now and then exercised by the same man—are DEGENERATES? card would be placed among the E’s, from the word fingers, then four fingers, and finally all five. investment in goodness will repay the best interest be¬ tions is system. If we enter a typical up-to-date office, less expensive and far more useful to a fine interpreta¬ When the flower of Europe shall have been crushed, Expansion. Next comes a list of exercises with contracted hand, cause giving to the poor is lending to God. for instance, we observe typewriter, adding machine, tion than extraordinary voices. debilitated races will remain to retie the knots of their Three manuscript books have been suggested be¬ in which the fingers are poised upon the successive And now friends I shall essay to voice the silent letter files and the omnipresent card index, each per¬ There are plenty of known and unknown conductors national life. Such destruction will breed degeneracy, cause there are three fairly distinct divisions of our degrees of the chromatic scale. Conversely, the subse¬ prayer of the public conscience by asking infinite mercy forming its important work of unraveling the com¬ subject—(1) muscular movements and technical fig¬ in this world—talented, experienced, energetic—who pauperism, criminality, and for many a year a higher quent list deals with the hand in expanded positions. to compensate the world for this atrocious agony, by plex details of commercial enterprise. would gladly accept four to five thousand dollars a ures, (2) scales, in various forms, and (3) chords and These are introduced by the extra reach of individual percentage of undesirables will be among our immi¬ granting man more compassion, more love and conse¬ While any rational person would presumably agree year—the same kind of man who demands twenty arpeggios. Each of these divisions is listed in a sep¬ fingers, as in the following: grants, unless our public officials redouble their vigil¬ quently, more peace in the centuries to come. as to the absolute necessity of system in business life, arate book, and, so far as possible, in progressive thousand or more as soon as he thinks the free ad¬ ance. To add to this evil, these derelicts, good or bad, vertising he got since landing entitles him to that sum. there is not the same unanimity regarding art pur¬ order. Two other classifications can be noted on the will drift into our overcrowded cities. What a pity suits; for an artist or musician is currently believed individual cards. The first of these refers to the par¬ No. I. We overpay our conductors and soloists. The crea¬ there is no law forcing immigrants into agricultural WHAT IS A PRACTICAL LESSON? to be a creature of erratic and spasmodic habits, averse tion and maintenance of a symphony orchestra and of districts! to subjugating the divine effiatus of his genius to hum¬ an opera is but a question of wise economy and local We may derive some indirect material advantages drum routine. But we who make a profession of management. The cost should not be what we ex¬ from this conflict through the building of an adequate music teaching quickly discover that success in this travagant Americans think. There are at all times merchant marine through additional South American hundreds of unemployed American singers here and trade and greater exports everywhere by the move¬ direction depends none the less upon common-sense abroad, and myriads of unemployed singers and or¬ A student who had just graduated from a leading and rational judgment, and that lack of methodical Finally the octave limit is reached, within whieh s ment in favor of "Made in America” and “See America conservatory said, “I feel like a soldier going into bat¬ chestral players in Europe who could be engaged at procedure is quite as sure to turn out poor work, limitless number of useful figures are possible, in¬ First,” and by temporarily burying political hatchets. tle—but—have I really had the necessary drill to aim reasonable prices. with consequent loss of patronage, as in any other The dream of universal peace, too, may grow nearer and hit the right target?” volving, first, the octave itself, then the various posi¬ New conditions arising from this stupendous up¬ business venture. its realization. All these hopes might be "fulfilled, yet To make music teaching practical the teacher must tions of the triad chords, such as this: heaval may enable many of our cities to secure a good our gain can never equal our loss in this universal realize how to aim and then how to hit. To d# this permanent orchestra and opera. calamity. WHAT CAUSES FAILURE? he should analyze the various conditions surrounding No. 2. ALL ARTS WILL CAIN. Whatever be our gain as Americans from this uni¬ the daily life of the pupil. He should survey the An analysis of the musical failures—of the pupils versal calamity, it can never equal our loss, for wealth pupil’s home life and note what assistance can be who have studied long but whose accomplishments It is difficult to believe any good can accrue from is to international affairs precisely what blood is to counted upon there. He should carefully observe the are worse than nil—will reveal the unpleasant fact that this maelstrom of blood and fire, yet I sometimes man’s body: take some from his foot and you instan¬ location of a little student’s piano and see that it is in most cases, at least, the trouble can be traced to the dream that all arts will gain from that unfathomable taneously make his head anaemic. Modern science properly placed to insure abundant light, comfortable ignorance or injudiciousness of the teacher. The human despair. When peace returns, the collective annihilates distance, and the other nations seem to position and reasonable assurance of the lack of dis¬ former trait may be treated with some leniency, since human soul having been intensely stirred to its depths dwell in glass houses adjoining our own glass house. by infernal tortures shall speak to the world a new tracting conditions. If the mother is musical she in the blissful state of ignorance, the teacher has per¬ and finally the various chords of the seventh, especially The destruction of values anywhere impoverishes each and superhuman message—a message inspired by the should be enlisted in helping the pupil as much as haps done his best; but for the latter there is much the dominant of us. Injustice or cruelty at any point upon this wide possible. less excuse. In this case the teacher possesses a com¬ anguish, the agony, the pity, the piety that go to make globe humiliates or brutalizes you and me. All the the great poet. petent fund of musical material, but has not taken the world is indeed kin ! Therefore, the loss of billions With an older pupil a study of the pupil’s daily I now beg leave to neglect the musical part of my •ccupations and ideals always helps. Sometimes suc¬ trouble to arrange this material into such an available No. 3. of dollars and millions of souls elsewhere must depress condition that he can readily select from it the exact theme, that I may tell more about the war itself—a our own political and economic life. cess in music study depends upon a tactful alteration topic which, at this hour, eclipses all others. of the pupil’s thought upon the main things of life. item that fits the pupil’s needs. Quantities of useful The overwhelming majority of citizens of each of knowledge, in other words, stored in one’s head hit- the belligerent states are honest and desire peace. The Some superior young people turn up their noses at THE GREAT CATACLYSM OF HISTORY. music, not because they do not like music, but because or-miss, or even written down in the same improvident future historian will not blame them so much as their fashion, often proves to be worse than useless. Only What most Americans abroad endured this summer imperfect governmental methods. In justice to the they fail to appreciate that music is a great human after each item has been ticketed and deposited in its and the diminished: is nothing compared to the awful circumstances sur¬ civil and military authorities, it should be stated here necessity something that our modern world could not forfeit without serious loss. proper pigeonhole can it be readily employed to fit rounding others. When around you hundreds of thou¬ that probably they believed war was unavoidable and sands are dying of starvation, of horrible wounds, of With the mature pupil we go deeper. How much the physician’s diagnosis. the best means to serve the country. Nevertheless, I You have studied with excellent masters. You have frightful diseases, it is childish, yes, almost cowardly, still maintain that imperfect governmental methods time can he afford for music study? How much to complain of poor food, so long as one does not money. Does he plan to teach or not? In short, had illuminating experiences as a music teacher. Have must be blamed if mediation, arbitration, international you, however, thoroughly assimilated all the hetero¬ starve, or of scarcity of money, if one has enough to what i< s aim? If he has none, the sooner you find law, the Hague Tribunal and pure common sense could geneous data thus accumulated by tabulating it and go home with, even by cattle trains. not avert this war—just as if the citizens of civilized t and help him to one, the better. No one won- Some days ago, at a meeting of the American Bar ders aat the feeble attempts of so manv pupils to hit arranging it in logical order? If not, you are in nations were savages even more stupid and blood¬ danger of utterly losing much of your most important Association in Washington, I heard former President thirsty than irrational beasts. Taft say: “Such a human catastrophe, such a cataclysm sturdy if WhCn °nC kn°WS h°W desultor>r s° much capital, and of making unprofitable investments with Many believe that this frightful conflict shall bring the remainder. This last chord, in which all fingers are spaced at in history, beggars a vocabulary inadequate to descrip¬ universal peace. This desirable end cannot be attained 3ve inZr -Se.leCt- aU musi<=tJSTneeds f deed inscrutable! 6 clearly, grade, number and describe each technical exer¬ instrument. These include finger movements involv¬ of other people’s feelings guide each and all of us in or Cchv” or°™ f 18 gl'’en’,n0t because ;t ^ "Pretty” One’s horror and wonder cannot be expressed in the cise that is likely to prove useful. It will be sufficient ing staccato or pressure touch, contractions, expan¬ private and in public. The awakening from this hell¬ defiffi* purpose ^ ** bUt becauSe fi,,S some for this work to employ but three grades, easy, medium sions and the like; wrist movements, up and down or ish nightmare is yet far off, and any stray spark might contemplation of this vast butchery. Something is radically wrong when the intelligent and educated must and difficult (abbreviated to E, M and D). On the lateral; contraction, relaxation and rotation of the ignite at any moment the powder magazines over-ripe resort to wholesale assassination. And for what? For seems SkefnSe ofTe'afe. T’ 1°' praon of the Wise Virgin is a sample of such a card: the thumb moves under the hand or the hand under into the soul of modern rulers! I have npt forgotten that Nero used to kill the bearer ing the various muscular movements above alluded to. of bad news, yet I am impelled to express the belief S feast P and Was ab,e to in unto the thumb, those for lateral movements of the hand European progress has been retarded in recent years We begin these with what are commonly called five- that we are but at the threshold of this modern inferno from the wrist, etc. Under this heading will be placed by armaments costing annually five billions of dollars, finger exercises, which start with the hand in its nor¬ We should be grateful in America. How fortunate No. 35 mal position, the fingers resting in order upon the keys the very practical exercises which the teacher invents, and will now almost stop for a long time through this An emotional •to be able to help instead of being helped! Through man merely asks whether music is C, D, E, F, G. From this position arise many two- somtimes on the spur of the moment, as a solution of incalculable and irretrievable waste of matter and bright or gloomy, Expansion ex for separate fingers its benevolent government aided by many big-hearted M Bk 1, page 14 finger exercises—the trill, dealing with adjoining keys; difficulties met with in the study of some composition; or bad.—Eduard Hansuck C13n ESkS whether it i* S°od Useful for short fingers exercises on disjunct keys, such as CE, DF, EG; exer¬ or useful passages copied directly from a composition cises in which some keys are held down; those with and made into a valuable technical drill. 21 20 THE ETUDE THE ETUDE

But we have also continual practical use for our THE EXAMPLES OF LISZT BOOK II—CLASSIFYING THE SCALES. There is no technical distinction between individual written lists. When we start work with a new pupil, O more interest¬ AND RUBINSTEIN. Book II, treating of scales, is now to be compiled. etudes and study-pieces; hence these may best be we will naturally enter upon a conventional order of N ing book of “And beauty of tone A number of the exercises already listed directly pre¬ listed together in the important division of teaching muscular movements and technical exercises, in order pieces. As this collection is to become the mainstay musical mem¬ was precisely what I found pare for these, and may be referred to at the outset to insure his knowledge of fundamentals and his sym¬ of the teacher in selecting the appropriate piece for oirs has been to be the predominant by their numbers. Then follows a systematized course pathy with our own principles of practice. Our clas¬ each occasion, he should spare no pains to make it published for many years quality in both Liszt and of routine scale practice. Starting with the major sification embraces logical courses of technical figures, accurate and convenient in its classification, and to re¬ than Sir Charles Villiers Rubinstein. When Liszt scales, we first note useful ways of teaching their scales and arpeggios; but, as the pupil proceeds, these plenish it continually with other music which he finds Stanford’s Pages from an signatures and fingerings. These scales are then writ¬ courses should be given considerable elasticity, so that raised his arms above his valuable. There are many classified lists of teaching Unwritten Diary. Sir ten out with fingering, through at least two octaves. whenever any peculiarity develops in the pupil it may head, he did so, to be Devices for their complete mastery come next, begin¬ pieces distributed by the various publishing houses or Charles has been for receive special treatment. Moreover, variety should be frank, simply to make a ning with one-hand practice with different touches suggested in pedagogic works; but, while these have many years in the fore¬ sought by changing frequently from scales to arpeg¬ theatrical display which and at different rates of speed, suggested by metro¬ many points of helpfulness, none of them can compare front of musical endeavor gios, or from arpeggios to technical figures, while the would catch the eyes of nome marks. The expansion of the scale from one to in value with the list which the teacher himself com¬ in England, and has in an audience. He was four octaves is treated. Hands are now put together, piles as the fruit of his own experience, and with the that time encountered quite capable of showing first in parallel, then in contrary motion, and finally annotations which that experience has suggested. On most of the leading spirits SECURING CO-ORDINATION. off, with his tongue in his in combinations of these two. this account he should confine the compositions upon in the musical and artistic cheek. All the same, he After listing scales in which one hand plays two, his list to those which he has discovered to be of prac¬ In the assignment of studies care should be taken world. Among these may had brains enough to know tical value for his own use, because of their attrac¬ three or four notes to one note in the other, or in to secure at least a modicum of correspondence with he mentioned, to show that the poise of a hand, tiveness to the pupil, their pianistic style, the'r drill our purely technical work: scale studies, for instance, the diversity, Sir Robert. which there are two notes in one hand against three whether at the distance of in reading or technic and their pertinent points in in¬ are naturally accompanied by scale exercises; studies Stewart, W. H. Thomp¬ in the other, or three in one to four in the other, we two feet or two inches proceed to scales in canon form, and in thirds, sixths terpretation. of embellishment by technical analysis of the trill, son (the scholarly and rsi,. Charles Stanford’s activities have been so manifold that it is,hard to give.nn adequate conception of his above the keys, makes no mordent, etc. Likewise in the choice of pieces, the caustic Master of Trinity and tenths. Scales with metronome at varying rates, services to music He was born in Dublin, 1852, and after studying music under excellent teachers in Ireland and on difference to the tone. A scales in varied rhythms, such as that made of dotted ARRANGING THE CARDS. pupil’s technical status should be a determining factor, College, Cambridge), Irv¬ the Continent in' addition to graduating from Cambridge University, he ■ entered upon an active career as professor of mus“c at Oambridge, professor of composition at the Royal College of Music,. London conductor of various. impor¬ careful observer of his eighths and sixteenths, quick groups of scale notes It is possible to arrange the cards (1) by the names and the piece should be based mainly upon technical ing, Rockstro, Sir Frede¬ tant choral societies, etc.) and composer of opera, symphonic music church music,. chnmher music, choral music and playing would have no¬ and the like, complete the list of devices with single of composers, (2) by grades, or (3) by teaching points work for which the pupil is already well prepared. rick Leighton, Sir John indeed music in all forms. He has also done much to restore and preserve the magnificent folk music of Iieland.— ticed that no matter how fingers. The important double-note scales in thirds involved. A combination of the second and third of Points of interpretation should at first be simple in Millais, Sir George Grove, Editok of The Etude.] high was the upward lift' and sixths are then listed, with their various finger¬ these methods seems most practicable, as the card then character: uniform rhythms, melody in a single part, von Biilow, Brahms, THE MATTER OF TOUCH. of his arms, the downward fall was always in time ings and treatments. becomes more accessible for a given demand. conventional harmonies. As proficiency increases Dvorak, Liszt,. Reinecke, and hosts of interesting to allow of his hands being in the same position to Minor scales now claim our attention, introduced by Nevertheless, as the first items on the card we may pieces are given in which such devices appear less personalities hardly less famous. As may be “She always held that a beautiful touch was a gift, strike the keys as if the brachial flourish had not been a discussion and illustrations of their various forms. well place the name of the composer (with his dates) patently, or in combination, until the complex phras¬ expected of an Irishman, Stanford writes with a which can be developed by careful training but cannot made at all. To hit the key from a height would be A course of treatment similar to that given the majors and the name of the piece. Next comes its grade, ing of a Beethoven First Movement or the subtleties keen sense of the humorous side of things and with he manufactured by machinery; and that the safest to risk wrong notes and damage to the instrument. It may be briefly outlined. which must be determined with some thought: for the of a Debussy Prelude are successfully encountered. a lucidity and charm that make the book hard to lay way of fostering it was one widely different from Proceeding next to the chromatic scale, we write this same work may be, graded in several different ways, was magnificent, but it was humbug. Liszt knew it; Accordingly, the. first pieces or studies should in¬ aside once it has been begun. Not least interesting that in vogue at the present day. She believed in out through two octaves, giving at least two of the according as we regard its demands upon the pupil’s he always played for musicians with an immovable volve merely conventional technical figures and regu¬ are the occasional shafts of critical insight into musi¬ making the player sit at sufficient height to keep the most common fingerings. Directions, for the practice power of (1) technic, (2) reading or (3) interpreta¬ lar forms of phrases and periods. From this begin¬ cal pedagogical problems which betray the extent and body and a quiet repressed dignity, reserving his acro¬ of this scale with the hands distant first an octave, tion. Take as an example Lefebure-Wely’s familiar ning the student develops according to his individual value of Stanford’s long experience as one of the lead¬ batic performances for audiences whom in his heart he then major or minor thirds and sixths, will be fol¬ Titania, which may be listed as Technic, grade 6; gifts. An intellectual pupil will readily grow to com¬ ing spirits in the Royal College of Music. In describ¬ despised. Rubinstein’s arm exercises, on the other hand, gave the impression of a wild genius who had not com¬ lowed by the same scale in double major and minor Reading, grade 5; Interpretation, grade 3; while prehend the structural unities of the classic style; one ing his own early teaching he tells us, “My musical thirds and sixths. As a distinctively modern addition, Schumann’s War umf Op. 12, may be listed Technic, of, fluent technical gifts develops ease and rapidity of education had hitherto been confined to the pianoforte, plete control over his own nature. With him the dis¬ we may even suggest the treatment of that pet scheme grade 4; Reading, grade S; Interpretation, grade' 7, execution; while the emotional pupil revels in subtle with an occasional lesson in harmony from ‘the begin¬ plays were spontaneous and part of the man; his sin¬ of the modern Frenchmen, the whole-tone scale! (grading on the basis of 1, the easiest, to 10, the poetic fancies. With the convenient classified lists at ning is now’ Dr. Smith and from Dr. Francis Robin¬ cerity was on the face of him. If he exaggerated most difficult). Many, perhaps most teaching pieces, his disposal, however, the teacher is never at a loss son : and the lady who took over my instrumental in phrasing or in gesture, he did it in spite of himself. are fairly well balanced between these three factors ; BOOK III—CHORDS AND ARPEGGIOS. as to what may best cater to a pupil’s possibilities, training from my mother was my godmother, an ad¬ He often smashed a hammer, or a string if the ham¬ but when they are palpably distinct, the fact should mer was strong enough to stand it; and I preferred In the latter part of Book I we have treated these at and lead naturally along the road toward pianistic per¬ mirable amateur pianist, Miss Elizabeth Meeke. appear on the card. length, as occurring within the compass .of a single fection. In presenting material of engaging variety, him when he was in his least destructive mood. This grading paves'the way to the next item, which octave. After listing by number all of these exercises, he has yet the balance wheel of a definite plan to FROM BEETHOVEN THROUGH MOSCHELES. should be clearly stated, namely, the peculiar traits of we begin again in Book III with the following triad solidify the whole : a plan which presents the numer¬ “She had been one of Moscheles’ favorite pupils in THE CASE OF THALBERG. teaching efficiency in the piece. Chopin’s Nocturne in positions: ous musical constituents each in its proper perspec¬ the clays when that famous master lived in London “The soundness of the method in which I had been E flat, for instance, illustrates (1) florid emotional tive, and which should consequcntlv result in arming and was fresh from his close intercourse with Beet¬ trained was still more brought home to me at the only melody in the right hand and (2) chord figures in the the pupil effectively against the probe of anv insidious hoven, and with him she had studied all the works interview, a most interesting one, which I had with left; while Mendelssohn’s Spring Song illustrates (1) No. 6. difficulty, whether of technic or of interpretation. of the immortal Netherlander, wrongly termed a Ger¬ Sigismund Thalberg in 1862. This princely person was, arpeggio figures in alternative hands, and (2) simple man from the accident of his birth in the Rhineland. melody in the upper part. The numbers of tributary in spite of the ephemeral rubbish which he wrote, an (He was no more German than Cesar Franck was artist, as well as pianist, of the highest calibre. A son exercises are again added upon each card; while useful French.) Miss Meeke was an ample lady with a GET THE MUSICAL ALPHABET “DOWN of Prince Dietrichstein, he inherited all the strong facts, such as the publisher or preferred edition of the sweeping and swishing silk dress, and hands of ex¬ piece, its limitations, etc., complete the primary data. PAT.” points of good breeding and refinement, which, well actly the same build and type as Madame Schumann’s, Here is a sample card: whose style she closely resembled both in touch and directed, must stand an artist in good stead in his pro¬ BY M. O. HONK. in interpretation. fession, as in any other walk in life. He was too sin¬ . . . Some of the Beethoven traditions which this cere and also too witty to pose. It is well known Haydn (1732-1809) Gipsy Rondo When the pupil reads at sight readily there is a first-rate teacher gave me are interesting in view of that Liszt rated him highest amongst his contempor¬ Grades: T.S, R.4, 1.4 -eery, very great saving of work, time and cost of tui¬ the modern deviations from them which are now to aries. The story goes that a rather tactless friend Exercises no’s. 9,16 tion. To the good sight reader there is far more plcas- be found every day. Chief among them was her in¬ asked Liszt whom he considered to be the greatest Runs with ahernating fingers, in right hand. These are extended through three and four octaves, in ure in practice, for the pupil soon succeeds in getting sistence (on the authority of Moscheles) that acciac- pianist of the day. Clear form and attractive themes. long arpeggios, with hands separate, hands alternating caturas, mordents and such-like are to be played before Liszt: ‘Thalberg, of course!’ Adapted to short and agile fingers. he should6 mVSlc.as a result of his efforts. Therefore and hands together, also with successive and alternating to aainWPt ll " y anund on enable me to acquire ease and fluency in this difficult this very failing was standing beside me, and I knew all of our teaching material, under the heads of pure may be that the fault lies at the door of the modern quite well that she did thump mightily. We shall require a set of index cards for studies branch of musicianship was daring but wholly effective. pianoforte: and that, like the race between guns and and etudes, which have no decided line of demarka- technic, studies and pieces. Now the question arises • ofTeenoteaunfng alwa*s think the ^tter name She made me play every day at the end of my lesson, how are we to make effective use of our lists? ot the note unless otherwise directed, then find its cor- armor, the finger force has had to give place to fist tion, and another set for individual' “pieces.” The a Mazurka of Chopin: never letting me stop for a JOACHIM THE INCOMPARABLE. force, in order to make an impression on the latest study set will be small, and on each card will be listed Let us note that the very act of making these lists mistake, and, if I did shy at a difficulty, reiterating, “This spring of 1862 was to become ever-memorable results in a much firmer grip upon our subject: for types of battleship grand. Noise versus sonority. As the title and composer of a book of studies, together ‘Go on, go on, don’t stutter!’ By the time I had played to me. I was taken to a concert, where I saw and m writing down our systematized materials we are at with their general character and gradings. Coordina¬ right l„„d first „nl„s ' through the whole fifty-two Mazurkas, I could read the superficial imitators of Wagner’s instrumentation heard for the first time the greatest artist of our time, the same time imprinting the logical presentation of tion between studies and purely technical exercises can most music of the calibre which my fingers could tackle so often obtain a plethora of the former at the expense Joseph Joachim. The pieces he played were (he this material upon our own minds, and thus attaining be provided for by adding upon each card the num¬ with comparative ease. The effectiveness of her method of the latter, so do the quasi-disciples of Liszt and Kreutzer Sonata and the G minor fugue of Bach. He a comprehensive and unified outlook upon our stock! bers of such technical exercises as are best adapted for was, I feel sure, due to two main causes—the principal Rubinstein. It is the age of the hit instead of the was then only thirty-one. His massive mouth and chin in-trade. Indeed, having once effected this classifica- preparatory or correlative practice. The cards are of non-stop runs, and entire unfamiliarity with the pressure. If it is old-fashioned to prefer the pressure, had no beard to hide it. The impression he gave me lon, we can never again regard its component parts finally arranged in progressive order. style of music tackled. At the time she placed Chopin I am happy to be still in the ranks of the out-of-date, at once was that of the inevitable rightness of every as scattered and unrelated units. P out good features.—Moritz Haupt- on my desk I knew no more of his compositions than I shall always prefer beauty of tone to strength of note and phrase he played. In the last volume of Hans a red Indian. muscle. von Biilow’s letters, it is obvious that he had the same 22 THE ETUDE THE ETUDE 23

MELODIOUS PLAYING. feeling, for he often uses the term ‘Joachimisch’ as a quality of the work and in the appreciation of the synonym for ‘perfect.' When I went to see Joachim workers, which, at times resisted by short-sighted con¬ the next morning, he was in an instant as much a temporaries who held that art was only possible in BY C. F. S. KOEHLER. boy as I, and a friendship began which lasted un¬ the ranks of Bohemian ignoramuses, and as sturdily fought for by those of wider views and more cosmo¬ broken until his death. I can never over-estimate the Nothing in all the art of piano playing gives so politan experience, must have its affect upon future value of that forty-five years’ influence in my life and much delight to both the performer and the audience generations and be rated by them at its true value. in my work. It had the double power of giving im¬ as melody playing. The art of making the piano sing A great deal has been written about the Renaissance pulse and controlling it with brake-power. A purist is by no means a new one but it is just as difficult of almost microscopic accuracy, his criticism, even of Music in England during the last half century. The true seed of this development is to be found in such to produce in every case as though no previous per¬ when it seemed pedantic, kept experiment within the former had ever achieved it. No matter how vigorous, bounds of beauty, and made one weigh and measure a scheme of preparation as my father held to be essen¬ tial. True art must have all-around education to back brilliant and sparkling the playing of the pianist may all departures, from the normal by the standard of be, unless he has the skill to render a melody effec¬ artistic merit. it. It must stand accusations of ‘academicism’ (the latest catchword for the works of all men who learn tively he will not be able to reach the emotions of “I was able to gauge the true span of Joachim’s their business before they practice it), and such-like his hearers. art by comparison with that of another great violinist pigeon-holed epithets, without flinching from main In order to ensure good melody playing the who came to Dublin within a few weeks of his visit, atic libretti of the time. At the rehearsals fail¬ principles, if it is to worry through and make its mark. mechanical side of the pianist’s art must be finely Henri Vieuxtemps. Joachim thought of the music he In order to picture to ourselves the state in ure was freely predicted, partly because of the The work of those who force their way through paths developed. That is he must have secured independence played, Vieuxtemps of Vieuxtemps. The former a which the art of opera found itself at the time composer’s German origin. “What could be ex¬ most beset with drawbacks and difficulties, is the most in his fingers. Sometimes the weakest fingers of the of the birth of Gluck we need only remember pected of a German who would write operas?” composer himself of remarkable gifts and originality likely to live.” hand are called upon to sustain and produce full, beau¬ of style (his playing has blinded too many to the that stage performances to which music was As a concession to the popular Italian taste, tiful tones, and at the same time the stronger fingers outstanding value of his works even to this day), made applied after the manner of the times in no way Gluck, it is said, tried to imitate the best Italian must play very softly. Such a passage as the follow¬ it his business to bring home Bach and Beethoven to reflected the great achievements of Shakespeare, Mar¬ style of the period and succeeded in turning out an ing from Neupert’s Etude in A Major is an illustra¬ his public; the latter exploited Airs Varies and con¬ A COMMON PARENTAL MISTAKE. lowe, Webster and Moliere. Indeed anything in the aria so florid and so superficially tuneful that no one tion of this: certos ad libitum, but they always bore the name of way of words was thought good enough for a musi¬ would believe that it was not the work of Sammartini. Vieuxtemps. This self-advertising policy does not tell BY M. A. CRONKHITE. cal setting, and notwithstanding the fact that many It was thought' that that aria might save Gluck’s first in the long run, for even at the mature age of ten noble themes were attempted by operatic librettists, opera from more or less certain doom. The reverse, it annoyed me too much to leave any marked memory their results amounted to grandiloquent outbursts or however, was the case. The aria was disregarded by of Vieuxtemps’ undoubtedly great gifts as a player.” When I was twelve years old a piano was placed in insignificant banalities. With the gradual advance of the public and the remainder of the opera was markedly our home, and by the usual custom that “the oldest knowledge dating from the invention of printing in successful for a first work. Here was a new composer THE MUSICIAN’S NEED OF GENERAL CULTURE. should come first,” my two older sisters were allowed 1438 new impulses moved all arts. with something so important to say that he must be to receive musical instruction from the only teacher One of the most interesting parts of Sir Charles Gluck came at a time when the current of intellectual reckoned with. Stanford s fascinating book deals with his experiences our small town afforded. I hovered wistfully near progress was sufficiently strong to make his reforms In 1842 came another opera with a libretto by Metas¬ at Cambridge University, at which ancient seat of every moment while they practiced, both alone and seem needed to a very great many people. What he tasio. This opera, called Dcmofoonte, was so well learning the genial Irishman did much for the cause with their teacher. And the moment a chance presented really accomplished was of greater significance to the received that other cities commissioned Gluck to do of music. It is surprising to observe that in those itself, I took possession of the stool and left it only dramatic side of operatic writing than to the musical new work, resulting in the operas Demetrio and Iperm- days it was the custom in England, as in America to when I had some duty to perform, or was driven away side at the time when his works were produced. He nestra, produced in the same year, and followed dur¬ The fifth finger of the right hand is obviously weaker regard music, in the words of Dr. Thompson, Master by my indignant sisters, who soon began to complain found opera merely an excuse for the exhibition of ing the next year by S if ace. Fedra, produced at Milan, by nature than the thumb and the first finger. Conse¬ of Trinity College, Cambridge, as “a grade better than that I was "stealing” everything they dared undertake the pyrotechnical ability of a few favored singers. The and Allcssandro nell’ Indie were the products of the quently the melody must be brought out by the rein¬ dancing.” It is scarcely to be wondered, therefore, that themselves. libretti were so hopelessly senseless that no one paid next two years. Thus we find Gluck in his early forcement of the fingers through the weight of the Sir Charles, in describing how he came to enter the serious attention to them. Indeed, the influence of 1714—Christoph Wilibald Gluck-1787 thirties as a highly successful composer. We know My parents not knowing the importance of a proper arm and the hand. The problem of controlling this musical profession, puts in a strong plea for the broader Gluck’s theories' was not seriously felt until another but little of these early works, as they were not writ¬ beginning, innocently and openly rejoiced in my apti¬ so delicately that it will respond to the slightest dicta¬ education of the musician in the following terms: great musical champion, Richard Wagner, had ex¬ ten for the printing press, but for the stage, and they tude. And very soon I was looked upon as a “prodigy,” tion of the brain is one which is only solved by endless “Walking up Regent street in the spring of 1870 as I was able to play everything I had ever heard by tended the campaign of his predecessor. While Wag¬ have come down to us only in part. personal experiments and much concentrated thinking. ner regarded the drama and music as sister arts, Gluck with my, father, he suddenly stopped opposite Peter ear, and even to create a few creditable improvisa¬ Proper use of the pedal, perfect connection of the sought to make the musical setting subservient to the “The imitation of nature is the end which both poet mM?nS°n S S^°P anc^ Put momentous question, tions of my own. But after a time this method did not tones of the melody, the gift of forming a proper What was I going to be?’ The answer came out quite words, and thereby to make the need for poetry of and composer should set before themselves; that is satisfy me, and I slyly began turning the leaves of the conception of the interpretation of each phrase of the In 1846 Gluck went to England at the invitation of - Promptly, ‘A musician.’ I knew his hankering for high quality more conspicuous. the goal after which I have striven." instruction book, its contents and their meaning looming melody, these things and many others all contribute Lord Middlesex. There he produced La Caduta de’ the bar, and also the traditional prejudice that all Gluck died twenty-six years before the birth of up as the sudden knowledge of some hidden treasure" to perfect melody play. Giganti. Handel was then at the height of his fame Irishmen of his school had against an artistic career: Wagner. Indeed, the span of Gluck’s life occupied in London, and apparently a new composer was not he was silent, but only for a moment, and accepted Of course I soon grasped the meaning of the key¬ years in the eighteenth century almost identical with The Gluck family was well blessed with children, board and the letters on the staff; but the “Time” welcomed by the loyal English people, as the opera the situation. But he laid down his conditions, which those covered by Wagner’s life in the nineteenth cen¬ and naturally the hoy had very little means. Conse¬ was given only five performances. Shortly thereafter, proved my worst stumbling block. And I could only tury. Had he lived after the French Revolution in¬ quently he was forced to give lessons and play in were a general university education first, and a spe¬ HOW GLAZOUNOW COMPOSES. however, Gluck produced his first opera, Artamene, in get the correct movement on the music that I had cifically musical study abroad afterwards. (There was at stead of before he would have enjoyed the liberty church in order to continue his education. The tradi¬ London, and this met with surprising favor. He was heard; good, bad, or indifferent. As I was ignorant Musicians are often regarded by the Philistines as that time no means of getting the best possible musical brought about by the great intellectual changes which tion has it that he was obliged to take his pay from then invited to write a pasticcio, or, as the name sug¬ of the importance of scales, “finger” exercises they a dreamy bunch.” Wideawake, alert men of affairs France, and, indeed, all western Europe, underwent as the villages in hen eggs, which Gluck in turn exchanged training in this country.) He was no believer in gests, a patch work. These unique pieces were often the thud of the guillotine marked the end of once for money when the day’s work was done. In 1736 specializing without general knowledge, and experi¬ were allowed to take their own course, and placed °fJle k'nd wbo. m,stake activity for achievement, very popular at the time. They consisted of selections rarely sumve their own generation, however, and it popular tyrants. Gluck’s reforms had not been force¬ he was entertained in Vienna by Prince Lovkowitz. ence has convinced me that he was absolutely and where it was the most convenient for me. Still my from the works of different composers or selections ful enough to alter public opinion on operatic matters While there he succeeded in attracting the interest of entirely right. Without exception the greatest artists parents did not see fit to give any material assistance. on iedGhrerSr^ OSe h°Id,0n mundane matters ^ems from the works of one composer patched together into very radically, for even as Wagner stepped upon the Count Melzi, who became Gluck’s patron and placed and composers I have known have been men of all- To their notion, I was progressing of my own accord, NnL h Wh° faVC marks on the tablets of time, an evening’s performance. around ability, wide reading and a general education scene we find operatic writers of calibre of Rossini, him under the gifted teacher Sammartini in Milan. and there was nobody to tell them differently. And the AdmirTr l famer\?nd 50 was Lord Nelson, Gluck’s pasticcio was called Piramo e Tisbe, and (even when self-acquired) on a par with that of any Bellini, Donizetti and Meyerbeer accepting clap-trap The young composer remained with Sammartini for situated as I was. where only the popular melodies e /draI|T, °, dJ°V* Napoleon’s ships from the was such a dismal failure that the composer was university or profession. This is equally true of the seas and established Great Britain’s colossal mari¬ libretti with words altogether too ridiculous for seri¬ four years, and was much impressed by the music of found a resting place, I was satisfied to persevere in immediately convinced that in the future his artistic most world-famous executants as of the greatest com¬ ous consideration. However, Gluck’s valuable work the contemporary Italian composer. my own way. ne® i°Wner' ,^braha™ Li"c<>ln also had his dreams; purposes should be of a more serious character. It is posers Liszt, Joachim, Hans von Billow, to mention was not lost, and although it is the present purpose to But there came a time when I was not. After I was not give one trre ° h'S gaunt’ k'ndly face ‘hat does believed by many that this failure led him to see that only three of the outstanding names of the nineteenth inti ? ( ? 1 le lrnPressl°n that he is staring far consider Gluck as a musician, it is well to keep in GLUCK’S FIRST OPERA. century, were all highly cultivated men, who could hold married and had a family to care for, we moved to view his major achievement. the music of an operatic passage reaches its greatest ever know patLaibn-ghter America than T’e could In 1741 Gluck produced his opera Artaserse with a their own in any surroundings. When Joachim came the city; and chance favored me with a new insight height when it arises naturally from the dramatic that l£ LweeSyCh,0l0^1StS reCOgnize the quiescence libretto by Metastasio, the most noted writer of oper- situation. However, Gluck was forced by circum¬ to Leipzig as a boy, he was placed by Mendelssohn into music. I had taken a music student as a boarder GLUCK’S ANCESTRY AND YOUTH. under the care of Professor Klengel for general edu- The first piece she unrolled with her regular lesson Sod” stances to write many more works in Sr,?,,";. ■ rs The free life of the forester and game cation, and he afterwards was a student at Gottingen was the well-known Polish Dance. She had not gone the old-fashioned Italian style before he Cany f" ,ha’ tfle subconscious mind is free'Uwork keeper which was followed by Gluck’s University. Von Bulow was an encyclopaedia in him¬ many bars before I recognized it was different from produced his famous Orfco in 1762—a self. A master of Latin and Greek, with a profound what I had been accustomed to hear. And I spent father and many of his male relatives memorable year in the history of opera. no doubt had something to do with set¬ knowledge of philosophy, he once amazed the Profes- much of my time listening and wishing. When she Such a reform as Gluck brought about ting the mind of the boy upon inde¬ s°r of Geology at Cambridge by discussing the most was away from home, I would go over the simpler demanded years. It could not have been pendent artistic aims. His father, Alex¬ technical branches of that science, as if it had been his parts trying to grasp the technique, rhythm, stumbling the result of a sudden inspiration. ander, and his mother, Walburga, were main study in life. So it was with Mozart (air expert into the heavy chords, realizing as each difficulty arose mathematician). Beethoven, Schumann, Mendelssohn, virtually servants, who resided in what GLUCK’S FORMATIVE YEARS. how little I knew, and how much I would be obliged to was known as the Upper Palatinate, now Berlioz, Wagner and Brahms. The Russian School of Probably the most interesting period undo. What could I hope to accomplish when I had a part of Bavaria. The former proudly the present day consists largely of men who have efforts!™1SeTr'r ^ SaJd’ "and my best in the composers life were those years trained my thumbs to go where my first fingers should boasted of his position as gun-bearer been trained for other walks in life; the navy the when he was tearjng down the old he be and my fourth where my third belonged? And how to the Prince of Savoy. There, in the engineers, the foreign office have all got representa¬ had worked so hard to learn and build¬ could I hope to accomplish the long, difficult runs village of Weidenwand, near Neumarkt, tives in the list of composers. Borodin was great in ing the new which he had reason to smoothly, with only five fingers, when it seemed to Christoph Wilibald Ritter von Gluck suspect could not be welcome to a officer8^7' Rimsky'Korsakov was a distinguished naval require ten under my previous training? was born July 2, 1714. As a child, the world long attached to a decadent art. barefooted, bareheaded little Gluck In England this broad view of general culture for cital “e aecomPany her to a re¬ Leaving England, Gluck went to Ger¬ tramped the forests with his father, Lie musical profession had not yet taken hold, save in, ShJ 1 eV6r forget that n*ght? I sat listening many, where he produced a number of who sought to make him his successor m an isolated instance or two, such as Sterndale Ben¬ as far 1° .young Students mastering the classic! operas in Succession, none of them at' as tar as their years and hands would allow and in the secrets of the wilds. At the age nett and Hugo Pierson. After 1875 the atmosphere ■ first making sufficient impression to be of twelve Gluck entered the Jesuit began to change; the entry of many of my colleagues afterwards to the older, more advanced, performing remembered to this day. (Le Nosze school at Kommotau, in Bohemia, where who were public school and university men into the tWsl rrSlt'.T Wkh 311 the sm°othness and skill during the following sik years music d’Ercole e d’Erbe, 1747; Semiramide profession could scarcely fail to raise the standard of followedM? 'Ight and CarefuI training- They were riconoschiuta, 1748; La Contessa de became a part of his education. He music as well as the status of its adherents. The last tion held y n‘r ms!ructor> whose wonderful execu- Numi, 1749; Ezio, 1750; La Clemenza di “LH„ao™J;d,hdc '7° f»«°" «f learned to play the organ, the ’cello forty-five years have witnessed a revolution in the tw T bfdT a a V-ISe' 1 realized for the first time Tito, 1752; Issipile, 1752; Le Cinesi, that I had heard music. Tears came to my eyes. and the violin, and gained a reputation as a good singer. 1754; La Danza, 1755;'L’Orfano della E. Hanslick. China, 1755 (ballet); Allesandro, 1755 25 THE ETUDE 24 THE ETUDE

the goal after which I have striven. My music tends ballet) ; Les Amours champetres, 1755; L'lnnoccnca only to greater expressiveness and to the enforcement gratificata, 1755; Antigone, 1756; II Re Pastore, 1756; of the declamation of the poetry.” Le deguisement pastoral, 1756; Le Chinois poli en “I have tried in Armida to be painter and poet France, 1756; L’lle de Merlin, 1758; La Fausse Es- rather than musician.” clave, 1758; L’Arbre Enchantee, 1759; Cythere As- “Holding as I do the opinion that the melody in siegce, 1759; Le Diable a quatre, 1759; Tetide, 1760; my operas is merely a substitute for declamation, it The Teachers' Round Table L’lvrogne corrige, 1760; Le Cadi dupe, 1761; Don was necessary at times to imitate the native rudeness Conducted by N. J. COREY Juan (ballet) 1761). of my heroes; and I have thought that in order to Of all this long list of operas there are a few that maintain this character in the music, it would not be This a^ZZ^TepIrtllu1 ill! name ‘and MdrTs show the bent of the Composer toward a more normal a fault to descend occasionally into the trivial.” representation of the stage situations and the dramatic Ernest Newman, whose Gluck and the Opera is one characters with appropriate music. Some of these of the finest books of its class yet written, makes the operas were conspicuously successful, but on the whole following interesting comment upon the music of Gluck they were of very uneven merit. It took some con¬ in comparison with that of a later epoch: siderable courage to break away from the comfortable “We have seen how closely Gluck’s ideas and prac¬ Dowell, Witches' Dance; Debussy, Arabesques; Liszt, PROFESSIONAL musician. DOUBLE JOINTED THUMB. and profitable style in which he found fame and royal tices were related to the current aesthetic conceptions “1. I have an obstinate case of a double jointed Maiden’s Wish; Sinding, Rustle of Spring; Kowalski, ORGAN UPON WHICH GLUCK PRACTICED. “I have a strong desire to become a professional thumb, which refuses to respond to treatment sug¬ favor, but Gluck realized more and more the need for of his epoch; and if we now ask the reason for the musician, but I am really at a loss to know how to Marche Hongroise; Kroeger, False de Ballet; Schutt, to proceed from now on to the best advantage. gested by you some time ago, that is, practicing A la Bien Aimee. For the eighth grade; Beethoven, better works. During the years 1747-1762 he had a French audience. His success encouraged him to enormous difference between the music of the eighteenth exercises with the point of thumb turned under the I can now play fourth grade music. Is It well to palm. Can you suggest any other treatment! Sonatas, Op. 13, and 26. Chopin, Nocturne, Op. 37, widened his experience by extended travel. Now we adapt several of his former works, and also to write century and that of the nineteenth, we shall find it in Dractice much on the scales? Nothing bothers m f:_ninvino the chromatic scale In cantrar “2. Can you give me a formula for teaching that No. 2; Liszt, My Sweet Repose; Liszt, Spinning Song .find him in Vienna, now in Copenhagen, now in the lighter work, Armide, which was produced in 1777. the great nervous change that has come over western charming rhythm of three against four? Is there a Naples, always working industriously. In 1750 Gluck Europe in the last century and a quarter. The whole text-book on ’Three Against Four,’ which Is similar from Flying Dutchman; Sibelius, Romance, Op. 24, No. to Landon’s Two Against Threet” Q. J* 9; Moszkowski, Valse Op. 34, and Sinding, Marche married Marianne Pergin, the daughter of a rich A FAMOUS MUSICAL WAR. art of the epoch of Gluck indicates a slower beating As with all innovators Gluck was confronted by Grotesque. For the ninth grade, Beethoven, Sonatas, Viennese banker. It is said that Gluck owed much to of the pulse in that day than in this. Great nervous There is really only one highway to traverse in 1. Secure some rubber bands about an eighth or battalions of enemies who refused to see any music Op. 27, No. 2, Op. 28, Op. 53; Brahms, Rhapsody Op. this high-minded, able woman with whom he lived in excitation in poetry tends to give birth to the lyrical order to become a professional musician. Place your¬ quarter of an inch in width, and two or three inches whatever in his work. Wagner, Schoenberg, Strauss 79, No. 2; Chopin, Nocturne, Op. 15, No. 2; Fantasie great happiness until the end of his days. In 1754 qualities that are more cognate with music, and while self under the instruction of the very best teacher long. Place the elastic around the wrist, and making and Debussy were none of them reviled more hate¬ Impromptu, Op. 66, Valse, Op. 42; Glinka-Balakireff, Gluck received the title of “Chevalier of the Golden it may be said that in our time poetry is trying to who is available, follow his directions implicitly, and a one turn loop on the under side of the hand place fully than Gluck, whose music seems beautifully sim¬ The Lark; Liszt, Polonaise No, 2; Raff, Polka de la Spur” from the Pope, and always insisted upon the reach forward into music in the last century music work and study constantly. You will need no end of it over the thumb. The band should be strong enough ple to us to-day. About the time of the production of Reine; Wieniawski, Valse de Concert, Op. 3, No. 1; title Ritter von Gluck—the von signifying the order seemed to be anxious to live on the lower slopes of application, energy and perseverence. More failures to hold the refractory joint firm and not hurt the Armide Gluck’s enemies took as their champion Nicola hand. A weak band will be of no use. Try daily Liszt, Rhapsodie Hongroise, No. 6. of nobility received in this way. poetry. result in this world from a lack of willingness, to Piccini, an Italian composer some fourteen years “Gluck’s temperament, as we have already had oc¬ work than from any other cause. It is astonishing, practice with this and I think you will soon note a DISCOURAGING TROUBLES. younger than Gluck. Piccini was a genial, loveable marked improvement. As soon as a firm condition is GLUCK’S REFORMS. casion to think, seems to have been at the bottom more the number of people in every department of life who “1. I have a pupil who constantly plays her left man who hated no one—least of all Gluck—and took formed, then try again the exercises with the thumb hand in advance of her right. How can I correct poetical than musical. It was only occasionally that he look with envy upon those who are in advance of them, In 1762 we find Gluck a man in middle life—he was no part in the merry war which the friends of the pointing inwards. Procure a number of bands of sev¬ this fault? was moved to lose that calm command of self that and possess a vague desire to attain the same position, “2. Another pupil has come from another teacher, then forty-eight years of age—actually dissatisfied with rivals waged. Vindictive pamphlets and articles pro¬ eral sizes, and try until you find one of the right and her hand and finger positions are terrible, with usually distinguished him; when he does so lose him¬ but do not awaken into sufficient activity to get right what anyone of his contemporaries would probably ceeded from both musical camps, but when Gluck pro¬ strength. knuckles all held down below level of wrist and self, his music begins to approach romantic warmth down to hard work and keep it up year in and year finger joints. I have tried in vain to correct this. have reckoned great success. His residence in' Vienna, duced his great masterpiece, Iphigenie en Tauride, in of color. Even while he was writing his later works 2. I know of no formula for three against four. I Can you suggest a remedy? 1779, even his enemies were forced to concede that its out1. Thousands excuse themselves on the ground that have never even found any analytical formula for where he met the leading men of culture of the time there was a new movement beginning in Germany “3. Another Is almost double-jointed in the tips success was so great that their attacks became ridic¬ those they envy have been more fortunately circum¬ two against three that was of much practical assist¬ of her fingers, always striking on the flat underside. and where he had opportunities for the study of art, which was destined to break quite* away from the What can be done? ulous. This opera was followed by another of less stanced. While this may be undeniably true in some ance. Independent action of the two hands by means philosophy and science, was of immense help to him semi-classical world of the middle of the eighteenth “4. Is the chromatic scale in double sixths, using significance, Echo et Narcisse. His health failing, he instances, yet untold numbers have attained their ends of much practice is the best formula. For practice, the fingering 1-4, and 2-5, a good exercise for and made a very notable change in his attitude toward century and find its ultimate expression in music. returned to Vienna where he died in 1787 of apoplexy. by conquering unheard-of difficulties. If you desire exercises that you invent and dictate to the pupil are stretching the hand?” T. G. the opera. The man who deliberately sets out to de¬ “The morbid world of Werther was typical of the to become a virtuoso pianist you will have to pass much more useful than any you can employ from the 1. Have your pupil reverse the process, that is play stroy conventions must await many obstacles, and when GLUCK’S POSITION AS A COMPOSER. new element that was being introduced into the life through the years and years of practice and study that printed page. In such a case the attention should not the right hand in advance of the left, as if it were Gluck decided that the time had come to try some of of Europe, an element of vague unrest, of boundless It will thus be seen that Gluck, like Wagner, is to has been the rule with all great players. Even though be hampered by notes to follow, but fixed closely upon a grace note. After some practice in this manner she his principles in actual writing he fully realized what longing, of overwrought nerves and pessimistic philo¬ be known chiefly as an opera composer. His other a person have genius, yet there have been others with the ear effect. In the following practice each hand will he able to perceive her fault. This question was he might expect from the public. works consist of occasional sonatas, trios, overtures sophies of life; and it was in music alone, the most genius who have also had the capacity for hard work separately until the momentum is set up, then combine. answered more at length in a recent number of the In association with the cultured dramatist Raniero (then known as symphonies), some sacred music and nervous and most expansive of all the arts, that this coupled with it, and who have toiled years in order Do not practice slowly. Anyone who is not able to Round Table. di Calzabigi he wrote the opera Orfeo ed Euridice. a few songs, but these have long since passed into new spirit could find its adequate expression. Simul¬ to accomplish certain results. No one else is likely play this in fast tempo is not ready to take up three 2. You can accomplish nothing with this pupil until This was given on October 5, 1862, in Vienna, a not¬ oblivion. His music brought him a large return, and taneously with the general intensifying of nervous life, to attain the same ends by leaps. Only by similar against four. Reverse by playing the triplets with you convince her that she must give her entire at¬ able day in the history of the opera. Trouble began he died a man of considerable means. Part of his there came an extraordinary development of what may work. right hand, and the sixteenths with the left. You can tention for a time to the process of hand formation. for Gluck even with the rehearsals when the orchestra fortune, doubtless, came through his marriage. In any be called the vocabulary of music, and when the later Even though you only aspire to moderate attain¬ invent other forms by using scales and arpeggios. If she is unwilling to do this, she will never learn to rebelled against his exacting demands, and only the event he left his wife an income of thirty thousand romantic school came to its operatic work, it found ments, so as to be able to follow the profession in a play. Can you not appeal to her pride, and arouse Emperor himself could placate the men. While this florins, several houses and much valuable jewelry that ready to its hand the most varied and most expressive legitimate way in a comparatively small community, in her a desire to play with her hand in beautiful first work was received in Germany with some amaze- had been presented to him. How pathetic is the com¬ language that art has ever breathed through.” yet even this should demand the same consecration position, rather than in such an awkward, cramped men’, it was liked by the public, and became very suc¬ parison of his fortune with that of Schubert or It was nevertheless Gluck who saw the emptiness of on your part. If you are going to -teach, you should manner? cessful. Here, probably for the first time, the balance Mozart! the operatic art of his own time, and who very cer¬ be able to teach well, as well or even better than the 3. Place the point of the thfimb against the flat un¬ between the poetical and dramatic treatment of the GLUCK’S ART PRINCIPLES. tainly laid the foundation for the greater art of the best in your community. If not, some one is sure to dersurface of each faulty finger in succession, hold century he could never see. subject and the musical treatment was effected, although Gluck wrote quite voluminously upon his art ideals come along sooner or later who will outstrip you. To firm and strike many times upon the table with con¬ not in any sense perfected. Means for exploiting op¬ as did Richard Wagner, but only a small part of what maintain supremacy, even in a city of moderate size, siderable force. Then practice' without any support. After a time a muscular support will be developed in eratic novelties in those days were exceedingly limited. he wrote has been preserved. Among other things he A GLUCK PROGRAM. demands constant and alert study. It is hardly pos¬ declared: A QUESTION OF FUGUES. each finger that will enable it to strike the key with¬ At great trouble and great expense the score of Orfeo sible to give you more than this general advice in this thw^Chon^Mo^ve so“ew$at more difficult to arrange column. To do otherwise would be to undertake your in¬ “1. What studies and exercises should be given out bending in at the joint. It will be necessary, how¬ was published, but during the three years after its “I sought to reduce music to it's true function, that so hnnr;1r!i,,o’ M?t ?r Ila>'(in Program, but by no means with Bach’s Well-Tempered Clavichord? of seconding the poetry.” struction, and lay out a course of study that would “2. What should be studied after this Is com¬ ever, to spend much time at the keyboard striking each publication only nine copies were sold. pleted? “I held the opinion that the music should be to the %Zts^rsir “ ££"& *2 apply to your individual needs, no matter how unex¬ finger very firmly upon the keyS with many repetitions. It will be a slow fault to remedy. A NEW ERA IN OPERA. poem what the lights and shades are to a good design, meats fi WSHF* W-rVJfi ££ pected, at every step. I never did have much faith 4. All double sixths are excellent for helping to serving to animate the figures without distorting them.” in the possibility of teaching a piano student at long 1. For exercises, advanced practice of scales in oc¬ Gluck became very popular in Vienna, and was for '^es.?n4X expand the hand, for those who are advanced enough “I had to seek truth of coloring in writing Paris and arrangement is wolf un baltet d’Alceste, in its two-hand range. There is nothing in which the individual at¬ taves, thirds, sixths, tenths, double thirds and sixths, some time the music teacher of the Princess Marie to take them up. Helen in the different natures of the Spartans and the pianos, made by no^ess ths“n ri“ Jhe arrangement for two tention of a1 teacher is more Constantly necessary than in various accentual treatment, arpeggios, triads and Antoinette before her ill-fated departure for Paris. standard difficult £Iaud,e Debussy, is one of the Phrygians, by contrasting the rudeness and savagery in learning to become a pianist. Therefore, I would seventh chords, octaves and chord work, and special METHOD FOR BEGINNERS. Orfeo ed Euridice was followed by several inconse¬ pianist. While ouite fhe ‘lassie repertoire of tile of the former with the delicacy and effeminacy of the most finished ex^u«on8l“?ie ln this piece demands a repeat, put yourself under the best teacher you can exercises for special purposes, should he continued. “What should follow Beyer’s Elementary Method t quential works, until in December, 1867, he produced in the grading of 10 ’ ^ !>e pIaced about Grade 8 latter.” find, and follow closely the course of study that he • The individual needs of each pupil will determine just Also what books and studies would you suggest for his Alceste and in 1870 his Paride ed Elena. These illustrating the various nhasL d“slrlnS to give a program a beginner?” S. N. “The imitation of nature is the end which both poet do well to secure the Gluch S|n °f thc work of Gluck would lays out for you. what should he used at any given time. Bach is marked a noticeable step in advance, for while the and composer should set before themselves; that is ♦he following list those uieceTw, r”n.taininK 20 pieces. In If I were to draw an inference from your remark pretty solid food, and with the majority of teachers If you have not yet tried The New Beginner’s Book theories of Gluck had been advanced as (G. A.) : e Pleces in this album are marked in regard to the practice of the scales. I should say few etudes are given contemporaneously with the . (School of the Pianoforte) you will be surprised at the early as 1720 in such a work as Teatro you are a new subscriber to The Etude. If you had Well-Tempered Clavichord. Following, and during this number of helpful features you will find in it, and the alia Modo, by Marcello, Gluck was evi¬ been reading the Round Table for a number of years study, the difficult compositions of Beethoven, Chopin, natural and easy way in which it progresses. It is also dently the first musician with sufficient you would now realize that the scales are the back¬ Mendelssohn, Schumann, and innumerable other great interesting to both teacher and pupil. After this you initiative and technic to bring about an (<5 A jOL°* 1 ria> from Orpheus bone of music, and essential to proficiency upon the composers should be actively studied. may take up the first book of the Standard Graded artistic combination of the dramatic and keyboard. The scales, in their various forms, last 2. The etudes of Chopin, Henselt, Rubinstein, Alkan, Course, and also Czerny-Liebling selected studies. the musical in operatic performances. The *■ A,n, from the beginning to the end. They should be al¬ Liszt and others. Some teachers advocate that Chopin The first preliminary numbers you may be able to omit, world lacks vision, and the innovations of Arranged by Hans Sitt. ways a part of your daily practice. The same may should precede the Well-Tempered Clavichord, and be but you will soon encounter all the difficulties the Gluck were scantily appreciated. Accord¬ be said of arpeggios. reviewed for attainment of proper tempos afterwards. I^a.),N)° f?!'-?'from AlcesteY*rez .Aimedjours (G. 3 pupil can surmount. These two hooks you can also use ingly his next work, Iphigenie en Aulide, Most pupils find it more difficult to play any of the 3. There is no end to the names of compositions after the Beyer book, but omitting more at the begin-' founded upon Racine’s Iphigenie, was pro¬ I>I‘(G°A.T:0' P"",omime- from Alceste scales, whether diatonic or chromatic, in contrary mo¬ that might be given in answer to this question. For ning, and passing along more quickly in a sort of re¬ duced at the Opera in Paris in 1774, tion. It may be from the fact that as a matter of grade seven, in book form; Mathews, Standard Com¬ 8 v?o 'L I0’ 0' * 1 * * * UgiiSridlce 5 view until actual difficulties begin. I think the Beyer Through the intervention of Marie An¬ T 8■ V>OL>N- Solo. Andante 'A maMle 3 course, less attention is given to this form from the positions, grade seven; Mozart Sonatas; Schumann, Method carries the pupils a little farther than the toinette, Gluck received the long-sought Arranged by Ruth Laighten beginning. It will certainly be good practice for you Selected Works; Sinding, Selected Works, and Schu¬ Presser book, although I may be mistaken in this, as opportunity of presenting his ideas before 8 'to keep at the chromatic scales until you have mas¬ bert, Fantasies, Impromptus. Beethoven, Sonatas, Op. it has been a number of years since I have seen a copy ORIGINAL MANUSCRIPT tered them, and then to continue and polish them 10, Nos. 1 and 2. Chopin, Impromptu, Op. 29, Noc¬ of it. With these studies suitable pieces should be 10, 6 still more. turne, Op. 15,. No. 1, Nocturne, Op. 48, No. 2; Mac- intermingled, as a matter of course. THE ETUDE 27 26 THE ETUDE

VALSE SERENADE—E. POLDIXI. SONG OF YEARNING Vaise Serenade is one of the most melodious of all of Poldini’s compositions. It is really a model of REVERIE-NOCTURNE everything that an idealized form of this type should STANLEY F. WIDENER be. The theme must be brought out strongly through¬ Andante m.m. J = 8 4 out with the tone well sustained and the accompaniment duly subordinated. It is a waltz of the slow type and 0 3i 2 it must not be hurried. Grade 3. G,^G~YnTi^i n

SONG WITHOUT WORDS—TSCHAIKOWSKY- = 7r?r*-r-^ HARTHAN. rail. L-Jmf __ GAVOTTE-GLUCK-BRAHMS. Tschaikowsky’s piano pieces, although they are always There are but few instrumental numbers by Gluck interesting, do not always fit the hands as well as they and practically all of these are taken from his operas. might. It is the case of a composer writing pure music iju plrife The Gavotte from Iphigenia in Aulis is a melodious (tp If ■ -A==l without special regard for the instrument upon which it 1 2 1 LiT H Hr-r^ Y • f—^ specimen of Gluck’s ballet music. As transcribed by is to be played. The well known Song Without Words Brahms it makes a splendid and sonorous concert num¬ is a case in point. In the original, this composition ber. The transcriptions by Brahms differ materially really requires a large hand with good extension in from those by Liszt. Brahms seems to have aimed at order to master it, but the melody itself is so charming solidity while Liszt is always ornate. Moreover. that it seems a pity that the piece should not be avail¬ Brahms had a certain pianoforte technic of his own able for players with small hands. In his new arrange¬ in which double note passages, widespread chords and ment of this number. Dr. Hans Harthan has endeavored contrapuntal effects all play important parts. In order to make it so. Grade 3. to play this transcription with the best effect, it must not be hurried; aim rather at steadiness and full tonal TWO GEMS FROM GLUCK. quality. Grade 8. Gluck’s ballet airs have been mentioned above. Here are two more of them, both very melodious and ex¬ MARCH OF THE PIONEERS—E. R. KROEGER. pressive. They are arranged in a manner which adheres This stirring and characteristic composition was very, closely to the originals and yet brings them well written for the recent Historical Pageant at St. Louis. within the capabilities of the player of modest attain¬ It makes a very telling piano piece, calling up in turn ments. Grade 3. mental images of the rugged pioneers, the gay French voyageurs and the savage Indian tribes. Grade 7. WANDERING GYPSIES-PIERRE RENARD WHIRLWIND GAVOTTE—E. PIRANI. Wandering Gypsies is an excellent characteristic A portrait and photographic sketch of Mr. Pirani teaching piece. Pieces of this type are good both for study and for recital use. Grade 2)1 Eugenio di Pirani was born at Ferrara, Italy, Sep¬ wdl be found in another column. Whirlwind Gavotte, tember 8, 1852. He studied at the Rossini Lyceum his most recent composition, is a brilliant bit of writ¬ at Bologna, at the same time acquiring a general edu¬ RIPPLING WAVES—B. R. ANTHONY. ing, full of vigor and animation. While it makes only cation at the Galvani Lyceum. His parents wanted moderate technical demands upon the player; neverthe¬ This is another characteristic teaching piece, full of him to be a lawyer, but without saying anything to less it may be rendered with telling effect. As played life and go and with a very catchy rhythm. The left anybody he entered into a competition for a professor¬ by the composer himself, we have found it a very in¬ hand melody in the trio is very effective. Grade 2J/2. ship in advanced piano playing at the Kullak Conser¬ spiring work. Grade S. vatory in Berlin. To his surprise he won, and re¬ THE WIND—DANIEL ROWE. mained in Berlin many years. While there he studied INDIAN TALE—C. LOEWE. This is a very useful teaching piece which may be composition with Friedrich Kiel. Mr. di Pirani made Carl Loewe (1796-1869) was a celebrated song com¬ used as the first piece for any student in which the' a European concert tour in 1902 in company with Mme. poser. A number of his dramatic songs are still heard arpeggio is introduced. Grade 2. Webster-Powell, and in 1904 came to America and in concert. He wrote but a few piano pieces of which ocated in Brooklyn, where in company with Mme. An Indian Tale is the best known. This composition THE FOUR HAND NUMBERS. Powell he founded the Powell and Pirani Musical has much variety and many good points, both as a The Hungarian Dance by Th. Kirchner introduces Institute. Besides being an excellent virtuoso and teaching and a recital piece. It should be played in a theme which has also been employed by Brahms in teacher Mr. di Pirani is a composer of a high order, the descriptive style. Grade 5. one of his Hungarian dances. This is one of the among his more elaborate works being the Heidelberg prettiest of all the czardas. As arranged by Kirchner Suite, Venetian Scenes (for piano and orchestra), and MIRROR DANCE—A. W. KETELBEY. it is extremely effective.. As in the case of all the two operas-one of them with an American theme. Mirror Dance is a drawing-room piece of the better Hungarian folk dances it must be played with a great He has also compiled a work on piaho playing class with two well defined and contrasted themes, Among other things, Mr. di Pirani, in his varied i he middle section in particular will require consider¬ deal of freedom and fire. A due observance of the able freedom of treatment in the modern style and it various marks of expression will bring about an ade¬ “S oaS

“ ■ -1^.. .iUU--, . ■sAtb*_ Allegretto m :. M. J = 108 §\ \ £ | 7 3_N 7 \ 7 >) >r~~-^ JL A 7 -V1 7 V' ^ 2> 3,

mf me/odia~mm cato _ :f V V >4: j • L JS= UUJJ-t=~»~ P » -J J* 1J ~ -» » - ■ n* i 11 f i w id r~ » „ . ^Ar—= ^ 4 *54 ,«*_—& --4) 2 n *i »TCHn i, » t 4rr i jT] i 5f^4, s^rr^. *\ *r^i 5J-" i l£ # Imm tw 3 2 3 ff B x rfrVrr^^g- cresc. a i ,r f j ^_* pppgwTV fffl t #• 4 5 =t 3 '' 1 4 3 U? 8 a : 3 > ■ a J3M—M i 1, rrl^! II^TT^s4 ^ n Hu 1 J J_ n u * n j c *[ h i n n si 4i ** J^Gh ,1 3^-4 THE ETUDE 31 80 THE ETUDE

r.h— f,,r ,n, _ tA - rv! Sound-imr brass our might pro - claim! Hard the- ON TO TRIUMPH Allegro moderato m.m. J = 120 D. SPOONER TRioj^Pir 7 tip- yJTf ~y tu 7 LLP 7 Lzif

Timur +W. Aa,r Rra^ Wrt.s a re he^.incr and glo-rious the greet-ingl Cheer, cheer for

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j 1 id 5 3 » > > > r tN-T 33 GAVOTTE ANTIQUE HENRIQUES, Op.6 No.2 Tempo di Gavotta m.m J =120 ,l a \ s a *

jpiepl ipp= Sjfj =T-j f ' m S~m }*rf-p % n 1 1

C==L j _ ’l 1 L-l u 1 n 4 3*2 1 * i 3 l"1 - 5 4 3 4 3 5 S J pto { 'J J. 4

Copyright 1914 ly Theo.Presser Co.

British Copyright secured 38 THE ETUDE THE ETUDE MIRROR DANCE SPIEGEL TANZ ALBERT W. KETELBEY MARCH OF THE PIONEERS " pontaneous expression Moderato molto grazioso Allegro m.m.J = 108 _...E. R. KROEGfiR, Op.89

Copyright 1913 by Theo. Pressor Co. International Copyright secured Copyright 1914 by Theo.Presser Co. La Giti-Annee: an ofd French tune British Copyright Secured THE ETUDE 35

i r*i i ^■-1™ ttrt l/* * r»~*~ i Fr -t—4- f-4- 4 4-- ^4- 17 w i J 4— W THE ETUDE 37 36 THE ETUDE OUR GALLANT DEFENDERS MILITARY MARCH RICHARD FERBER OUR .GALLANT DEFENDERS Tempo di Marcia M. M. J = 120 PRIMO g__' 1 0 1 .•r A=4l4 - P v 7 ttprit:TCj*r ifr, r r» j ra SHEER tJ-U- A I ^ -"pNT^ l f Tff iff F%-fg ^PTFjE ■ r ! . . .-•aU 2~I i > „ j W #0 r p»rn Bf 4iwU-F-ftET: v 1 v vf w 1^=11 — v > zffzfccsi "M = Gr J-J-EE & 4 3 4 iLT*«t*1 1 3 I~-IFF 4 3 2 1

British Copyright Secured THE ETUDE THE ETUDE HUNGARIAN DANCE HUNGARIAN DANCE DANSE HONGROISE DANSE HONGROISE FRITZ KIRCHNER, Op.284,No.3 ah k Primo » Allegro un poco sostenuto m.m.JA 84 t »

Allegro un poco sostenuto THE ETUDE 41 40 THE ETUDE RIPPLING WATER BERT R. ANTHONY Tempo di Marcia m.m.J = 108 INTERMEZZO *

Copyright 1911 by Theo.Presser Co. British Copyright.Secured THE ETUDE

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^ Mn r*~* UT: *5 45 44 THE ETUDE THE ETUDE

GAVOTTE n Transcribed for Clara Schumann !_1nn from “Iphigenia in Aulis ” by JOHANNES BRAHMS Allegretto grazioso M.M. jljZl ' * CHR.W. VON GLUCK .JTipipfi.M _ 5 i- H-1-1-^— H-r r * 1 ' I pdolce i_ 1 ■ J-ft feiy .^ftfT~r T $Tiffr |r t 1 A5 'Ss £#; 1 ^ j » j-g- I ^ P •#^1 u-'-i

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■#• L. -J

5 A 45 5 u

i S b)^ For convenience in reading and accuracy of intprnlTtaTirvr +v -L the middle staff stemmed upward are to L played ly the^r7gh thin ft6 imprinted stemmed TH E ETUDE 47 4ft THE ETUDE

MELODY IN A HENRY PARKER

Andante sostenuto m. M. J = 72

Copyright 1914 by Theo. Presser Co.

International Copyright Secured Copyright 1914 by Theo. Presser Co. THE ETUDE 49 48 THE ETUDE

can my grief al - loy! Faith has fled, Hope is dead, Sad-dest thoughts my heart em - ploy, Sad-dest I B.ME LOST MY EURYDICE dro sen-za il mio ben! Che fa - r'o, do - vean - dro, cliefar'o sen - zail mio ben, do - ve an - CHE FARO SENZA EURIDICE - from “ORPHEUS” C. W. GLUCK

j~Jjm n jTjfflr J* i- 11.J1 Jy^J mfim thoughtshouehts mymv heart em - ploy!dIov! Eu-ryEu-rv-di-ce. - di - ce, Eu-ry-Eu-rv-di-ce! di - ce! Suchfear-ful an - guishmakes me to l^nlan - guish with grief op- dr'o sen - za il mio ben, Eu-ri - di - ce, Eu-ri-di - ce! Ah, non m'a - van - za, piusoc-cor - so pih spe-

press’d, -Ah, what tor-ments tear my breast! I have lost my Eu - ry - di - ce, Noth-ing can my grief al ■ ran - za, ne dal mon-do, ne dal ciel! Che fa - r'o sen-zci_Eu-ri - di - ce, do - vejm-drb, """ "■

loy, Faith has fled, Hope is dead, l-dest thoughts my heart em - ploy, Faith has fled, Hope is ben, die fa - ro, do - ve_an - dro, fa - r'o_sen - zail mio ben. do - vejm - dro, che fa * 51 50 THE ETUDE THE ETUDE

SONG WITHOUT WORDS Allegro con spirito WHIRLWIND GAVOTTE (alia breve) m. mJ = 120 GAVOTTE -TOURBILLON EUGENIO PIRANI

J'Jmrttff pi r-r-r-f- r=f M m a tttu

Copyright 1915 by Theo. Presser Co. International Copyright secured b) The number of notes in these trills ii — v r Copyright 1914 by Theo. Presser Co. at the discretion of the performer. International Copyright Secured THE ETUDE 53 53 THE ETUDE THE ETUDE 55

tended himself for medicine. His father was a barrister ; his mother, one of the two bril¬ piano as a composer’s help, save to get liant daughters of Samuel Lover, the famous into the proper mood of temperament bv Irish novelist. Herbert had all his early ning over the keys now and again. raining in Germany. Ilis father died when ‘ The science of music,” says Mr. llerl he was quite young and his mother took him “is something that must be worked out to Stuttgart to be educated. It appears that his father’s estate, after its settlement, would a mathematical problem, the 'com! The Leabarjan Music-Roll IdderabT6^ instead of being the con- dovetail in tile practical application of Perforator This turn of affairs, while a disappointment liiony ; must express in their figure lang to the youthful Herbert, was fortunate for the thought aud conception that the conn A practical machine designed for the individ¬ the music loving public of America, because it has in his mind: Hence it often hap ual player piano owner. Does not demand a caused him tu give up the idea of a medical that I find in my compositions that 1 musical education. study1" US re(,uirlng t0° lon£ expensive a note that should have place in a cei Write for instructive literature if you are relationship to the remainder but I ( Victor Herbert has no given rules for work, ambitious to improve your player piano music seem for quite a time to make it fit 1u« roll library. ne composes anywhere, anyhow, although he '"■v “king- That is work that takes s confesseslip sets the best results while stand- that is the art of being a musician—to k It will allow you how easy and inexpensive it is1 to ? hlg 1 d,'sk- and he finds that his mind where to drop in a note so as to accomi works better standing than sitting. It may an effect that is new, original and suprei Price $30.00 including all necessary suppliea also be of interest to know that he makes —Presto (Chicago, Ill.). P THE LEABARJAN MFC. CO., Hamilton, Ohio THE ETUDE addressing THE ETUDE 57 THE ETUDE 56 manage the vocal organs directly, by Lost Motion in Music Practice regulating the actions of the vocal cords, by expanding the throat, and by placing You Can’t Build What Would You Do By ERNST VON MUSSELMAN TWO PIANOS the tone in the mouth and nasal cavities. WHAT TO ELIMINATE. It is, of course, true that the tone is A Better Piano if you were offered SEEKING GREATER SUCCESS. hat constitutes the los produced by thg vibration of the vocal to-morrow the post of lx is likely that you, too, have seen ex- Now, jus particUlar case of peda- EIGHT HANDS cords, and that its quality is' determined For over forty-three years the Sohmer Orchestra Leader amplesiples of those teachers wnowho rem.nuremind onec motion _^" 1o,„plv, remainremain a matter by the influence of the resonating cavi¬ family has been actively engaged in much of the loose belt that is constantly gog.cs. must *g y thoUght which e following list is a selection of the list ties. Probably the old masters had some making the most artistic pianoforte of of a good vaudeville ite.ature for this arrangement, for ,,0 knowledge of this subject. But they did which its energy, brains and a knowl¬ theatre or moving slipping on its pulley and losing half its those “^ indulge. The th.nk- eight hands. We shall add other rs constantly,, including new compost not base their method on this knowledge. edge of music are capable, regardless picture house? pulling power. It is even possible that every e always find ways 'to im- V the best foreign composers, ces of all grades are represented, » They held that if the student hears of .cost. The result is one of the two Would You Take It? vou, who have been tolerably successful mg teacher c t deed, it is only by cachers can take ad vantage of the os,, clearly what quality of tone he is to or three truly artistic pianos of the And if You Did, Could in your teaching, might have been an prove his me • portjon, or by the fulnessof ensemble playing with even beginn«s. Tl“s list will be found particularly rid, io produce, and sings naturally with the World. Yet the prices are most rea¬ You Hold it? unconscious victim of lost motion in your the elimmation f P ^ finally finds and effective pieces for redta! The New Movement in Voice Culture desire to produce this quality, the vocal sonable— Uprights 3450, Grands 3675 Don’t guess about it. routine, for, like disease, its invasion is addition of Others, t into t work. Suitable selections win cords and resonating cavities will adjust and up. The demand for capable so slyly accomplished that one is heed- his me*od be the form that he has rDavfd C. Taylor was horn in New York ally the purpose was to find a system themselves automatically, without the stu¬ directors is strong—but incompetents are Citv November 11, 1871. He attended public going into the discard. We prepare stu¬ lessly unaware until it has pervaded one some sembianc ;ust what should schools and College of the City of New York which should be an improvement on the dent knowing or caring what they do. What the Sohmer family knows about dents for Vaudeville Orchestra Leading. completely. However, in that event, had wished for ’ t of one’' (A B. June, 1890), and followed mercanf old Italian method. The prediction was That the old masters were right in pianos has been put in a booklet—“The be and what snouiu no. — - leiv pursuits until 1910. He was interested Our course is practical, written by a prac¬ you been aware of such an alien element ■«* what should not be a p music since early childhood; sang in Ill. , confidently made that a method of vocal their belief can easily be proved. You Pith of the Piano Problem” which will tical leader. Ask for information, mention¬ greater method, is something ** of fit- Beethoven, Tnrkis copal church choirs as a boy. Mr. Taylor control would be found by which a stu¬ will find, if you try to, that you can sing be mailed to any prospective piano ing instrument you play. Write today. in your work, we doubt not that a greater nphr Mitzi Katzch— began the theoretical study of voice culture success might have been your’s for the w>th so ^any filings which may Bellini. Norma, Fantasy. li in 1891, studying with several teachers in dent could accomplish in a few months any quality of tone you wish to, without purchaser on request. Boccherini, Menuet in A. j-N New York. His published works Include The what took two or three years under the even thinking of your vocal organs. Teevin’s Correspondence School discovery; ” ! ‘ into one’s routine and prove dele Bizet G.. Carmen. Psychology of Singing, Self Help for Singers. old system. Since 1855 all our methods Listen to someone singing with a full Box 4, Orphean, Theitre Bldg.. Grand Rapids,Mich. There is, in the efforts .of teachers en- tQ the progress of a class. And allier. Kinderfest Marsch. His theories of vocal control and training embodied in the Psychology of Singing of instruction have been based on scien¬ rich tone, and then try to sing tones of cumbered with such lost motion, that there are conditions constantly aroused much antagonism at first, but in the Ennelmano. * tific knowledge. this kind yourself. No difficulty will be which seems to give every evidence of ^.g. ’ which may undo all that a teacher 0 year have Festival March .. ed.—Editor 0 5 Etude.] It required a long time for the doc¬ found, for the tones will come naturally In the Arena March. direct pedagogic power; and yet, there pag accompfished; though in this instance trines of the vocal scientists, to be thor¬ in response to the demands of the ear. Concert Polonaise. Students of singing generally are only _ always that falling short in results- ^ ,QSt motion> a rea'dy remedy is avail- oughly worked out. But for the past Whatever the throat and mouth are re¬ 315 Fifth Avenue Gounod-Bach. Ave Maria dimly aware that an entirely new direc¬ that inability to round out really credit- aye jn intercession with the parents, thirty years they have been so widely quired to do, they will perform of their Hayes, Comrades in Arms tion has recently been taken by several New York, N. Y. able pupils of the finished variety. They However, We repeat that what should be. Herold. Zampa. Overture disseminated that musical people are own accord if you let them. So also prominent leaders of thought in the field may feel themselves to be conscientious Qr not be> must rest in the teachers con- Holtacider, March . fairly well acquainted with them. Briefly with' regard to the pitch of the note you of voice culture. Thus far there has Keler Bela. Luataplel. Overtwt stated, the. scientific doctrine is that the sing, your vocal cords obey your ear ■their efforts, and possibly they are; scjentious belief in their respective g°° Kontski. de. _[kcnhigA -—t of the Lion....l been no concert of action on the part Persian March. student of singing must begin by learning directly. You do not need to tell them n so, that fact may only serve to make or harm to his class. But the line tnat of those in sympathy with the new move¬ | Hungarian March . the nature of the vocal instrument, in what degree of tension to take on, for them all the more aware of the signal expurges lost motion must be close ana _P Op. 7. fubelh ment. Concerted action has indeed never Distinction in Dress failure in their instruction to be produc- well defined in his own mind, Kticken Op. 7-t. Feat-Polonaiw 1 order to manage it correctly; and that nature has provided them with an instinct been a striking tendency in the vocal pro¬ the action of the breath, the vocal cords, five of the desired results. Even more, All in all, the better way to recover Koelhng. Hungnry, Rhapaodie i which tells them what to do, better than •• Sailors'Song nnd Hor,,pi|< fession. Whoever makes a practice of and the resonating cavities must be care¬ we do not doubt that many are the in- lost motion in one’s routine, is t you can tell them yourself. Lacomc. Impromptu a la Hongroise. .. I attending conventions of vocal teachers fully and intelligently regulated. In Lachner. March from Suite . 1 stances where, in extreme sensitiveness, that it never becomes a par o knows how strongly they are inclined to other words, the vocal scientists demand Liszt, Rakociy March.. THE VALUE OF LISTENING. they have discouragedly allowed them- work. It is far, far easier for c " Second Hungarian Mirth. individual theories of instruction. But that we manage the breath in a certain selves to drift on down into a hopeless make his efforts clean and decisive from Lvoff. Russian Hymn . a striking aspect of the new movement way, and bring it to bear on the vocal It was by listening to the quality of mediocrity, never to be made known of the very start than it is to reap the d.s is the fact that its leaders are all in fair cords with some definite degree of pres¬ his tones that the old masters were able MddeUaohn!l^y ^^Ovenuit accord as to the nature of the change dividually perfect. the actual ability that may have lain be- couragement^ attendant upon haphazard sure; that we then adjust the vocal cords to tell whether a singer’s voice was cor¬ American Lady Cor methods. But if you have carelessly they would like to see brought about. neath the surface of their failure. •• Wedding Marcti . so that they vibrate as we tell them; and rectly produced or not. They knew that sets, so carefully de¬ allowed lost motion to enter your work, A concise summary of the new doctrines finally that we lift the tone off the vocal when the voice sounds as though there signed, so perfectly To a such failures, whether wholly tide. Galop dc Concert . tailored, so faultless- . „„ then the price you must pay for its re¬ vski. should therefore be of interest to all cords and place it somewhere in the is any strain or stiffness in the throat, part, into glow,ngg successsuccess, imeans mQval is everlastingly vigdance. Positive EVERY MUSICIAN whose ambition it is to master the art mouth and head. there is something wrong with the way that there e radical changes Raff. Op. 174, No. 6. Polka . J of singing. results are what you wish for, therefore • March Iroin Leonora Symphony... US These are very difficult demands to ful¬ the tones are produced. Their pupils who demands tone quality of ex¬ Many of the best written hooks pub¬ made in their routines. There expel all from your system that does not Roasini. Ilarbcr of Seville, OTrrurc ... 13 fill. But the vocal scientists have never were taught to listen to their own voices, ceptional purity, resonance and a recovery and correct placing of their ._.-bcr of Seville. Fantasy. lished by vocal teachers within the past net such returns. Make your method Scmtramide. Overture . « undertaken to show us how we may obey and to hear whether the tones sounded mellowness will eventually become few years deal with various aspects of teaching power. They may be using sane direct, having a definite object in view Tancredl. Overture. j their doctrines. They themselves have right. Most important of all, they held William Tell, Overture -.U the new idea. Among these may he men¬ the owner of a and perfectly lucid methods, but some¬ in each instance. Be sure that your ideas never attempted to sing artistically, for that the way to make a voice act cor¬ Rubinstein. Trot dc Cavalene . > tioned My Voice and I, by Clara Kath¬ where between them and their delivery are lucid to yourself before attempting Rathbun. Festival Procession March- their understanding of the voice is purely rectly is to know how a correctly pro¬ “ Marche 1 riumphale. leen Roger (1910) ; Systematic Voice of ideas, there the power of explanation to others. And when explan- theoretical. Most of them have been duced tone should sound, and to practice KRAKAUER PIANO Reach, Gavotte. 4 Training, by D. A. Clippinger (1910) ; their effect, and consequence it all falls afions are given, be sure that they throat specialists, and not in any sense singing with this quality of tone in mind. Made by Musicians for Musicians. _t. Op. 40, Dance Macabre.f The Lost Vocal Art, by William War¬ with the flatness of spent energy, even thoroughly understood before leaving the Schmidt. Op. 9. f..n.naive No. 1. musicians. It is easy enough for the When this is done the vocal organs man¬ YOUR copy of the Krakauer Art ren Shaw (1914); and The Singing where the most promising pupil is con- subject. Study the idiosyncrasy of each ** On. x», Polowan* No. a.*■ vocal theorist to dissect a throat, or to age themselves, and need no help from Catalog will be mailed upon request. U Op. 3*. No. .. Marche MiNrift l Teacher, by Francis Rogers (1914). A cerned. Therefore, in Order for them to pupil so that you may direct his instruc- Op. St. Tron Marc ho Mib- examine the vocal cords of a singer by the singer beyond that given by the ear. work by the. leading German exponent means of the laryngoscope. But even Everybody interested in singing knows acquire that measure of success which tion in the most effective manner. For. of the new movement. Prof. Johannes when he knows how the vocal cords that the promise held out in the scientific is rightly their’s, it may be necessary, as after all, lost motion is nothing more than KRAKAUER BROS. Messchaert, was announced a few months ought to act, he cannot tell us what we system of vocal training has not been it were, to tighten the belt of their a fruitless expenditure of energy, and by American Lady Corset Co. Schulhoff. Op. 6, Yalae BriUante ago, and a summary of its doctrines was must do in order to make our vocal fulfilled. On the contrary, we can now 193 Cypress Ave. New York City method of instruction, and once let the vigilantly confining your efforts to those “ Op. ». Vahe BriUantr - given in Die Musik. Unfortunately we Home Office, Detroit Schumann. Op. Sj. No. S. Huntit<5w! cords act in the correct way. That is the see what a mistake was made when the full power of it be brought to bear, the channels through which good results are " Op. taa. No. |6,Slumber Ski do not know what success the German Spindle r. Charge of Hi weak point of the whole scientific sys¬ old Italian method was abandoned. The ratio of successful pupils will be mani- sure to come/ lost motion need never __,, Overture.Jfi work has had. The writer’s Self Help tem. It tells us what we are supposed new movement aims at a return to festly increased. occupy a single iota of your time. Poet and 1’rasam. Overt are- - k’ for Singers may also be mentioned in Blank Program Forms Op. 68, No. n. IW|k| to do, but leaves us in the dark as to natural instinctive principles of vocal con¬ this connection. how we may do it. If some throat spe¬ trol. That these were the principles suc¬ ‘lasohn. Op 7L*N°- 5- rpHESE forms contain four pages-size dretia Pivot ...J THE MODERN ART OF SINGING. cialist would attempt to put his theories cessfully followed by the old masters is lMe' into practice, and to train his own voice the conviction of all those who have es¬ a rinred 6K inch,'s- °n the filSt paK Thomu, Raymond. Overture . Finding the Real Joy in Music A brief review of the history of voice by his method, he would soon see how poused the recent doctrine of progress. ,spnnted concert Wagner, Loll culture is needed to bring out in a clear impossible this is. It is firmly believed that they will suf¬ By MRS. A. J. < light the purpose of the new movement. GIVEN BY fice equally well for us. Meiateraineet. Overture- Our modern art of singing may be said WHAT THE OLD ITALIAN MASTERS Where shall I find the greatest joy in But the real joy in music comes from a to have had its beginning in Italy about 1R e c 11 a l Spinning Song! y TAUGHT. BY THE PUPILS OF music? It is sometimes said that Amer- far more intimate connection than the the year 1600, Vocal cultivation was icans are not so appreciative of music as mere casual listening to music The The paper is of die very hest^andthe outj perfected by the teachers of singing at The statement of the vocal scientists, some native of effete Europe. We are student must let the music pass that time, and brought to a standard of that we have to .learn how to manage One striking effect of the spread of printedTn two^olors. The inside two paces are left for the program to be either told that we live in such a sparsely intelligence and then recreate it S excellence never known before. A splen¬ the breath, the vocal cords, and the scientific doctrines is seen in the fact printed or written. A small announce¬ settled country that our opportunities for way> whether at ^ ™ so™ did method of instruction was devised placement of the tone, is directly op¬ that vocal students nowadays believe in ment of The Etude on the fourth page Oberon, Fantarr. by the old masters, through which sing¬ posed to the principles of the old Italian the absolute necessity of doing some¬ hearing the kind of music which one piano with his voice or with a lioF t Webb. The New Woman. Marti,.... mW?rann5tm£rtaie tofdJltheeprintlng associates with the musical enterprises of The student merel^s a cl! ers were trained to conquer the most masters. They held that all these things thing with their vocal organs, something of the program itself. We shall be very “ Modern Chivalry, Marrt— much pleased to send samples. a great city are so limited that we as a , viy gets a chanci extraordinary difficulties of vocal tech¬ will take care of themselves, if the vocal for which nature has not provided. It people suffer from a limited sphere of , a SOU” -reproducing machine or THEO. PRESSER CO. We have large and rahiabh E*l* nique. This system is now known as student simply trusts to nature. They is against this belief that the new move¬ 1712 Chestnut St., Philadelphia, Pa. musical activity. As a matter of fact, we e Peda‘s of a mechanical piano the old Italian method, and its superi¬ relied on the natural connection between ment is primarily aimed. Nothing of have many splendid chances to hear a”d ,^en ls n°t getting one of the ority to most of our present forms of the voice and the ear, something which the kind was ever thought of in the great symphony orchestras and opera mos. delightful experiences in life_a TWO PIANOS vocal instruction is now generally recog¬ the scientific doctrine overlooks entirely. golden age of Bel Canto. Teachers and companies if we will only go a little out musical education. However valuable th nized. This is indeed the vital point of differ¬ students all knew then that vocal culti¬ A PRIMER OF FACTS ABOUT MUSIC Four Hands & Hands- In the year 1855 a start was made in ence between the old Italian method and vation demands only a trained ear, a By M. C. EVANS Price, 60 Cent* of our way to make the best of them, means for reproducing music mechanic 11* Lilt, on application Diacaadi th^ the formulating of a system of vocal cul¬ the modern system. The old masters sound musical sense, and an appreciation This isbyfar the best primer ever issued. It is Again the mechanical means of repro- may he in the way of developing thetl A V modern, thoroughly practical and comprehen¬ ducing music is coming more and more sire to hear good ” t le de- tivation, entirely different from that fol¬ taught their students how to manage their of beautiful tone. They would not have sive in all respects. The work is in the form of a catechism, the information being conveyed into popularity, so that our children are lutely if they do lowed by the old masters. A number of voices by cultivating the instinctive con¬ understood the idea that a singer must if therygdo°dnorproducey f&U aW THEO. PRESSER CO scientists took up the problem of vocal "aThi p having many fine chances to hear master- sire to make music at a,'US I soft palate, or to manipulate any other clear up any question of this 1 Allegro In F.1 America was for the most part con¬ . sym- Papinl. Andante In A.1 sists of the healing power of correct usually not simple. part of his vocal organs. What he does may occur to a vocalist incline . Schneider. Arlette .. .. ducted in the most slip-shod and ex¬ their consideration, twenty years’ suc¬ thheld functional activity.—Dr. Friedrich B. Every exercise, song and vocalise must need is to sing naturally, to listen to him- pathize with the new ideas, " ’hubert, Op. 51, No. 1, Military travagant manner imaginable. The cessful teaching in New York, following the accepted Mareb .1 teaeherB were not to blame for the Stubenvoll (Munich.) be memorized before it can be practiced self, and to have a clear mental idea of by a feeling of loyalty to Durneur. Vnladolld .1 thorough training by Vannuccini, Ran- competent enormous expense of purchasing in¬ with advantage to the voice. It is prac¬ degger, and other European masters of pure, correct and beautiful tone. If he doctrines. Let him select rew. Alla Marcia .. dividual studies and pieces of music scbalkow8kl. Op. 2, No. 3, Song tically impossible to commit a song or known ability (decorated by Societa practises singing in this way, his voice judgejuuBC 1of singingJ ~ listen to his voice, Without Words . for educational purposes, nor were Filarmonica Fiorentina), and will naturally adopt the correct manner Without giving any explanation o Weiss, Op. 38, Bk. I. Harvest of they to blame if they did not have the aria to memory, and to sing it in correct Flowers .1 CAN WE SING AS OUR FATHERS Personal Instruction of producing tone. Gradually and im- purpose of the trial, let him sing a Wohlfahrt. Op. 81, No. 1. Easy experience to select the best studies SANG? time, without a thorough grounding in to each pupil. Address, perceptibly it will improve in all its as- phrases in each of two ways, rst, con Trio In 0.1 for the right time. TheGraded Course the rudiments of music. A command of Op. 81. No. 2. Eusy Trio In F.. idea is an original creation of the The world is growing a little sceptical Miss Jennie Slater, pects, until finally the mental idea of sciously guiding the voice, and attending 0tl (Silent Night 1 the piano, sufficient at any rate for the musical beauty and expressiveness will to all the details of breath control, Jmeso~ °P* 1 O Sanctlsxlma /. Presser House. The Standard Graded of the elderly person who assures us 983 Lexington Avenue, at Seventy-first St., Course has succeeded because it was playing of accompaniments of moderate My Beauty Exercises be realized by the voice. This is the nance, tone placement, laryngeal adjust- Op. 8G. Rks. I. II. HI. each.... that there are no singers of to-day com¬ difficulty, is greatly to be desired, al¬ New York City (Family Ball Easy Dances.) built along the lines which years of ex¬ parable with those who sang when he system of vocal training aimed at by the ment, etc., hut without listening to his perience had shown to be necessary*. though it is not altogether indispensable. leaders of the new movement. tones or paying any attention to the qual¬ was a boy. We no longer listen to him But a knowledge of notation, of time and ity of his voice ; second, paying no atten- Teachers and schools will be great¬ CHIEF ADVANTAGES with respectful attention as of yore. We of intervals must be possessed by every A MATTER OF EXPERIENCE. ^ whatever to the mechanics of tone TO SINGERS: ly interested in this list of easy and smile and shrug our shoulders, and whis¬ singer. Those who do not enjoy the There is something absurd about the production, guiding the voice solely by instructive compositions for per to ourselves that the old gentleman’s Mr. Stock specializes in the field of Voice facilities for studying the piano may best placement, its^development along individual idea that vocal methods should be die- tlle ear> and seeking only to sing pure essential of modern technic is present in the most hearing is not so good as it was. Be¬ acquire this knowledge through the study tated by people who have never taught and beautiful tones. Let the judge decide PIANO, VIOLIN and CELLO songs, sacred and secular, that are suitable sides, we have the sound-reproducing of sight reading. Much faster and more to the first years of vocal study. singing, or even learned to sing them- wbjcb manner of singing is the more selected because of their adaptability satisfactory progress will be made by When pupils have reached the point where machine—an invention as yet but a few selves. A throat specialist may know a satisfactory and pleasing. If he decides for children’s and school use; all part) students who possess this knowledge be¬ great deal about the voice, on the scien- ;n favor 0f tbe singing performed under years old, but old enough, alas, to record are of the same easy degree of di" PROGRESS ™ SwentbS sft°£mm B?okI fore taking up the training of the voice tific side. But that does not entitle him tbe influence of the artistic conception, culty. Sent on sale and subject to, for us voices that have otherwise been to Book X like an even and regular flight of steps, than by those who come to the vocal to say that the experienced vocal teacher the soundness of the new doctrines may regular sheet music discount allowed up which the pupil may easily be led to musical hushed forever. But perhaps the old teacher ignorant of the rudiments of GEORGE CHADWICK STOCK knows nothing at all about the voice. safe]y be conceded. gentleman’s memory is a better recorder Bergmnnn, Op. 04. Easy Trio In G.J1.50 music.—D. C. Taylor. As a matter of fact, much more of study It ;s st;n too eariy to say wbat the "5, Easy Trio In 2. No. 1. Easy Trio In D.. 1.! taught by any teacher without was to be found in their voices. Louis the throat. Would a physician be com- vocal students, there is little question that Op. 352, No. 2. En*v Trio In C.. 1.1 Op. 352, No. 3. Ensy Trio In A ^ Engel, in his From Handel to Halle, has petent to try a beginner s voice, and to it would find a read sympathy there, suggestions to offer in the matter of a BY N. B. SMART. Op. 352, No.’ V. Easy Trio in F.l!» In New York This Winter say whether all the talents necessity for Teachers of singing would also have kind that invite attention. a professional career are present? Could much to gain from a general acceptance Op. 352, No. 5. Ensv Trio In C.. 1.50 Op. 352. No. 6. Easy Trio In A.. 1.50 In the first years of a teacher’s life he tell_ by listening to a singer whether of the new ideas. They would see thcir FOrster, Op. 47. In_ Envy S In G 2.00 “We are continually comparing our GEORGE E. SHEA _ Tilldren'a Trio. No. 1, in G •«$ singers with those of the grand old there is no quality in a pupil which causes OF PARIS the voice is correctly produced? Could profession restored to its independence, Children s Trio, No. 2. In F.US more pain and defeat than that of ob¬ Hamel, Op. 30. Easy Trio in F.. 2.00 times,” he says, “and we find that the The First Woman to Teach Scientific Facial Exercise he sing perfect tones himself, in order and deriving ;ts authority from the under- stinacy: pain and defeat both to those Teacher of Singing to il ustrate how a correctly used voice standing of tbe yoice which ;g their Hofmnnn, Op. 53, Eusy Iustroctlre MAKE NO MISTAKE eagerness to make money, and to get that The Standard Graded Course should not be con¬ who learn and to those who teach. should sound? These are things which cius;ve possession, Klasscrt. Op. io. Children’s Trio with all possible speed, prevents our Voice Development, Style, Repertory, founded with any other system, course, or method. “You must conquer the obstinate child,” every competent vocal teacher can do. In <;.1. singers from studying so much as they Mohr. Op. 3u, No. 1. Colden Youth, order be sure to insist upon the Standard Graded is the old-fashioned doctrine, but in this, Gesture, Perfect French Very few throat specialists probably could -— Key D. . did in the last and in the beginning of it seems to me, to try to conquer is to he ever acquire the vocal teacher’s knowl- PROPER USE OF THE VOCAL Op. 30, No. 2. Blue Heavens. . 171 W. 57th St., (Mondays, Thursdays) Key (I.L 10 GRADES; 10 VOLUMES this century. But without undertaking to conquered. Obstinacy in the child is Phone 268 Columbus edge of the voice, for it demands musi- ORGANS Op. 3ft. No. 2. Under Green $1.00 EACH VOLUME explain the cause, the fact is that voices really ill-directed determination, and de¬ 410 Riverside Drive, Phone 4597 Morningside cianship, and the fine perception of tone Artistic singing ;s only' the h; hcst de_ Boughs. Key B min. lOur usual discount is allowed. for any or Op. 30, No. 4. Happy Return, such as they existed in Handel’s time termination in the man is only rightly qualities, things entirely outside their yelopment Qf a strictly natural function • Key O.UO cannot easily be found now. Handel directed obstinacy. You cannot teach an province. Years of study, and of expen- this development can never be brought mnii 'mmi m i 2* wrote in the well known Acts and Gal¬ obstinate child to rightly direct her char¬ ence in listening to voices, are repre- about artificially, but ;s subj , S 11 ROsler, (>| , Easy ’ sented by the musical training and the artistic influences. That ;SJ the fuf , atea for a singer who undertook the part acteristic by opposing her; you only NEW VOCAL MUSIC cultivated ear of the vocalist. These are mental error of mechan!cal method”d^ Op.“l2,‘No: -j.’ Easy TrioTrio‘in’. In Y.. ... >- of Polifemo an aria with an extent of place yourself on her level, and she can¬ Schroder, op. 12, No. *I. 'Little STANDARD two octaves and a fifth;, and in another not think that you are right any more ON SALE his professional equipment, and he may . s _ot Trios In C. justly claim recognition for his attain- artificial. - -^ Op. 12. No. 2. Little Trios In !>• air, ’veil Africane selvc, even one whole than you can think that she is. Our Have your name entered for the receiving of a thus the course of natural few small packages of new music ON SALE during ments. events i; S m°Trlo°in r3- 1:a’'y cllll,lrM>' CONCERT ETUDES tone more. When Handel gave his opera grandparents may have been wise in many ' disturbed, muscular co-ordina- to be kept; discount the best obtainable; the only OPPOSITION EXPECTED. SOehtlng, on. 21 ’ Ba'sy Trio'in C FOR ADVANCED STUDY Rinaldo here, he inserted this grand air v/ays, but I feel their wisdom failed in responsibility the small amount of postage; returns ■V. bon is upset, and with it the faculty of Op. 20. Easy Trio fn (1. this. The new movement aims att aa^ revolt imitation,lmitation^^^h which alone insures "thel,i,„ Op. 31), Easy Trio In D. Price, $1.00 Grades IX to XI of Polifemo, note for note, and made of unused music to be made once each year; a pos¬ - yp- 4°. Ensy Trio In A min.. In my early teaching life no doctrine tal card will stop the sending any time. Thousands against the domination of the vocal scien- matic functioning of the vocal J These pieces are^bound in book form, each so- Signor Boschi, for whom it was com¬ of teachers receive piano music from us in this way; Spindler, Op. 3,15. No. 1. Llttl gave me worse pupils or caused me more they say it is most convenient to have 8 or 10 new It seeks to throw off the laws im- An artistic result can lie attained'' Trio In C. posed, come here from Naples and sing pain. Later, when I realized how false compositions coming along from time to time. We posed on the vocal profession by people through the exercise of a fun-tion ™i° ' °mln°5’ No" ,-,uU Tr,° ln 1 lade up exclusively of rapid reiterated chords, it in the opera.” our of the pieces abound in arpeggio forms it was, I hardly knew what it meant to devoid of actual experience in training physical and physiological r^quiremems „,0P. 3ft5', No.' 'a'.'Lll'tie Tiio'in IV -_nd others in extended aud arpeggioed chords, voices. Only those who have mastered are automatically fulfill,.,! w , s Wohlfnhrt. Op. OG, No. I. IUst Trio have an obstinate child. Far better to pass over the contested ground with a the use of their own voices, and have run, write, speak, etc autnn^r u Walk’ „■ hi.- .No. 2. Ensy Trio In C.. THE PERFECT VOICE. surprised smile, or some such comment successfully trained the voices of many could never attain to daneino- 1 all.y ’ °mlnt5’ N°" En*-T Trl° ln A other singers, are competent to formulate singing if We were obl;CTP,l paintln-" Op. GO No.' V. Easy Trio In d'■ A singer should attain distinction both as, “If you are so stupid now we must YOUR LARYNX IS A TRICK INSTRU¬ try another time.” Be sure that other MENT UNLESS YOU LEARN HOW TO a method of vocal cultivation. When the necessary muscular ™ t0 perforni °miS5’ N°" R’ Ea*y Trl° ln E through his voice and through his art, vocal teachers come to a general agree- the direct command of the°will ^ A f ^ Op. 00, No". 0, Easy Trio’ in F!. U* so that by the sweetness of his singing time will come sooner or later, when try¬ ing will accomplish. ment on the basic principles of their art, a few attempts of that After Mail orders solicited and filled ti he may rejoice the hearts of his hearers. eatImproves quality,™ ^size VOICE of tone, and uni- a standard method will follow in due would simply refuse to t 1 ’C organs the country. Any of our works sent oi His voice must not be rough, hoarse or Obstinacy is stupid determination. Once Send for our catalogue of erne' Professional discounts very liberal. make the pupil see it in that light, and course. It is for the vocal teachers them- would be called upon to at .ause tlleY music, including irregular combine* harsh, but beautiful, lovely, bright and selves to take the initiative in elevating contrary to nature Th''1* a manner he is cured, which is better than con¬ 25c S.W. TUFTS, M.D., 1010 Highland Bldg., Pittsburg,Pa. tions for various instruments. piercing, and both its tones and its the standards of their profession. What opposite of what takes nl'S the exact quered. Write for THEO. PRESSER COMPANY melodies must accord with the sanctity the vocal scientists have done for them ing of the organs fr, ttf6 >n tke train- of the Divine service.—(From A Treatise Samples reflected in the present chaotic con- formance of their f,,!!!.!.-^1'1'6-1 per' 1712 Chestnut St., Philadelphia, Pa. ■ theo. presser ( by Rhabanus Mowrus, Archbishop of dition. There seems n o be a better which a “Think more of your progress than of 1712 Chestnut St., Philsdelphh Mainz, A. D. S55.) the opinion of others.”—Mendelssohn. “BLUE JAY REMOVES CORNS” Please mention THE ETUDE when addressing our advertisers. 60 THE ETUDE criminately to the detriment of the senti¬ THE METRE OF HYMN TUNES. Before taking up the next kind of better hymn playing. ment of the hymn—as an illustration, the metre it would be as well to note that well-known hymn tune Gertrude set to BY CHARLES JOHNSTONE, MUS. BAC. the difference of the metre is in the words by henry s. fry. Onward, Christian Soldiers, would suffer rather than the music, as will be explained Austin Organs considerably if played according to the Whilst hymn-tunes are, ordinarily in the next illustration. We now come The proper playing of hymn tunes ts suggestions given, as a martial character speaking, the simplest form of the musical to the consideration of COMMON is suggested, and can be better marked by sentence, it is amazing how poorly they METRE, abbreviated as C. M. In this detaching the repeated chords and sus¬ are played by so many, even among those the first and third lines have each eight J^ARGE four man¬ taining only the peda's, or by sustaining who would be expected to play them well. syllables, whilst the second and fourth ual, St. Clement’s, the treble part at times and detaching The evil arises largely from a want of have only six. The following is an ex¬ ample in blank rhythm. by teachers who do not have a suffictent Phila.; Large three alto, tenor and bass parts. knowledge of analysis and construction- Assuming that the hymn tune is to be As the normal musical period is eight The motif of this is also 4 12 3: appreciation of the necessity f°r go°<* manuals in Arch hvmn tune playing—the latter due t played over, it should be given out on bars in length, so the normal hymn-line is consistent and unmusicianly daboration Street Presbyterian, a clear quality registration, such as eight eight counts in length. But beneath this or filling up by organists who do not have Phila., and Church of and four feet foundation stops on the eight count construction, and of para¬ mount importance, is the motif of one j I j j j } J J J j a sufficient knowledge of harmony, etc., the Redeemer, Bryn swell organ (coupled to eight feet stops 4 1 2 8 4 1 2 3 bar. For a moment let us consider the Mawr, are among the on the choir organ if three manuals are to enable them to do so successfully. bar-line. This is simply a sign preceding What Is Your Favorite Hymn? available), with or without pedals, in the (7 8) The hints in this article are not in¬ notable Austin instru¬ the accented note. In olden times it was tended for the experienced organist who exact tempo at which the hymn is to be The Etude has had some very inter¬ plaintive, meditative hymns, many of ments installed this sung. Of course, the registration may be not used, the singer or player being has the ability to create an organ part esting correspondence with people of which are poetically beautiful, seem much fall. varied, and occasionally the hymn tune guided by other rules of an aesthetic (2 S) for the hymn tune (not confined to the note in the United States upon the sub¬ better suited to private use. I am afraid may be given out as a “solo” by playing ' nature. The first regular use of the bar- vocal parts), but are given to help the ject of their favorite hymn. One inter¬ that I have not succeeded in giving you For other informa¬ the melody on one manual and the alto line is attributed to Henry Lawes in the student to dignified, musicianly and organ esting result is that many declare them¬ a very clear notion of my choice in this tion address. and tenor parts on a different manual 17th century. style hymn tune playing in a simple way. selves to have so many favorites that matter but it is the best I could do. with softer stops, the bass part being Taking as an example the bar of four It is necessary for the student to know J I J J J J J J J none could be distinguished from the H. A. Clarke. played on the pedals with the softer toned counts, this motif may be 11234 ]; 234 | 1; 4 12 3 4 that hymn tunes cannot be played abso¬ others. One eminent financier, whose manual coupled. 34 | 12; or 4 1123 ; according to the metre lutely as written, with good effect on the of the words, but whatever this first bar name is internationally known, writes Dr. Penfield takes a similar stand, al¬ The amount of organ used when hymn organ. The result, if so played, would is (that is in regular tunes) the whole « (7 I) that it seems to him that if a census of though the hymns he mentions are more Austin Organ Co. is sung must, of course, depend on the be “choppy,” disjointed and disagreeable. line is constructed on that same basis. America were taken we might find that widely known to some. amount of vocal tone to be accompanied In order to avoid this effect it is neces¬ Woodland Street, Hartford, Com, The quantity of syllables in a line of J I J J J J J. our people would select Nearer, My God, Your favor asking for my favorite and the sentiment of the hymn. Care 1 (2 8) sary to eliminate the reiteration of some must be taken not to dampen the ardor of poetry is spoken of as METRE. Certain to Thee as their favorite hymn. hymn or hymns is received and I am of the repeated notes. Just to what ex¬ of these forms of metre are more fre¬ It will be noticed that though the Another distinguished American finan¬ much pleased to make a little contribu¬ the congregation or destroy the sentiment tent this is to be done is a matter of differ¬ of the hymn by playing the organ softly quently met with than others. I shall second and fourth lines have only six cier, Mr. Henry Clews of New York, tion to the symposium. You recognize ence of opinion, and the ideas here given just for the sake of variety when the take up these before dealing with the notes, still they have eight counts. long identified with big charitable and of course that when any hymn has been are subject to modification—are not set character of the hymn does not call for more unusual ones. The following is a specimen of a church projects, writes as follows: known long enough to become a favorite down as fast rules—as some hymn tunes such treatment. Care must also be taken I said that the normal hymn-line was COMMON METRE tune: The best hymn in my estimation is the it has in use become wedded to one cer¬ require different treatment from others. HUTCHINGS that the organ does not overpower the eight counts in length (in poetry eight grand old Coronation Anthem. tain tune so that any expression of liking In the playing of most hymns the re¬ voices, and the chorus reed stops, such syllables). I take for my first illustration There is rather too much prayer in or disliking of it applies as a rule to the iteration of repeated notes in one part— as cornopean and trumpet, must be very the form known as LONG METRE, this age—asking for things we think we joint effect of words and music. the treble—is usually sufficient to give ORGAN sparingly used. usually abbreviated L. M., as each of the the proper amount of “motion” and yet need—and too little thanksgiving, and the In one way this is unfortunate, for The use of the pedals should occasion¬ four lines have eight syllables. The retain the “legato” essential to good Coronation is a real outpouring of re¬ misfits are legion. A noble or beautiful COMPANY ally be omitted, as their effectiveness is motif of this form commences on the last organ playing. Part of the familiar hymn ligious acknowledgment of the power and or touching poem may be fitted out with increased by appearance after having been count of the bar. The following is an tune Hursley usually used to Sun of BOSTON NEW YORK goodness of the Almighty. music which for one reason or another silent for a verse or part of a verse. The example in blank rhythm, which I will Nearer, my God, to Thee; Abide with may be impracticable. Take, for in¬ My Soul, played as suggested, follow with a melody for the same. Plant at Waltham, Mau. bass part may occasionally be played an me; Jesus, Lover of my Soul, and The stance, Cardinal Newman’s Lead kindly octave lower than written on the pedals, 1 2 3 4 5 6 7 8 Sweet Bye and Bye are all favorites of light. A musical setting satisfactorily to No. I. provided the melodic form is not de¬ mine, but do not appeal to me as strongly serve all verses is impossible, owing to stroyed. . When this is done the bass as the Coronation. the variety of punctuation. Likewise part should also be played as written, JIJ J J JIJ J J JSpEL-JL 4 1234 1 2 S As a National hymn the Star Spangled Mrs. Adams’ hymn Nearer my God to =^S=*c with the left hand, or other notes filled Banner is expressive of both patriotism Thee is weighted down with the tune in when the ability of the organist per¬ -r-f and religion, and is the greatest national called Hursley, machine-made and always Hm Church Organs mits, to avoid the gap between the bass 1 2 8 4 5 678 anthem that was ever composed or sung. dragged to death. On the converse ^abUL 1 and tenor parts, due to the transposition Henry Clews. many fine and well written tunes are em¬ of the former. When the bass part is J4 I J1 J2 J8 4J I J1 J2 J3 ployed in the vain hope of floating into a Only. played on the pedals as written, ’ with Many have deliberately stated that they popularity words that practically appeal Main Office & Works manuals coupled, the left hand need not have no favorite hymn. One writer of to no one. A fine and well written time If the player feels that a little more be used for playing the bass part, but may 1 2 3 4 5 6 7 8 “motion” is required the repeated tenor wide renown, Mr. Arthur Brisbane of by Dr. Dykes is set in an Episcopal be free to play the tenor part, and occa¬ SHORT METRE, abbreviated as S. M. In notes may be played as written in prefer¬ Hook & Hastings Col the New York Journal, replies humor¬ hymnal to five different hymns, no one sionally an alto note also in aiding the this the first, second and fourth lines have ence to the repeated alto notes, as the J4 IJ1 J2 J3 J4 ! J1 2J J3 ously, thus: of which is at all familiar to church-go¬ right hand to play smoothly. six syllables each, whilst the third alone sustained notes of the alto part between I am afraid that I have no “favorite ing people. Of course words and music The first line of Dundee is given as an the repeated ones in the treble and tenor has eight, as in the following example in hymn.” A great many years ago I re¬ must be well adapted to each other. There illustration of a bass part played an 1 23 4 5 678 blank rhythm: parts will help preserve a sustained effect. member singing Dare to be a Daniel, octave lower where it should be avoided: must be sentiment in tune as well as in Where a note has appeared in one part with a great deal of physical energy. text. An expression of opinion on hymns Written. 2 8 4 5 1 (7 8) TINDALE and appears in the next chord in a differ¬ J4 I J1 J2 J8 J4 I J1 2J J* Perhaps that is as good a hymn as any must also be based upon the viewpoint. Steere Organs No. 3. ent part, it is usually better to tie it over Music Cabinets for a yellow journalist who finds him¬ Bailey Hall, Cornell University oU «.. JlJJJJlJ. JlJJJJlJ. And the view points of a church service as shown in the following excerpt from No. I. self compelled to get along with cor¬ Dedicated. October 8.1914 STYLE O —a prayer meeting—an evangelistic meet¬ the hymn tune Dennis: Springfield Auditorium, now toiMta poration lions. A. Brisbane. ing—a Sunday-school service—or use in No. 2. Two of the most important contracts in recent )tiri Height, 41 inches one’s home will all differ and there are ^ J t r r r. f r r 1 2 S 4 5 6 (7 8)11 1 2 8 4 5 « (7 8) J. W. STEERE & SON ORGAN CO. 1 Width, 18 inches Two of the senior organists of the no hymns, no matter how good or how Springfiald, Mu.. E.t.bli.M* country have given interesting opinions, favorite, that will fit into all these uses. j j i j J J -*L JlJJJJIJJJ JlJJJJlJ. Capacity, 600 pieces the first is Dr. Hugh A. Clarke, Profes¬ I must confess that there are many Fumed Oak, $19 sor of Music at the University of Penn¬ hymns with their accompanying music of K-UMhlml S.» Vat, IUI SI. Ink Iff though the dotted notes in the foregoing Mahogany Finish, $22 sylvania. which I am fond so that it is difficult to Bass played an octave lower with the examples have only one syllable, they have “You have asked a hard question. I make a selection. However, I mention as GEO. KILGEN & SON exception of the notes marked * , which three counts each, bringing the line of have many favorites that differ widely in a fine specimen of the inspiring and up¬ Pipe Organ Builders six counts to eight. style, but I have no liking for the senti¬ would have to be played as written: lifting When morning gilds the skies, ST. LOUIS. MO. Before going further let-us tabulate the mental or subjective hymns, I much pre¬ No. 4. translated from the German by E. Cas¬ In the third chord the alto nc On, oftho un.1 |1p. n„l, I. It.M* foregoing as follows: fer the elevated, dignified style, espe¬ well, with music by Barnby. As a noble, the second chord appears i„ tb $17.00 UPWARD cially if they have historical associations dignified and animating specimen Dodd¬ part and should be tied. The te, L. M. 8. 8. 8. 8. Write today for Illustrated Catalogue No. 1 —such for example as the Bernard of ridge’s Awake my soul, stretch every L of the second chord becomes TINDALE CABINET CO. Morlaix hymn, The world is very .evil or nerve, and fine contrapuntal music from C. M. 8. 6. 8. 6. tied6 T,:hVhlrd c*Lord and si No. 1 WEST 34TH ST. :: NEW YORK Luther’s A mighty fortress is our God. Handel contributes much to its grand tied. The alto note C of the thi, It can readily be seen how the very Again, there are some that are para¬ effect. But as a specimen of real senti¬ becomes the tenor note in tl effective contrary motion between bass In the above illustration, the well-known S. M. 6. 6. 8. 6. phrased from the Bible that are very line ment which actually gets hold ctf your chord and should be tied. Sim and treble part would be ruined by the Doxology, I have marked the number of Combination Extension Foot Stool and Pedals For Children such as 0 God our help in ages past. heartstrings I know of no hymn to com¬ ditions appear in the nevt new form bass part if played an octave beats in the hymn-line above the notes, Any of these may be doubled when it is treatment may app^ There is a larger question involved: pare with Rev. H. F. Lyte’s Abide with lower. and below them the division into motifs abbreviated as D. C. M., D. S, M. Double sight, but is not difficult of execu the appropriateness of the hymn to the me, fast falls the eventide, music from The Organ Po*** *• Much more might be said about this will be seen to be 4 1 2 3. A moment’s long metre is very rare. occasion on which it is used. For pub¬ the pen of W. H. Monk. I must ac¬ the resultant smoothness wfll r important matter of hymn tune playing, thought will show that it would be im- All other metres than the three already necessary effort. W 11 r' iwmnnr, HARTFORD, CONN, lic worship I think hymns of the char¬ knowledge these three as my favorites. but if the ideas given help the student to' possible to commence upon the first of the mentioned are known by the figuring of Vrl7r%HAtOrePaid The ideas given apply t0 tll. r wF°STER*. lls'wU St.,*fcmoi«** acter I have indicated are the best. The S. N. Penfield. C. Vt. WESTER FI ELD, 2*1 Vk|Wa A"*-* a better understanding and practice, the bar as the accent would fall on the wrong the lines. After the 8 and 6 we come to 1840 N°/ufk’d^aCZ'cIr*k* the 8 and 7, which have still the eight b- no, te m, JAMES TOPP, 413 Sul!.?, Hall BU|„ H E article will have accomplished its mission, syllables. --Raran St.. Oiicagn. III._j Please mention THE ETUDE when addressing Ple»»e mention THE ETUDE wilts •a41*"1 THE ETUDE 63 62 THE ETUDE 2 3 4 5 6 7 (8) 1 2 3 4 5 6 7 (8) , , | T I | ! i the piano. While, of course, it is not counts to the line. Without going into good violin teaching to sit at the piano Superb THE GUILMANT such close details as has been done thus A Tonic and play with the pupil the entire lesson, far examples of them may be given. JJJ it is a very great advantage to play the Old Violins ORGAN SCHOOL After the full explanations of the pre¬ Horsford’s Acid Phosphate taken piano accompaniment after the pupil has Father Time deals out vious kinds these should give no trouble. This may also be doubled various when you feel all played out, can't got the composition along to the stage tone-beauties with a lavish Dr. William C. Carl Sometimes we have a mlxtur® . sleep, and have no appetite, refreshes, where he can keep his part going. Many hand to the finely made lengths of line, such as the following invigorates and imparts new life arj violin teachers hold large classes of pupils violin. All those listed in Cata- A school for students energy. simply because of their ability to play with serious aims, who the accompaniments well. In recitals the !. 8. 3; 4. 4. 8. 7. 6; 8. 7. 4. 4. i desire to become ex¬ JJJJIJJJJIJJJJIJJJ violin teacher who can play his pupils’ pert organists. New 1234 13 3 4 1234 128 (4 accompaniments has a great advantage StS, Baws/caaea, etc. Repairing catalogue ready. All these are classed as PECULIAR 1234 5678 1234 5 6 7 (I Kindergarten over one who cannot, for the reason that HUGU5T GEMiiNDER S2 SONS METRE; P. M. he can help a pupil through so much 141 WEST 42nd STREET - NEW YORK If attention is paid to the number o Secures and holds the child’s intenit. Color Bird Scale, Staff Peg Board, Folding u..; better, and the pupil has more confidence JJJJIJJJJIJJJJIJJJ syllables of each line when read by the Boards, Keyboard Diagram and many oils it. THE INDOMITABLE OLE BULL. large western American cities, enj'oys a minister even one unskilled in mu c w ll tractive things. Sand for Catalog. Ole Bull was another violinist who large income, and has about everything Just Received soon acquire the ability to tell whether the DANIEL BATCHELLOR & SONS achieved world-wide fame and unbound¬ worth living for. In this and the following examples we Germantown, - Philadelphia, Penn, (Srttiitii §>riuml of CEIntrrh iHusir hymn is Long, Short, Common other' ed success by his great love and enthu¬ The violin student who does not feel find the motif to be 1. 2. 3. 4., as each line wise Also by humming over well-known siasm for violin playing. He was orig¬ commences with an accented syllable. the greatest enthusiasm for his profes¬ tunes they will be able to distinguish their inally intended for a clergyman by his This may also be doubled. sion, an enthusiasm so great that he feels metre, and if called upon to start a parents, and his father forbade him prac¬ he would be dissatisfied in any other pro¬ BY C. VAN DER STRAETEN. hymn in a meeting where there is no ticing on the violin, fearing that it would fession, had better give up all idea of 7. 7. 7. 7. organist will not make the mistake made interfere with his studies. The boy con¬ making the violin his profession, for he The viola is looked upon as the step¬ 1234 5 6 7 (8; 1234 567 (8) Sample display ol detachable note charactcri ipplnj by one person who tried to sing the Long to our perforated chart In ‘ ‘Stage’s System." Yoa r.,- sequently was obliged to do his prac¬ will not succeed either as a player or as child of the violin family, a kind of Cin¬ JJJJIJJJ IJJJJIJJJ Metre Doxology to a Common Metre this teaching outfit. Write lor particulars. ticing at night, and every obstacle was a teacher. The profession is full of dis¬ derella, destined to do all the menial work 'tune. The Musical Art Company, placed in the way of his developing his couragements and hard wo’rk, and only among its august' relations; and yet, 138 E. Stole Street._COLUMBUS,OHIO, talent for the violin. When he went to an undying love for the violin art will though it will never shine above them, The Hall Organ Co. the university in Christiana later, he enable the professional violinist to bear it possesses much inherent beauty. “What failed to pass his entrance examination up under them. then is the reason of its comparative ob¬ New Haven, Conn. THE VALUE OF HYMN TUNE PLAYING. BUY ENTERTAINMENTS to the University, but was elected musi¬ scurity?” you may ask. It is the pre¬ From “The cal director of the Philharmonic and ference of the present age for the more handles a c Dramatic Societies. His musical success piercing, nerve exciting, thrilling notes of r HERBERT WILLIAM I WHY THE VIOLINIST SHOULD somewhat consoled his father for his the violin. ^ rz STUDY THE PIANO. failure to pass the examination, and he In former times when people were of was at last reluctantly permitted to give The violin student, especially. when* quarter notes. After considerable practice a more meditative disposition, when their A much slighted department of piano up his studies for the ministry, and em¬ studying for the profession, should set select those of quicker tempo, leading up nerves were not strung to such a high teaching is the playing of hymn tunes. brace a musical career. Not long after apart a certain portion of his time for PIPE ORGANS gjftj to the lively Sunday-school hymns. These pitch by the continual rush and excite¬ Having reached a certain stage of ad¬ he went to Spohr with the idea of be¬ studying the piano, for several reasons. vancement every pupil will profit thereby. are poor specimens of church music, but ment of daily life, preference was given Our Instruments comprise all features PRIMARY MARCHES coming his pupil. Spohr received him In the first place, for its educational ad¬ which are of real value. Many years of prac¬ Good results are quickly attained and the being frequently used should be given Easy arrangements In march form of favorite melo¬ to instruments of a lower compass. The dies In First Grade, for Pinno or Organ. Adesne Fidelia, coldly and after hearing him play, saw vantages; the violin is for the greatest tical experience. Write for specifications. benefits are of practical worth. Since Onward Christian Soldiers. Nearer My God to Thee, rebec, a small three stringed instrument Rock of Arcs. Abide With Me. Jesus I/iver of My Soul, only his faults and advised him to give part a melody instrument, and except to EMMONS HOWARD ORGAN CO. this is not included in the usual course Good for the harmony student. To What Shall the Harvest lie? Blest Be the Tie That held somewhat like the violin, and the WESTFIELD, MASS. Binds. My Faith Looks Up to Thee. Wort Fr*^ up any idea of a musical career. He a limited extent requires another instru¬ of study let me enumerate some ad¬ study the construction of chords in hymn fife and tabor accompanied their dances Night la Coming. Special Introductory price failed entirely to see the enthusiasm and ment to accompany it. The student who vantages that are particularly conspicuous tunes and to observe the progression of short time only. 8c per copy, any five for 30c < and merry-makings, but the lute and the ten for 50c postpaid. Send for our free cat price genius of the young man, which after¬ plays only the violin consequently gets in rural district and small cities. the voice parts is of utmost value. Use of everything In music. Brehm Bros.. Dept 50, Erie,?*. viol were the instruments used for all wards carried him to the greatest heights a limited idea of a musical composition A desirable accomplishment. An artistic standard church tunes, as modern writers, serious music, from which the former in¬ of his profession. Spohr’s adverse opin¬ as a whole. In the case of a composition performer has continued calls to play at especially of Sunday-school music, pay struments were rigidly excluded. ion would have dampened the ardor of for the piano we have the musical struc¬ social gatherings and church meetings. A scant attention to smooth-moving inner Thomas Mace, in his amusing book, any one not possessed of the great ture complete, melody, bass, accompani¬ good way of getting an apt pupil before voices, and cause the alto and tenor parts Dorothy Forster “Musick’s Monument,” published in 1676, nature of Ole Bull, but he felt that any ment and inner parts. The student play¬ the public is to let it be seen that she is to hop about in acrobatic fashion. Sing¬ TWO NEW SONGS speaks of the “scoulding violins” in a Violin Instruction other career than that of a violinist was ing the piano gets a correct idea of the a dependable hymn player. At home, able hymns are sometimes not playable as depreciatory manner, and down to about impossible. When he heard Paganini in composition as a whole. parents will have the pleasure of hearing written. The tenor notes out of reach A Wild, Wild Rose.Pri«, 1700 they were not considefed fit for Soprano In Kb (Kq np to O); . I~. pobU.M t»D, C Paris a little later, he at once got over In the next place, the violin student VICTOR KUZD0 their favorite hymns. are usually easily played with the right the use of a gentleman. Then came the Sole authorized re tative Thomas J. Donlan, 503 Fifth Avenue, Nev Tori what discouragement he had felt at the who has a good command of piano tech¬ Excellent for sight reading. Few can hand, and many alto notes are conveni¬ change, partly brought about by Charles = Bennett Organ Co. adverse opinion of Spohr and threw him¬ nic can study the piano accompaniment play hymns creditably without first learn¬ ently reached with the left. Low bass the Second’s preference for light music, self into his studies with the most in¬ of any violin composition, and thus make ORGAN BUILDERS ing how. There is a knack about it which notes must sometimes be raised an octave. and introduction of 24 violins, after the LEOPOLD AUER tense energy, with the result that he made himself thoroughly familiar with it, so Teacher of Elman, Zimbalist and Kathleen Parlow. RocimrnHi one must acquire. I have seen high-rated Affords the pianist closer acquaintance manner of the French court. _ That' tremendous advancement. From that that when he comes to play the violin The organa webi solo performers fail when attempting un¬ with a noble and elevating department of change, like all revolutions, was as radi¬ Studio: 560 West End Avenue, New York City The Musical Leader time on success after success came to part it will give him much assistance to familiar hymns. Sing while the pupil musical literature. By this I do not mean cal as it was sudden, throwing aside any¬ Published Weekly, $2.50 a Yeai him and he soon became numbered with listen to the accompaniment, which by plays, require a comfortable tempo, and the ephemeral melodic effusions with thing good, bad, or indifferent, except cription, fifty cei the great violinists of the world. this time has become thoroughly familiar. i—ESTEY CHURCH ORGANS-, allow no stopping. their affected verse found in the popular their new favorites, the violin, and the A very large proportion of violin He can also direct his accompanist as to violoncello. S of Violin Splendid for securing depth of tone collections. They are not to be classed . Recognized as the leading school for highest^class students fail simply because they do not how he wants the accompaniment played, Highest grade of proc and firmness of touch. Light skimming with the established hymns of the church. The viola, whose more veiled tone bring any love and enthusiasm to their if he is familiar with piano technic, and Pioneers and leaders always. of the keys and a shallowness of chord Open a Church Hymnal and you will find In conjunction with ETUDE, ad»anta*. color partook to a certain degree of the Examine stop actioi ' iderful’ reedless CLUB OFFER: work. The student who works at his is able to illustrate different passages. in rest ence. Chaperonage tone are defects in the playing of many tunes which have been a blessing to the viol quality, had to content itself by pro¬ Oboe, Saxophone, Clarinet, et Musical Leader, regular price | CUP violin only the very shortest time that A thorough knowledge of the accompani¬ Open throughout the year. Singing with Mme. students. The keys should be pressed to services of the sanctuary for fifty and a viding a background to set off the brilliant Ovide Musin.^ Piano, Harmony and French, with ESTEY ORGAN CO., Brattleborc ?2.50 for year. CO I his parents and teacher will allow, con¬ ment is an immense assistance to the vio¬ their lowest depth, using a pressure touch hundred years. Their dignified style and colors of its favored sister. The re¬ And ETUDE, regular price, J T“-* stantly watching the clock with the fear linist in playing from memory, for, as from the arm, and each chord held its weight of years rank them as classics. 21.50 for year.. \K*W sult was that it became the instrument Special Correspondence Course that he shall overrun his practice time he hears the piano accompaniment, it will of the fiddlers that failed, and 18th cent¬ full value. Here are Lyons Antioch, Herald Angels, Write for catalogue. Address THE MUSICAL LEAD ten or fifteen minutes, will never achieve suggest the various violin solo passages M. P. MOLLER PIPE ORGANS Useful in training the hands to strike Duke Street, Ellesdie, Austria, Arlington ury composers were very accommodating REGISTRAR, 51 W.76th Street, New York City In use in over eighteen hundred churches and McCormick Buildins, Chlcaio success. It is also true that even long which go with it. exactly together. The “broken-chord and a host of others. Study the com¬ to the executive powers of these gentle¬ institutions. We build pipe organs of all sizes hours of practice will be of little avail From a business standpoint nothing and for every purpose. Every part made in habit” is a common fault. Either the posers and be surprised to meet the men, much to the detriment of some of our own factory and fully guaranteed. En- if the student grinds out the notes in a can be more valuable to the violin teacher their finest compositions. left hand strikes before the right, or a names of the masters in music, as well as perfunctory, mechanical way, without in¬ than the ability to play the piano. If he rolled chord is made. Insist that hands many less known. Scores of these short Look at the many dreary pages of ROOT VIOLINS strike together, with no anticipating notes terest and without enthusiasm. The is unable to obtain enough violin pupils tunes are jewels of the first water, and viola part in Haydn’s quartets, and with M. P. MOLLER, HAGERSTOWN, MD. or wobbly chords. Exactness and cer¬ student who bends all his energies to¬ he can supplement his income by teaching Mozart it was little better, although the tainty will follow. When a pupil per¬ (CLASS PINS wards success usually ends by achieving the piano. He can do church work, and, latter played the viola, and even wrote buyers. Thesr sistently strikes the left hand first, try ■rings St medalsL if he is the leader of an orchestra, or a a concertante-symphony for solo viola rich, melloi New Organ Music ON SALE the method of treating poison with IC.K.GROUSE C0.“BE!2 I once knew a violin student whose musician in a theatre, as many violinists and violin with orchestra. poison, insisting that the right hand play chances for amounting to very much in are, he will find that his piano playing Most people know nothing, and care INorth At t leb oro Mass.BgX 331 Every now and again, however, we first. the profession seemed very slim indeed. will frequently be in demand for an oc¬ nothing, of what true harmony means meet with a musician of renown who es¬ Invaluable for pedal practice. Owing Everything seemed against him but his casional accompaniment, to accompany pouses the cause of the instrument, as By means of the clavier, through” hkh to the fact that the harmonies change determination to succeed. On one occa¬ the orchestra or a singer. I have known for instance the clever Mannheim, violin¬ Send for catalogue ol s and color illustrations. Old and used violins ta teachers rSive*pSno‘rouffi^mm'us^n^Uway! rapidly hymn-playing makes fine op¬ sion he pointed to a violin lying on a many indifferent violin players to hold ist, Carl Stamitz, who wrote a number all kinds of easy musi THEO. PRESSER CO.. Philadelphia, Pa. portunity for pedal study. A prime use table and said, “I would rather conquer their positions simply because they could harmonies, but learn nothing of thTcof of concertos for the viola; Bartholomeo of the damper pedal is to connect chords that little cigar box laying there than play the piano, too. Bruni, the author of 6 solo sonatas, duets legato. The pedal is pressed down after writenCeeast mad0fdieS- ^ , YOU CAN BE A NURS^ to be president of the United States.” Not the least advantage is the ability with violin, and a tutor; and Campag- NEWS FOR ORGANISTS the chord is struck; continues to hold which it gives the violin teacher of ac¬ ought to be, i «r°Urform- &S il He threw himself into the task with im¬ noli, who composed the fine 24 caprices Recital Programs (a Complete Department)— while the hands move to the next chord; JpayinBT $12 to a week. Semi companying his pupils. The violin teacher OUR “SPECIAL” rally free out of'four-vohfe parts m and Illustrated book of -National mense energy, and in the face of ob¬ which considerably advanced the techni¬ is let up as the new chord is played; then who can play his pupils’ accompaniments unconstrained. Many a writer ol’ J National School ol Nursing, &epM2 fW* stacles which would have appalled an ordi¬ que of the instrument. 10 Tested Lengths, C- put down immediately after. Here then heaven - and - earth - stormW fLgreat nary student, saved enough money by play¬ will find it much easier to get and to These early champions of the viola Silk Violin E, for is excellent material for “after-pedaling.” ing and teaching for a three year's hold pupils than one who cannot. Many “raised their voice in the wilderness,” it would be unable to do thisSaUiTPhun,eS Send for Violin and Cello Catalogue 27 S. CLINTON ST., CHICAGO Begin with hymns having no complicated course in violin playing in Berlin under violin pupils take lessons purely from the was but little heeded, and things went rhythms, slow movements in half or would probably be unaware of hif ^ MUSICIANS SUPPLY CO. deficiency-Hauptmann h °wn eminent teachers. He is now established pleasure it gives them to take their lessons on much in the same old way. When •is a violinist and teacher in one of the with the teacher accompanying them on Beethoven, the great musical prophet, ap- Please mention THE ETUDE when sddres*111* our advertisers. 65 64 THE ETUDE THE ETUDE more developed. In more modern works viola solos and important passages are so Locating Bad Tone frequent that an enumeration cannot even .Wonderful Paganini’s be attempted in this place. A correspondent writes: “I wish to when playing, when rosin is required, and The Etude 1 High-Grade Violin artists who could attempt his stfiMVa■ There is of course a wide scope for ask you a question about some trouble how much to put on. If the string be¬ tets, and to the amateur they remmned work in the orchestra, as well as in I have with my playing, as well with comes caked with rosin it should be care¬ Tone Ameliorant for many years a sealed book- Eve chamber music, yet one cannot always my new violin as with the one I used fully scraped off with some blunt instru¬ Violin Strings Offer! ment, taking care not to scratch the where a violinist might be found I have even a trio if one wants to play a before. The tones are 1 not as pure as ETUDE Violin Strings offer Tome of them in a fashion, there would little for one’s own recreation; and the I would like them, especially when play¬ No one in this day and age should players a chance to avoid be a great difficulty in finding a violon¬ question arises “is there a literature suf- ing softly. And sometimes the trouble cellist who could venture upon the task, is worse than at others. I washed my have a piano tuned to high pitch. All annoyance due to defective DENTICALLY the same preparation liciently large and varied for the viola as I and as for a viola player it seemed al¬ bow (I must say it is a cheap one) and the most important music of the world and unreliable strings. that was used by the great violinist. a solo instrument?” to-day is done at low pitch. Only here most hopeless. Gradually some profes¬ got a better grade of rosin. Do I per¬ Not a rosin, but an Oriental gum com¬ The writer has essayed to compile a and there do we find a country brass The ETUDE Strings are pound, which works on an entirely sional quartets sprang into existence literature of the viola at the end of his haps use too much rosin? The violin which opened the eyes of musicians to band with antiquated high pitch instru¬ manufactured for our trade different principle. history of that instrument, and found is in the best condition, so far as I can With Paganini’s Tone Ameliorant you the fact that the middle parts of a quar¬ ments, or venerable high pitch organs. and are as nearly perfect about sixty original sonatas by old and ■judge, and I am inclin'ed to settle the get none of the grating harshness of ■ tet were more than mere stop gaps, to fill It is harder to produce a good tone at as the highest grade im¬ modern composers. The former are trouble on the bow and rosin. I tune rosins, but a most pleasing clarity and purity of tone. It is dustlcss; it up the otherwise incomplete harmony, and high pitch than low pitch, in the case ported strings, but are much preserves instead of disintegrates the strings and bow-hair and, being partly with bass, partly with pianoforte, my violin to high pitch, as our piano is that they gave as much chance to show of the violin, and our correspondent less espensive. used more sparingly, it is far more economical than rosin preparations. the latter being used in all modern sona¬ good musicianship, tone and technique as so tuned; perhaps this, has a tendency should lose no time in having his piano If you strive for the highest in your art, Paganini’s Tone Ameliorant tas. Sonatas arranged from violin, ' to make an easy and pure tone harder tuned to low (international) pitch, if he Special! will help you attain it. Large size in unique handy container, $1.00; the outer parts. Standard size, SO cents. Your money cheerfully refunded, if you are not The average amateur of the present violoncello, etc., amount to about double to produce. Any suggestion tending to expects to tune the violin to the piano. Three length E Strings, 15c. that number. Concertos and concert remedy this condition would be of great Strings which are false, worn out, or iWiilSSMsmEta. delighted with results. Send us your order direct, if you can’t get it time, however, remains obdurate. He Two length A’s or D’s, each, 15c. foVros9 SttSfcaB from a nearby dealer. Write for interesting circular telling how this struggles hard to acquire a certain amount pieces with orchestra or pianoforte num¬ ■Service to me.” of bad quality would account for a bad offer.^ Seize this op^tortonity.^ Order now. Your money secret formula came into our possession, and is prepared so that every¬ of technique, and he means to get what ber about forty. Some of the older ones The Etude receives many letters simi¬ tone, also a bridge which was not cor¬ G Strings, each, 15c. one can profit by the master violinist’s discovery. he considers “the most for his pains. it is true are only in manuscript, and lar to the above, and it is very difficult rectly fitted to the violin. It takes an 30 Strings, E, A or D, $3.00 Write Appearing among friends he opens his would have to be copied, but enough have to answer them in a satisfactory manner expert violin repairer to select a bridge Ameliorant Mfg. Co. hag of tricks and trots them out one been published from such to select a large at long range, without personally exam¬ and fit it to the violin. The height of 108 NORTH CEDAR ST., - - after another to astound his audience. I f repertoire. As for the smaller solo pieces ining the violin and bow, and hearing the the bridge must be gauged so that the name and address, with professional card if you are a teacher. by ill chance he has heard Kubelik, Kreis- with pianoforte, there are over four hun¬ player. Bad tone in violin playing may strings will be the correct distance above Theo. Presser Co. ler or Elman play the inevitable Legende dred. spring from any one of a great variety of the fingerboard. Our correspondent had PHILADEPHIA, PA. or Russian .dirs by Wieniawsky, or the The extent of this literature will come causes, and it would be pure guess-work best put his violin and bow in the hands Violin Makers! ^^;Xehealg■fT1.X^te,1 Cavatina by Raff, he (ladies of course as a surprise even to the professional to try and locate the trouble for our of an expert repairer to be put in first- always excepted) feels it incumbent on viola player, as the publication of the correspondent. The bad tone may be rate condition, and he will be astonished him to show that he too can play that pieces was spread over a long period and the fault of the player, the violin, the at the change in tone. DREAM PICTURES. Op. 6 fliece, qnd promptly inflicts it upon his a large area, and a complete catalog bow, the rosin, the hair of the bow, the Very often the fault lies in the player. EUROPEAN REMINISCENCES listeners, however ghastly the caricature, thereof has never before been compiled. strings, or the adjustment of the violin, If the bow is not drawn exactly at right WILMOT LEMONT and the consequent suffering inflicted Within the last fifty years many emin¬ inbluding the proper position of the angles with the string, a bad tone will upon his audience may be. ent virtuosi have chosen the viola as their sound-post, bass-bar, etc. The nut may follow. The distance of the hair from Price, $1.25 Postpaid solo instrument, not that it was ever he too low or too high, or the finger¬ the bridge is also of prime importance. By LOUIS C. ELSON, Professor of Theory, New England Conservatory THE ENJOYMENT OF CONCERTED wanting of some great representative or board warped and uneven. If the con¬ When pressure is applied to the bow for COLLECTION of piano pieces which fascinate by their spontaneity and fresh Price, 50 cents, postpaid A MUSIC. other front the latter part of the 18th. stant action of the fingers in pressing a loud tone the hair should approach flavor. Mr. Lemont offers an abundance of melody and a pleasingly Music, Wit, Philosophy, Biography, Epigram, flash brightly on every page euphonious harmonic scheme, which always shows refinement and sprightly If such a player would give a little century to this day. Since Hermann Rit¬ down the strings has worn little gutters close to the bridge, and when the pres¬ time to study the viola, and combine with ter toured with phenomenal success with sure is very light and a soft tone is re¬ of this intensely interesting book which is now going in to a new edition. The work fancy. To those who play for pleasure, to whom music brings joy and relaxation, in the fingerboard, a good tone would has been compared with the best of Mark Twain’s travel experiences and yet it is these facile and effective compositions will be more than welcome. fairly good amateur players for the other his viola alta, about the seventieth of last be impossible. quired the hair should approach the so filled with Mr. Elson’s notes upon musical conditions, talks with famous musicians, parts, they might arrive at a decent ren¬ century, however, their number has con¬ If the bow hair is kept clean it is fingerboard. Some of the worst tones etc., that it becomes an ideal book for all music workers who see the necessity for dering of a fine quartet by the classical siderably increased, and many fine works riot necessary to wash it. I never washed of which a violin is capable, are pro¬ looking upon the brighter side of musical life. masters from which not only they them¬ were written specially for and by such a. bow in my life. Possibly our corre¬ duced by applying strong pressure when Mr. Elson has covered much of the ground where the great conflict is now “Destined to be the most successful suite si selves but also their listeners would de¬ virtuosi as Lionel Tertis, Leon Firkct, spondent’s bow needs re-hairing. Old the hair of the bow is too far from the raging and this makes the book doubly interesting at this time. rive pleasure and satisfaction. Unfor¬ Emil Kreuz, Henry Casadesus, Charles worn-out, lifeless hair cannot produce a bridge. tunately amateur violinists fight shy of Wertheimer, J. Kling, A. Hobday and good tone. A good tone cannot be pro¬ The most frequent cause of bad tone THEO. PRESSER CO. PHILADELPHIA, PA. OLIVER DITSON COMPANY, BOSTON the dreaded Alto clef, and viola players others. duced either if the bow. hair and strings comes from the lack of preparation of being so scarce there is rarely anybody Messrs. Tertis and York-Bowen (the are clogged with too much rosin. After the muscles of the right arm and wrist. CHas. H. Ditson & Co., - - New York to point out the simplicity of the thing. composer and pianist) have recently a bow has been rehaired or washed, the When these muscles are stiff and lack The compass of the viola employed in toured on the Continent giving viola and hair must first be treated with powdered elasticity, the resulting tone must be in¬ chamber music by the old masters rarely pianoforte recitals. In the course of their rosin before being rubbed on the cake. evitably harsh and rasping. When our THE EDUCATION OF the MUSIC TEACHER exceeds 3 octaves, which means 21 notes, tour they appeared also in Berlin, where If it has been well rosined at first it correspondent has had his violin put in the position of which could be learned in they met with an enthusiastic reception. will not require much rosin. Drawing perfect condition by a skillful repairer, Thomas Tapper’s Latest and Most Helpful Book THE SECOND TERM a few hours time, while a little practice it over the cake of rosin a dozen times he would find it an advantage to take PRICE, $1.50 would soon make the violinist familiar beginning of the Second Term of the school year is now or so will be sufficient. An experienced a course of lessons from a first-rate vio¬ with the somewhat wider stopping. THE NEED FOR NEW MUSICAL The movement for a more thorough education of the music teacher is national L at hand, and we desire to call the attention of the violinist knows by the “feel” of the bow lin teacher. J Music Up to the latter part of last century in its scope. The main point of Mr. Tapper’s new and interesting work is to show IDEAS. what the teacher must know to achieve the widest success and then how this Teacher to our complete stock of Advanced Studies, when amateurs were more keen to enjoy Etudes and Recreations for the second term pupils. There is no art the forms of which knowledge and proficiency may be attained. The captions of a few chapters make good music than to show off, it was clear the great value of a work of this character. wear out so soon and so extensively as WE HAVE JUST WHAT YOU WANT FOR ALL CLASSES OF PUPILS quite a common occurrence to meet with Observation Fundamental Requisites Music Teaching as Service a good amateur quartet. Since then it music. Modulations, cadences, progres¬ Equipment and Success Pedagogy Our large and diversified collection of Music of all publishers, has become a very rare thing through sions of intervals and harmonics, become By WILBUR FOLLETT UNGER Music in the Home Community Music to suit your individual wants, is at your command. the neglect of the viola. The result is so obsolete in fifty or even thirty years, Public School Music Efficiency One of the greatest assets in the equip¬ Below is a list of samples of the actual The Basis of Music Memory Teaching Material Upon request, we will send a Selection of Music, On Sale. that many modern amateurs hardly know that the composer of genius can no ment of the young music student is the spellings: This selection will be of great value to you in choosing the nec¬ what the beauties of the string quartet- longer use them, but is compelled con¬ The work comprises 224 pages and ia handsomely bound in cloth. are. They are unacquainted with the cultivation of observation. By means of Chicossti This work will be sent postpaid to any purchaser upon receipt of price. essary studies and pieces, essential to the proper progress of your tinually to invent new purely musical beautiful uniformity of tone, which in features. All that can justly be said of this faculty he can save much time and Tchosky pupils. We include in our selection the best of our own, as well as Chykopski THEO. PRESSER CO. PHILADELPHIA, PA. chamber music is unattainable by any a mass of compositions which stood far trouble in the correction of wrong notes, other publications. Chicuffsky other combination. This fact was fully above the average of their day, is that and can the more easily train his memory Tchykoffski Send for our FREE CATALOGUE, LIBERAL TERMS and DISCOUNTS recognized by the great masters whose they once were beautiful. The fancy of in the storing up of details. The ma¬ Tschowski string quartets outweigh in number bv the artist of genius discovers, among the THE JOSEPH KROLAGE MUSIC CO. jority of pupils are sadly lacking in ob- Chickowski PIANO TUNING far their chamber music compositions infinite number of possible combinations Bind Your ETUDES . servation, as I learned to my consterna¬ Shcykousky RACE AND ARCADE CINCINNATI, OHIO with pianoforte or wind instruments, and those that are the most choice and IN A tion and amusement when, some time ago, Chowkisky Regulating and Repairing hidden, and works them into novel musi¬ Se k a"”n8 fi"“ “H* ««y I tried a little harmless experiment with Cshiekophsky ™ cal forms, which, though they are purely A Complete Course of Self-instruction / my class of pupils, the result of which Thysowskie “Big Ben” Binder A. WALTER KRAMER This alone is surely sufficient to prove the offspring of his own free will, seem for the Professional or Amateur proved both funny and instructive. Tschioskowsi The “Big Ben” is a new and much Transcriptions for Violin and Piano NEW VIOLIN the importance of an instrument whfch is connected, by an invisible thread, with By J. CREE FISCHER ■ I placed before each pupil some time Chykofskie simpler binder for protecting your copies Humoreske in C . . Edvard Grieg, $ .22 indispensable for their rendering. The the dictates of necessity.—Hanslick. Litany.Fr. Schubert, .32 MUSIC “ON SALE” during his lesson a composition by Schychowsky of The Etude. Opens perfectly flat on PRICE $1.75 Copies will be mailed upon receipt of net price Chycofsky the piano. Binder holds a year’s issues, al Valt mentioned (Discount deducted). Tschaikovsky, with instructions to note which can be readily inserted each month rally m smalfpackages'oTnewVus’kONSALE'dun'ng carefully the title, composer, key-signa¬ Shikowskey Xd J. FISCHER & BRO. THEO. PRESSER CO. A man’s music describes his morality as received. No complicated parts. Back rated,mi Astor Place, New York Philadelphia , Penna. ture and other details. A little later, be¬ Schicrofsky better than any other art. because it and front neatly lettered in gold. re^onSbmuj^am^^^bff"M>le^the Mozart’s beautiful trio in B flat wh ** fore the lesson was finished, I asked the Chicoski able lesson ;s that on^ the tuning, regulating comes from behind the plane of his STU TS* ^POPULAR ALBUM pupil to write upon a slip of paper the Tstaikowski PRICE, POSTPAID, $1.25 08 thought; it speaks of him as he is before in the orchestra the viola h„ S pame “Tschaikovsky.” Evidently, the ma¬ Tschikovsky. he twisted himself into a definition. We E“m eV or lO^ew^ompmit'ions I?omiinCg0aTong 'from steadily grown in importance. In Weber’s jority of the pupils tried to spell the Rus¬ These spellings were made not only by Some readers prefer the binder rural districts rarely visited by professional flrat poeitlorT and not g„ing ^ meWS t pally need no biography of a musician; tuners, and then not oftener than once a year Freuchutz, we have already a beam.fid sian tongue-twister as they had heard me children but by pupils between the ages which we formerly furnished, and It will also be a valuable work for a young viola solo, and in Berlioz’s rr„ ^ ful '!s art is the most intimate account of of 15 and 30, and none of them belonging which we still send for $1.00,postpaid man or woman who wishes to add to the in- pronounce it, rather than from actual ob¬ come^ from teaching by keeping pupils’ pianos THEO. PRESSER CO., 1712 Chestnut St., Phila., Pa. THEO. PRESSER CO., Philadelphia, Pa. Itahe symphony there is a < n h>s life that could be written. It is the servation of the printed name, for, out to an illiterate class. The actual papers •< e„„ setting forth of events that have taken with names signed I still have in my pos¬ Please mention THE ETUDE when addressing of about thirty-five pupils, one only THE ETUDE, Philadelphia, Pa. THEO. PRESSER CO., Philadelphia, Pa. P*ace in his souL—Frederick LawsE'® spelled the name accurately! _ session, as a matter of curiosity. Flease mention THE ETUDE when addressing our advertisers. THE ETUDE 67 66 THE ETUDE Of the many exercises and etudes regular well-studied lessons and diligent preparation, a thouoht for which were studied, everything had to be practice hours we come to the summit, new YEAR’S DAY. Theo. Presser Co. played in all keys, and with every pos¬ well balanced, useful musicians. Let us How frequently we read of a singe sible variety of touch—legato, staccato, remember through all the days of this appearing in an operatic role at_ a Publications half-staccato and with ail kinds of shad¬ Publisher’s Notes New Year that every lesson and every ment’s notice. Sometimes she is sum ing. She says: “It would never do to A Department of Information Regarding New moned from a neighboring city and Issued Dec., 1914 play an etude twice in the same key for practice hour is taking us a step forward. sometimes she is whirled away m a taxi Any of our works sent on in.pMtionlolMeln,., my teacher.” Think of this, you students Youth never returns and this is the golden Educational Musical Works upon request »( J>ur usual large proft.ikirul cab, across the city and onto the stag who call it drudgery to play a dozen time for Preparation. Haydn had little at the last second, and it natural for us scales and a Czerny etude! to be thankful for in the way of material to wonder how they can do the impos ' PIANO SOLOS Gr*d«P,«e So it is think, practice and listen every possessions and yet he said, “When I sat 2126 My Lesson To-day. at my old worm-eaten piano I envied no sible; the one reason why the impossible G. L7Spaulding step of the way up the hill of fame. NEW WORKS. and schools of the country don’t report is made possible is preparation, which 3037 The Concert, Slowly, calmly, determinedly, through king in his happiness.” any great falling off in their business, G. L. Spaulding 2 ,2 Advance of Publication Offers— a great many report an increase. The means, according to Webster, “fitting for 12048 Rustic Gate.K. Ralph 2 .5 Sped 2086 The Ell-G. L. Spaulding 2 j January, 1915. Kevlar off results as shown by our own business a particular purpose.” 2127 The Clouds.O. L. Spaulding 2 ,2 are not serious at all. Business is good, A good many music lessons are taken 2017 Song of the Anvil. P. Renard 2U Calendars (each 10 cents collections rather poor. We believe this Musical Sunshine willy-nilly, with no thought of preparing •j018 On the Hay Rick.P. Renard 2y> .3 A Lesson From an Opera on Blue Beard 2019 Wandering Gipsies, Elementary Progressive Studies for latter condition is not one of necessity, the Violin. Book I and Book II. If any composer ever trapped sun- That We Two Were Maying, published ■ fitting for a particular purpose, they P. Renard 2« .3 How we have all shuddered over Blue you?” she says, “he has done me no ill!” and we trust that we can make a differ¬ 12020 Village Dance. . .P. Renard 214 .3 Op. 20—Kayser . : taken because some one wants us Beard, and wondered about that fateful Quietly she closes the dungeon door; the European Reminiscences, New Edi- ent report in the months to come. beams into music it was Ethelbert Nevin, when he was about twenty, that esta- ~~ -.. - . . 12089 ’Neath Old Glory. K. Ralph Our new catalogues in the shape of composer-pianist, who passed away some blished the author’s position as a creator take them or because nuisi^m P 12090 Cheerfuilness.D. Rowe 2 >4 .25 dungeon door! Perhaps if we had the peasants retire abashed, and Blue Beard tion—Elson . Now that, the New 11992 On the Bay of Naples. Exercises for Developing Accuracy in guides for the teachers, four, six and eight- thirteen years ago in New Haven, Conn, of musical art. accomplishment, courage to go into the dungeon we gazes at his sword’s point, feeling a lit- Piano Playing—Gustav L. Becker hand music, organ, violin and piano etc., ■ Year is here again, with its three hundred 12007 Spring Night....P. Renard 3 Little Polks’ Song Book—37 Tune¬ His was ai blithePlitne anaand happynappy nature withwuu nunAfter Thex ne Rosary/\usury theme ecstaticcwuul suusongB - . “ . not ii -2038 Pubic School.D. Rowe 3 should find nothing there after all, and tie foolish. He realizes that Ariane has ful Rote SongB—Wm. H. Neid- piano studies, octavo, in fact, covering that Blue Beard, in spite of his ogre-like controlled the crowd of peasants far bet- every classification except piano, have an instinctive love for the gay rather ’Twos April, reached the largest popular- " Jth this motto, “M 2039 Album Leaf. . H. W. Harris 3 Musical Ideas for Beginners—P. than the sad, and because he loved the ity. Nevin *2040 The Juggler. . H. W. Harris 3 appearance, is no more to be feared than ter than he .cpuld, in spite of his bluster Marion Ralston . been found of great use by teachers and music lessons are fitting me for some 12072 Twilight Scene, professionals everywhere. They are all bright and beautiful things of life his ing music to some of Stevenson’s verses M. Loeb*Evans 8 any other bully. At any rate, this is the and his long sword, simply because she Note Speller—Adele Sutor. particular purpose.” Polonaises for the Pianoforte—F. frequently asked for, and any of the music will always be favored by the for children. 12074 ’Neath the Greenwood Tree, lesson we learn from the wonderful was calm and unafraid and kept her head Chopin . With this thought in mind much of II. Wilt__ Popular Overture Album—Four music contained in them will be sent youthful musician. Nevin was sometimes The unlucky number thirteen, the Opus 12087 The Sw in the Grove. opera into which the old fairy tale has when everybody else was in a panic. The cheerfully On Sale according to our the so-called drudgery will vanish. Just F A. Williams 3 Hands . ... spoken of as “an earnest trifler,” but in number of Water Scenes brought him OP S been made by Maurice Maeterlinck, the curtain falls, leaving the smiling Ariane Practical Method for the Young Vio¬ usual liberal On Sale plan. imagine springing into the gap and taking 12091 h—.. b- Evans 3 linist—K, H. Aiqouni. all he did he proved that he was more perhaps the greatest popularity _ of all- 12099 La S..— —... celebrated Belgian poet, and Paul Dukas, and the disgruntled Blue Beard alone to- The discounts which are offered by F ,1 « . HIl— audiencedulilLIlv-v- byIJV Slotstorm; til y thinkin i ii tv ofi beingc-> 12100 Qnerida.R. Roger Progressive Studies—L. A. Bugbee. than an earnest trifler. He worked in the thanks to Narcissus, a piece which every ca,lcd n suddenly to take the place of I a wonderful young composer who lives gether. • Scale Studies for the Violin—H. the Theodore Presser Company on our . La Princesse.R. Roger o Schradieck . smaller forms and had a positive genius young hopeful of the piano studies and a Iar accornpanist, or .of being *_Valse PaplUon. .11. Harthsn 3 own publications to teachers in schools in Paris. The various scenes are beau¬ Six Forest Sketches—F. Flaxington are the best that it is possible to get for creating fascinating melodies-they which has been as much thrummed and asked tQ sj in place of the regular solo- ■ 12143 Contentment, G. L. Spaulding 3 tiful, and the music runs through all like IN BLUE BEARD’S DUNGEON, Stabat Mater—Rossini . anywhere on any good edition. The welled up and bubbled over in every whistled as any topical song. There ; - of_ being_= invited to furnish part Winds, op. 3 - H. A_ h 3H , a shimmering web of sound. But most Act II. We find ourselves inside the Studies in Second Grade, Op. 1060 Stock of outside publications is the best thing, and in as many shades as there many other songs and piano pieces which 0f a pr0gram for some visiting artist! —A. Sartorio . 12078 Banner of Victory beautiful of all is the lesson we learn dark mysterious dungeon. Ariane enters Well-Known Piano Solos and How selected if not the largest that_ is to he are tints in the rainbow. have become as popular in Europe as in This is no more than is expected of you Fr. Ton Blou 34 found anywhere. Our importations have 2112 Crowned with Rose*. Op. 34, from the opera; the wonderful lesson with the nurse, who carries a light faintly to Play Them—Charles W. Wil- this country. . after years and years of preparation. not been entirely stopped, we have not Ii. A. Farnsworth 3VJ jo that it is not the obstacle standing imme- Bickering in the gloomy vastness. They What Thev Do in Wondertown— MELODY ABOVE EVERYTHING. Nevin was always most loyal to' his This New Year, instead of thinking, L2106 Purple Sunset, Op. 204, Ruth Alden . found a great deal of difficulty in sup¬ L. Oehmler 4 diately in our way that prevents us from explore the unknown depths. To Anane’s plying orders for foreign music and in Speaking of melody, he once said, teacher, Karl, Klindworth, and of him he “Oh my music is just for amusement, or 12107 Eglantine. .E. F. Chrisliani 4 achieving success, but fear of the ob- great delight they stumble on the five “Above everything we need melody— said, “To Herr Klindworth I owe every- for the family, or to dance, or to sing to,” 12118 Allegro (from Sonata In E 1915 Calendars. almost every case at the usual prices. flat) .F. J. Haydn 4 stacle. Being afraid is the thing that other wives of Blue Beard, huddled to- The On Sale plan as carried on by melody and rhythm. Rhythm is a great thing that has come to me in my musical think of the use you can make of it; of Our new calendar for this’year is a 12111 Crusadera' March, holds us back more often than not. How gether in fear. She awakens them from this house is particularly liberal. It is 'thing. We have it in nature—the trees life. He was a devoted teacher and his the sudden glamor that falls upon you W. Seharwenka 3 particularly attractive one, more so than 12110 Staccato Etude. Op. 23. many of us, when we try to read a new their stupor and seems to them like a any that we have offered for many years. the standard upon which all the On Sale sway, and our steps keep time, and our patience was tireless. His endeavor was after a successful appearance and the No. 2 .A. Rubinstein 9 piece at sight, get along nicely enough so heaven-sent messenger. Then the lamp A small picture of it will be found on plans in vogue at the present time are very souls respond.” When pupils tire of not only to develop the student from a glory of it. Such a thought will keep FOUR HANDS based, and it is naturally more liberal long as we go boldly on, but falter and goes out, and again all is darkness. The another page of this issue. ' everything, a piece by Nevin will work musical standpoint, but to enlarge his every one of us alert and alive to the 12011 A Day with the Toys, ^ and of more far-reaching assistance in make mistakes the minute we become nurse and the five wives are scared to This calendar is 10 x 14 inches in size, wonders in restoring interest, such is the soul in every way. To do this, he tried possibilities within easy reach; and such 12015 The Costume Party, Op. 10f>, and contains a picture in photogravure every way. !subtle charm of his melody. After a to teach one to appreciate and to feel readiness sets one apart from the mass E. Kronke 2 ! afraid of the black notes ahead of us! dea* and too cowed to seek for a way of nineteen great musicians in a group, To any who are not acquainted with 11082 La Bella Gondoliera, tiresome journey through the heavy me- the influence of such great minds of of those who are never ready; the ones Let us see how Ariane got the best of °f escape.. Not so Ariane. Once again a likeness of each one. It is entitled our method of dealing we would like to Op. 1068. . . A. Sartorio 8 send a full set of catalogues and full chanics of music, his tunes are as wel- literature as Goethe, Schiller and Shake- who arc forever saying, “Oh, I can’t, 12114 Our Gallant Defenders, Blue Beard simply by not being afraid her fearlessness comes to the front. She “Parnassus,” and has been made from K. Kerber 34 information, or better still, we would like come as a burst of sunshine on a cloudy speare. He used to insist that a man does No doubt some of you have read of the 0j JjJjjj explores around and finally discovers a a well-known picture, “The ' Hall of STUDIES faint gleam of light. The others admit Fame,” but grouped differently in a them to send us an order on a postcard, ,jay not become a musician by practicing so ways of the old Italian singing masters 12128 Etudes Elegantes, Op. 30. and let us fill it as an example of prompt No. 1 .T. Uck 3 that they have seen it, but they have square and much smaller. The picture When he was still quite young the many hours a. day at the Piano, hut by who kept their pupils on simple exercises, STORY OF THE OPERA. is well worth the price of the calendar and satisfactory service. VIOLIN AND PIANO made no' effort to investigate the open¬ , family went abroad, and while in Dresden absor^ng an influence from all the arts who never permitted them to sing a song. aazur. .. W. E. Hnrsrhe 4 Aj I. Blue Beard is bringing home outside of any other advantage. The Our corps of experts on every sub¬ ing for fear of what lies beyond. But Ethelbert studied both singing and piano and a11 the "lterest3 of l>f ,... , , ’■ -> octaves and shuts them in from the light and beauty musical interests of the country. The Grieg volumes are too well known but stayed there only a short time. It THE AMERICAN STUDENT, H. T. Burleigh to use them, but she must on no account There has been a tendency toward chords in legato, staccato, half staccato, , , _ PIPE ORCAN of the world. Singing, Ariane leads them to need any comment of any kind. While was decided that he should devote his Some say, “Oh, teacher will use the key of gold. money tightness and non-payment of this edition lasts we will sell them at a forte, piano, pianissimo, mezzo-forte 12088 Song of Joy. .forth into- the glorious noontide. time and energies to music and therefore know how much I practice.” fortissimo, crescendo, diminuendo—if lie J. Frank Fryainger 84 « Naturally, the gold key is the only one bills, not quite the freedom in financial greatly reduced rate. The rate which we i serious music study was begun in Bos- Some plan to get on with just as little OCTAVO CHORUSES. MIXED VOICES Act III. We are again in the great affairs that we are accustomed to in this make will include the postage. For all do a11 this quickly, evenly and dis- 10459 Gloria Patrl, In E " ‘ that interests her. As soon as Blue ton and abroad. practice as possible, while others tinctly, he c hall of Blue Beard’s castle. No one ap- country, but taking it all in all. we have the Grieg music we will give an all around have the neces- loebel 8 Beard and the peasants have left her been very fortunate, both politically and Upon his marriage he occupied his time themselves with too much practice. It sary technic with which to play the piano 10460 How Sweet Thi Nunc," know where Blue Beard is, and price of two-thirds off, which is one-third alone with her nurse, the two explore the ^°arS though freed from the dun- from a business point of view.‘ Teachers of the retail price. The 75c volumes. with composition, concert tours, and with sometimes happens that a pupil will go In other words he is prepared or fitt° d 10466 God So Loved the WorliL1' great hall. One by one the nurse opens ^ ^ ^ unable tQ escape from teaching, but later he took his family for a lesson after he has practiced eight for a particular purpose. ’ C the 10514 Still, Still withT'hM'0^11” * the doors m the great hall with the silver building. TVlpThe slldflensudden news: nf T to Italy where he buried himself in his hours; this is what Joachim, the great Of practicing, he says, “When nra t' „ W. R. Burroughs 3 keys, disclosing floods of amethysts, sap- work. In a little village in the Appenines violinist, said of the American student: ing, I should never advise a student 10607 Remember Not, Lord, Our Beard’s return strikes terror tc Offences. phi res, emeralds, pearls and diamonds. of all but Ariane. Ariane alone is he found an old barn which he fitted up '} do not know what to do with many play a piece through from beeinnincr *° THE THRESHOLDS OF BUSINESS as a music shop. “The donkeys and American students. Every evening finds end till it is learned A piece sh 1^ 10643 What Went Y"i°^utr M ' Ariane, however, takes only a passing in- moved Her feariessness Js justified when terest in these things. She longs to try thg peasants bring the tyrant in bound Every ETUDE advertisement is practically the threshold to a sheep and cows used to come in and them at,the opera’ and when they come be studied as poetry-idea for idea T 10675 The* Angel.-' 8 reliable business, whether the advertiser lives in your town or three the golden key. The nurse warns her stare at the grand piano I had brought up t° ,me they ar,e only half prepared’ and the first days of serious practice it U ./-t and be]piess. Ariane demands that a thousand miles away. 10679 Saviour Again to" ny&Deax 3 to do so, for the , from Florence" he said “but when I } have ?° pleasure.in them- Others best to begin with Bach.” P 6 tt IS i afraid, but dagger be broUght, and the other wives A reader of THE ETUDE has just ordered an article through an 10680 Now^the Day la Over, Sh*"J Ariane pays no attention to the stupid terror at her feet, thinking she ETUDE advertisement of a firm two days’ journey from his home. It was „ _ H. R. Shelly 3 Siyeedsheepyhers ereadt ^th^SV Tht ho^ret ^ ^ old nurse and boldly opens the seventh is going to kill him. But she simply cuts just as easy to do this and quite as secure as going across the street to SUg* 10683 How Sweet the Name, purchase another article in person. guarding her sheep, we were kind to her eduCatipn =n haJf.tho tin/ ** developing you techn^y'and H. R. Shelly 3 .« door with the golden key. the bonds that bind him, seeing nothing ,°CTAy° CHORUSES, MEN’S VOICES There is nothing but darkness and the THE ETUDE moves the threshold of scores of businesses right next and her gratitude was touching. When AJhf{ T h°UrS 3 taSL* ,the Same time- 104»8 Gloria in Excelais, in the old monster to be afraid of. The muffled singing of women coming from to your own writing table. two lambs were horn she named them % £%£ thfunftod SeT’ ^ ^ toured 10465loaait tIn tvHappy Mood.Mozart-Robiuson 3 Jl) others approach in amazement, but Ariane Why not do your regular purchasing through the advertisements of after my,children Paul and Dons” hours, and if more than five, they would may acqu re a marveto, any firms represented in THE ETUDE columns? You know in the first case 10439 Marjory. WaSi 3 *«£ MT £ T “Gcwd^ye, I go far Ncvms hfe m this village was idyllic, better throw their money in the fire and the use of “Scatos bIl f?Undati°* by her inside. In an instant the nurse gives where I am awa.ted still. She offers to that these goods are worthy or they would not pass the strict ETUDE censorship. for there he found the quiet and solitude learn some useful trade. Permit them Mme Teresa rl’ - and Arpeggios.» 10464 In tb. Tlm.E of"^r“1 3 the alarm and the peasants rush in. Blue take the others, but they cling to Blue _ I*. Kuichardt 3 - that creative workers crave. to go to two concerts and one opera a most of our women °’ °-ne °f the fore- Beard draws his sword and faces the Beard, preferring even him to the horrors His first published work was a modest, week and no more. That is as much as one year I did ^'Planists’ says, “For l(v3tVT?..CSSRUSES- WOMEN'S VOICES 10543 IPJhlnk of The. (Four _ crowd. It looks for a moment as if of the unknown world. Thus their own damty little Serenade, which he wrote any student’s nerves can endure who has then I had ^ techni<=. and When you write an advertiser it is only just that you say “I saw when seventeen and which attracted no work to do.”-(From In the Kaiser's nothing less than 1^'“’ w*»ich was 10674 Evening Shadowa V"lTh^ there is going to be a terrible fight, but fear keeps them captive still. Blue Beard your advertisement in THE ETUDE.” More and more people are learning _1 artK '_r Ii K particular attention. It was Ins song Oh Capital, J. F. Dickie.) Mendefssohk” * Rondo CaPuerto of in the midst 0f all this disturbance has no eyes for them; he is watching the the advisability of shopping through THE ETUDE. THEO. PRESSER CO.. PhiladeWw.Fi Ariane "alone keeps her head. Calmly she vanishing Ariane, the one woman who is addresses the peasants. “What would not afraid of him. Plwse mention THE ETUDE when *ddrss and we receive excellent postpaid. of the many desirable premiums which PRACTICE CLAVIER WANTED— The number of some, of them is quite e'nal success of the first grade pieces- introduction of our new books. The Etude offers. by the author has force on us a con- Qujte a number o{ our announced “With Clicks”—Second Hand. Address J. A. limited. It is also understood that these If interested send a postal request for YonngTen, Pocatello, Idaho. volumes are not returnable. It will be Feb. i To FIRST TERM 20 piano Musical Ideas for Beginners. tinuation of thesamesy . worjost from press during the past month, and Scenes of Popular Life, Op. 19- .75 the retail price ($75.00 value in music alone in one year at played at the present time. Among them the advance orders are being filled, „ _, in good condition; .. paid. A few years ago Andrew Carnegie was motor' included. Address 5245 Wakefield Poetic Tone Pictures, Op. 3.50 $1.50, including all other features.) will be the following As these books are now on the market asked if he would contribute to a fund Street, Germantown,' Philadelphia. Album for the Pianoforte.1.50 Lustspiel Overture, by Keler-Bela, tbg advanced prices are withdrawn, but Fourth The regular monthly visits of The Etude bring about a re- Studies in Second Grade, by which the fine library of an ex-pro¬ “—~— freshening of the musical interest twelve times a year. This “Raymond, by A. Thomas; Jubilee wg shall be glad to send a copy of any means wide-awake pupils who continue to study for a suffi¬ Op. 1060. By A. Sartorio Overture, by C M. von Webe 0f the above for inspection to those who fessor at Harvard might be saved from ... ,n Middle West. Spe¬ Vocal Collections cially good opportunity for man and wife cient length of time instead of studying a few months and This work is in the second grade, ap¬ The volume will be gotten out in the interested a forced sale. Mr. Carnegie replied, “If Album of Six Songs, Op. 6. With best style, and the arrangements will re- “ ’ who can head piano and voice departments. then “dropping Music.” proaching the third at times. The tech¬ the higher education does not fit a man to German and English words. By ceive the most careful editing. Benno Schonberger .. .75 TEACHER ! DO YOU WANT ANY BETTER REASON FOR HAVING ALL YOUR nical material is put up in the form of Save Money by Ordering Other provide for his old age, it is a failure., I Our special offer in advance of publi¬ FOR SALE—In the suburbs of New The Love Legend. Joseph S. Ward. .75 PUPILS TAKE THE ETUDE “YEAR IN AND YEAR OUT” THAN THIS? study pieces. Every number has a dis¬ cation will he 40 cents, postpaid. Magazines with The Etude. will not contribute to this fund, but I York, a well-established (10 years) high- Twelve Songs of Heine. Arthur THOUSANDS OF YOUR COLLEAGUES INSIST UPON IT. tinct figure which is carried out in the I Subscribers to The Etude can save will buy eight tickets to a lecture course class music studio with house; 7 rooms and Hervey . 1.C0 most musicianly way. Sartorio is in the bath, electricity, large garden, privet hedge, Scale Studies for the Violin. considerable by adding one or more other to be given by the professor.” fruit trees, grapes, berries. —1— ™ Vocal Album. C. Chaminade.'. 1.25 front rank of the present writers of tech- I magazines , to their order. To assist in Mr. Carnegie did not realize that college application to G. O. H„ e—e The Etude. Love Songs. Marie Wurm.. .75 By H. Schradieck. nical works for the piano. He is always making selection we will send “The professors, musicians, artists, and many New Album of Songs. With Ger¬ them; in fact it is a kind of writing book TEACHERS AND STUDENTS interested Well-known Piano Solos and interesting, never repeats himself and is Schradieck’s Scale Studies is one of the Etude“ Magazine Guide” of thirty-s other people who have achieved high rank in the serious study of music will be sent a man and English words. By that amuses as well as instructs the pupil. ever agreeable. We were fortunate to standard technical works for violin, an pages. Below is a list of the most popu- copy of the Russell Studio Bulletin, No. U, How to Play Them. in various walks of life, sometimes have containing much important and interesting Maude Valerie White.1.00 It is intended for the wee beginners. The procure this set of studies at the out¬ almost indispensable book. It is the best lar combinations; all prices are for a Five Songs. With German and By Charles W. Wilkinson not practical business capacity. A passion musical information, a Guide for Teachers; book is not too large, although ample to break of the war, and we take pleasure exposition of the scales that there is, and full year to each magazine, on request. Essex Publishing Co., Carnegie English words. By B. Hallet..,, .75 There is always a great demand for give good writing material for the pupil in presenting our readers with this work for money-getting is just as evident in Hall, Manhattan, New York. Six Cradle Songs. Leonhard Eniil contains everything necessary to acquaint Subscriptions may begin with any the description of well-known piano during two terms. in the Special Offer column. It will ap¬ some lives as the passion for knowledge MUSIC TEACHERS—Olesen’s Bach . .75 the student with the fingering in all keys, month; they can be new or renewal. pieces. In this volume the best known Our advance price on this work will pear in sheet form, and will sell for at We will add this volume to the Presser Magazines can be sent to different ad- is in others. Dreamers rule the world of Chai make pupils practice. No Album of Six Songs. Charles Braun .75 compositions of leading composers will be but 15 cents, postpaid. least $1.00 retail. .. ly-lesson”. .. - _ _ Lesson Album of Six Songs, Op. 5. With Collection in a new and carefully revised dresses. There is an additional charge the future. Capitalists lend their money Charts positively will secure better recita¬ be analyzed; not a technical analysis but Our special advance price is but 15 edition. for postage to Canada and foreign coun- for some of the present needs of, society. tions from your pupils. Used with any German and English words. By a description one, giving what information cents, postpaid, which is about the cost The special introductory price in ad- tries, Why should Mr. Carnegie belittle the im¬ method in any grade. Beautiful sample post¬ H. A. J. Campbell.75 there might be about the circumstances paid on request. Albert II. Olesen, Instructor Sir Forest Sketches. of paper and printing. This is done to vance of publication is 15 cents per copy, F0r $1.75 we will send The Etude, To- practical lesion in the brain of the scholar, Six Lyrics, Op. 6. E. N. Anderson. 75 surrounding the composing of the piece of Piano, Nevada, Iowa. A Group of Eight Songs. Henry F. By F. Flaxington Harker give the teachers an opportunity to ex¬ postpaid. day’s and McCall’s. since the latter contributes to the world’s and all the information connected there¬ amine the new works at a nominal price HEAR PADEREWSKI FLAY Couperin s Gilbert .’. .75 This is a new set of characteristic For $1.90 we will send The Etude and Le Carillon de Cythtre through the new with which would be valuable to a teacher The work is all in type and will appear culture ? Six Songs, Op. 3., Walter Petzet..-. .75 pieces by a well-known American com¬ Victor Record. All of Paderewski’s wonder¬ as well as a student. The descriptions in print inside of a month when the Elementary Progressive Studies Modern Priscilla. The other day I was walking down ful keyboard charm Is felt in this fine record. Six Songs. George H. Clutsam.75 poser, which will be published complete will be along the same line as those found special offer will be withdrawn. for the Violin. Op. 20, Book 3, For $2.00 we will send The Etude and Congress Street at 1 P. M. In the faces Violinists will be especially interested in the Album of Twelve English Songs.' C. in volume form. These pieces are all en¬ rds by Maud Powell (Barcarolle by in the two volumes of Edward Baxter of the hurrying throng of men I detected Villiers Stanford . 1.25 tertaining as well as instructive. The and Complete. By Kayser. Th, e™«. ) and by Elman (Hungarian Dane, Perry, but somewhat shortened. There Exercises in Developing Accu¬ business sagacity, alertness, keenness of There music is of a fine character and far re¬ fine duet record bv McCormack, the noted will be some hundred pieces analyzed in Books 1 and 2 of this Opus are now Modern Priscilla and McCall’s, character and, in some cases, entire ab¬ moved from the commonplace. This is racy. By Gustav L. Becker ready and Book 3 is ready for the press. For $2.35 we will send The Etude, Irish tenor, and Fritz Kreisler, the Austrian What They Do in Wondertown. this volume. violinist. Ruffo is represented among the Mr. Becker is widely known among In addition to printing Book 3 we will Designer and Home Needlework, sence of the imaginative or aesthetic ele¬ By Ruth Alden The special introductory price in ad¬ the sort of a volume-that the best teach¬ newer records by the air from Massenet's professional teachers as one of the most also print the complete Opus in one vol- For $2.40 we will send The Etude, ment. In the mean time on Beacon Hill Thais Ecco la Terible Cittd, and Tetrazinni We take pleasure in announcing a new vance of publication will be only 50 cents, ers are glad to add to their repertoire. The pieces are just in the second grade earnest and thorough of workers in the . This i e of the i popular jjousewife and Ladies’ World. or in some studio building of the Back Bay, is heard in the beautiful aria from Carmen children’s book. This little work is along postpaid. there sit delicate, high-strung, imaginative (Mieaela’s Air). Clarence Whitehill sings the quite original lines. The author of the in point of difficulty, verging on the third field His service as president of the New s of violin studies It is pos- For $2.75 we will send The Etude, prayer of Amfortas, “Mein Vater,” in one grade. York State Music Teachers’ Association US,C(1 book of all. Our jjot},er>s Magazine and Pictorial Review. men, trying to teach fingers to respond’ to of the finest records the company has yet book is not disclosed as the name given new edition hase Kppnbeen nrpnarprlprepared withWith a — __ ... . m -r- produced. Send a postal request to the above is fictitious; but he is one of our Polonaises for the Pianoforte. The special introductory nrice in ad¬ brought him in contact with hundreds For $3.00 we will send The Etu, brains, or humming a phrase from an great deal of character, and the entire Victor Company, Camden, N. J., for thirty- foremost musicians who prefers to write By F. Chopin vance of publication is 15 cents per copy u’ *eac^ers aD over the country, and in Delineator and Everybody’s. (Last two opera for the thousandth time, every nerve two page illustrated booklet. postpaid. ’ volume has been revised and edited by under a nom de plume when composing this way the need for such a work as of their bodies tingling with feeling, THiE LARKIN COMPANY, Buffalo, N. Y. This volume "is now almost ready but Mr. F. E. Hahn. Although Books 1 to the same- address.) for little ones. The little play is a “Trip the forthcoming one was made clear to For $5.25 we will send The Etude, every chord of human emotion vibrating —A house of nation-wide repute where you can we will continue the special offer for him. In addition to an introduction tell¬ and 2 are no longer to be had separately send for your foods, soaps, toilet preparations, to Wonderland” by the children. The one month longer. Every pianist of any Etude offering' Modern Priscilla, Ladies’ World and Pic- to the danger point. And they just make kitchen supplies and similar must-be-gotten- music comes in incidentally. The chil¬ ing how accuracy may be secured there l introductory price, we : advancement should possess a copy of torial Review. a good living, these men who llvq in a somewhere necessities at regular store prices dren set out for Wondertown, and after Binders. are numerous exercises of a thoroughly copies of Book 3 in advance of publica¬ shipped prepaid to your door, guaranteed these polonaises; one may study them practical character which are sure to have tion at 15 cents, postpaid; or we will send For $3.25 we will send The Etude, halo of idealism, while the keen man of •Satisfaction" " l ” Money Back.” And a while they arrive at the big gate and :-ccu.il yi Woman’s Home Companion and Ameri¬ further, with t__ ___ a description of their first appearance is for years and yet never exhaust their a most beneficial effect upon the technic the three books in one volume at 30 cents, the world pats his neighbor; on the back 1 " of goods so possibilities. Several of the polonaises bind the previous year’s copies of T can. (Last two must go to the same purchased yon receive $5 back in t given. The first little piece is “Wonder¬ Etude in a substantial book. Now is i of anyone needing this kind of a drill, • postpaid. and counts his bank stock in the thou¬ nishings of your own selection as your profit town March.” They hold a reception to are of but moderate difficulty and a few and there are hardly more than a score address.) sands and tens of' thousands. You may saving for dealing direct with these great are very advanced. Our new edition will time to do it. Others prefer to pi- the mayor, then comes a dance by th; m a thousand who do not need it badly. say the latter is a more manly man; that I.arkin Factories, and thus eliminating the be superior in all respects. their copies of The Etude in a binder' Practical Method for the Young needless middleman's expense. dancing blacksmith Brawny Ben. Next The special advance of publication New Edition of Elson’s Our special introductory price in ad¬ each issue arrives. Both of the bind- Violinist. By K. H. Aiqouni. may be. Good Government and financial Send for a catalogue, mentioning The comes a dance of Hokus and Pokir; which we carry allow a very easy taki price of this work is 25 cents. European Reminiscences. prosperity do not depend on dreamers. Etude. More than two million families are this occurs as they go further along in vance of publication is 30 cents, postpaid. This volume is now in press but we now dealing with this company and at the 0Tl?nn?UttmJ \n of the copies. Mr. Elson’s trip through musical Eu- Yet great financiers have passed away same time are constantly beautifying their Wonderland. Then the band of ’ this The Weis binder at $1.00 and tra, will continue the special introductory offer homes at no expense to them. Wonderland plays. during the coming month. We consider rope one of the most entertaining and left legacies here and there, but.on Note Speller. portation is a very substantial binder 37 Tuneful Rote Songs. Of still more interest are the “Larkin • There is just about as much literary this a model instruction book in all re- hooks ti all musical literature. Entirely the shelves of our libraries the Harvard Clubs,” which have met with enthusiastic By Adele Sutor ordinary use, hut not so heavy, not By Wm. H. Neidlinger success amon, women all over the country. text as music. As they progress into useful as the Big Ben at $1.25 and tra, spects. It is a book that may be taken apart from the large amount of lnterest- professor's name may still be found and Groups of neighbors arrange to buy together Wonderland everything is described so We are going to issue an up-to-date portation. If The Etudes are going Here is a collection of children's son| up with absolute beginners, and it pro- ing and valuable information which the the memory of a theme played by some In cooperation, and to divide the saving as to hold the interest, after which comes note speller. We have had this in prepara¬ well worth while. The texts are « gresses by slow and easy stages, no neces- book contains regarding musical affairs pale, overworked man dependent on his equally. They appoint one of their number be put. away more like the filing of 1 secretary of their organization and she at¬ a selection of. music. It is well carried tion for many months. The author is a ters the first is the best. If they • and original, all very refined in style b sary points being overlooked. This is the and famous composers of the time, there power over the ivories or the nuances .of tends, to the ordering and receiving of goods, out and the music is of the most pleasing practical teacher for children, and is well thoroughly characteristic and the mus sort of a work which will be hailed with are many paees full of the most delightful a violin bow, may linger forever in our forwarding of money, and correspondence and attractive kind. equipped for producing a work of this t0 ^ ?Sed from day to day ' pleasure by our modern teachers humor imaginable. Indeed. Mark twain. Each club member may buy as little as a a ter wou d be the best. The transp is most charming. This volume is tl minds. The special introductory price in ad¬ kind. The book contains more than s'm- The special introductory price in ad- at his best, has hardly excelled some of dollar’s worth every two weeks and in the tation would be by parcel post, and wo, w°rk °l Mr' Wm- H. Neidlingcr. oi I wish we had more visions and mote meantime receive as her profit-bonus some vance of publication is 20 cents, postpaid, ply the spelling of names and writing ot the best known American compose! Vance of publication is 25 cents per copy, the very laugh-provoking things in this article, for the home or wearing apparel, not amount to much additional exper dreamers! Mr. Neidlinger knows the child’s voi postpaid. book. By bringing it out in paper covers representing the big saving she is making. THE ETUDE 71 70 THE ETUDE

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THE PROGRESSIVE MUSIC TEACHER OF TO-DAY THEO. PRESSER COMPANY “ON SALE” PLAN Of all the many successful plans to help the busy professional musician evolved by the Theo. Presser Company, none has been so highly needs the Theo. Presser Co. Our chief aim in the present, as it has always been in the Two modern buildings, with over 30,000 square feet of floor space, are devoted tos.- appreciated as the “On Sale” plan. past, is the publication and prompt supply of every possible need in musical education. business—with an incomparable stock, unequaled in variety and completeness. All In every grade, from the most elementary stage to advanced virtuosity, we are equipped placed at your command through the services of thoroughly trained music clerks, GENEROUS SUPPLY: You secure an ample selection of the best obtainable pieces RETURNED MUSIC: Regular selections for the teaching season, and new Music for all demands: primers, methods, instructors, text-books, theory books, histories, order is too small to receive our most careful attention, and none too large to spoken, the most satisfactory terms and most liberal discounts. Send for a copy of "Choir and Chorus Hand Book”. Satisfaction is guaranteed. and violin. Mention which branches you a— 1 — A SELECTED LIST OF THE M0S1 USED WORKS IN MUSIC EDUCATION PRIMERS—RUDIMENTARY WORKS PIANO TECHNICS AND STUPIES-Continued PIANO TECHNICS AND STUDIES—Continued PIANO TECHNICS AND STUDIES-Ctilki PIANO COLLECTIONS PIANO COLLECTIONS—Continued PIANO COLLECTIONS—FOUR HANDS-Con. MUSICAL THEORY, REFERENCE BOOKS, 5. Album of Favorite Pico CLARKE, H. A. Theory Explained to Piano MASON, Dr. WM. Touch and Technic: Part I, Melody and Velocity, Op. 172. Hud Ms MENDELSSOHN. Song, Without Words (Com- TWO PIANISTS.$1 00 GENERAL MUSICAL LITERATURE Students. $ ; The Two Finger Exercises; Part II, The Each of the 12 studies .ilk a specificmt I plete). ?! 0« TWO STUDENTS. 1 00 CUMMINGS, W. H. Rudiments of Music. With Melodic Studies. Scales; Part III. The Arpeggios; Part IV, Ten Melodious Studies lee Adnncinj Plsjtn, MODERN DANCE ALBUM. 5( WOOD, D. D. Musical Zoo. Melodious duets for COOKE, J. F. Mastering the Scales The School of Octaves. 4 Books, each $1 00 Op. 87*.1 MODERN DRAWING-ROOM PIECES. 1 M teacher and pupil. Words. 75 sive, simple, logical, direct A remarkable work, a complete system, Melodious Second Grade Studies, Of. K MODERN SONATINAS. 1 Ot YOUNG DUET PLAYERS (Harthan). 50 Teacher,. . explanation in non-techni modern and original, for the development of MOZART, W. A. Sonata,, 2 voU., each. 1 25 BOWMAN, E. M. Master Lessons in Pianofor “ Sonatas, Complete. 2 00 Playing. A Series: “Letters from a Mui Original features. a works fi. Phillip). PARLOR and SCHOOL MARCHES. 75 VOCAL METHODS AND STUDIES KEYBOARD CHART. Keyboard cl t fits over CRAMER, J. B. Fifty Selected Stu virtuosity, by the Dean of American pianists CLEMENTI, M. Sonatinas for Piano. cian to His Nephew” by this leading Amei two octaves of keys PIANO PLAYER’S REPERTOIRE OF POPULAR MARCHESI, S. 20 Elementary and Progressive CZERNY, C. One Hundred Studies CRAMM, H. M. New Tune, and Rhyme, lor PIECES. SC CLARKE, H. A. Harmony, A Text-Book. KILLOUGH, G. C. Gibbon’s Catecl n of Music MATHEWS, W. S. B. First Lessons in Phrasing 1 50 Little Pianists. POPULAR HOME ALBUM. 50 Vocalises for Medium Voice, Op. 15. 1 00 LANDON, C. W. Writing Book for “ Studies in Phrasing, Book 1. 1 50 “ Ten Brilliant Octave Studies. Op. IW. I east DANCE ALBUM. MYER, EDMUND J. Vocal Instructor. A practical “ Key to Harmony, A Text-Book. “ Studies in Phrasing, Book II. l 50 nenuiuu -- • .e_jiu.TO . POPULAR PARLOR ALBUM. 51 Counterpoint, Strict and Free. Three volumes. Grading of two to five. Short SCHMITT. A. Preparatory Exorcises, Op. Ik- POPULAR RECITAL REPERTOIRE. 5( “ Pronouncing Dictionary. . pieces of musical and poetic quality, teaching SCHMOLL, A. Studies and Stud, P«u,!* ROWE, DANIEL. Tone Stories lor Boys and Girls “ Student’s Pocket Dictionary. “ First Pianoforte Instructor, Op. 599. (with word,). 54 MARKS, E. F. V “ Preliminary School of Dexterity, Op. 636 phrasing, expression and interpretation. COOKE, J. F. Standard History of Music. for Music ai SALON ALBUM, Vol. 1. 7! Story lessons in Music Lore. A first histo “ Art of Finger Development, Op. 740. 1 “ STANDARD GRADED COURSE OF STU¬ SCHOOL AND HOME MARCHES. 54 for students of all ages. MORRIS, M.S. \ DIES. Greatest educational work of the age. SCHUMANN, R. Selected Works. 75 “ Great Pianists on the Art of Pianoforte Playin CZERNY-LIEBLING. Selected Studies. Three A complete course of standard Etudes and FIRST PARLOR PIECES...... “ Albums lor the Young, Op. 68. 40 books each. Revised, edited, fingered, studies arranged in a progressive order, FIRST RECITAL PIECES. T,1F. ”wPUIMetiiodicai S PIANO INSTRUCTORS ..-. peed style. “ Scenes Irom Childhood, Op. IS.. 25 tation, espresaio'n Caend°riyleCwith ouc'm! annotated. A sifting and selection of ma¬ selected from the best composers for the SCHULTZ. F. A. Scale, and CWd. F RST SONATINAS. SONATA ALBUM, Vol. I, 15 Sonatas by Haydn, ABBOTT, Mrs. A. T. A Method for Gaining a terial from the entire Works of Czerny. Its cultivation of technic,taste and sight reading, S PIECES IN THE CLASSICS. Mozart, Beethoven. 7S ELSON, Mistakes'“and Disputed Points great use proves its superiority. carefully edited, fingered, phrased, and SHIMER, C. E. Preparatory Touch and M* rmun-P Fir.t Peer Gynt Suiie, Op. 46.. SONATA ALBUM, Vol. II. 7£ DUVERNOY. J. B. Ecole du Mecanisme, Op. 120 Introduction to Dr. Mason’s imlwoA 1 EERUTT. Album Leave, lor the Your SONATINA ALBUM (Louis Kohler). 7£ «*--•- -nd Musk-Teaching.. BATCHELLOR-LANDON. Musical Kindergarten “ Ecole Priraaire, Op. 176. directions for the application of Mason’s SMITH, WILSON G. Special Esertm. ■ St* “ (Abridged edition), Kohler. 5( Playing. 2 vela. For indepeodran d « teachers. U#.e 1 GURL1TT, C. School of Velocity, Op. 141. “System of Touch and Technic” for the •|ANDELUALBUM(^,tr SPAULDING, GEO. L. Tunes and Rhymes (with production of a modern style of nlavina fourth and fidth fingers, each «D„N* J* Sonatas, Vol. I . words). For help in Kindergarten and with BEGINNER’S METHOD. The most modem, pro¬ HANON, C. L. Virtuoso Pianist, Complete. 1 “ Eight Measure Studies, 2 volt. Mh"*. he Technic and Singing,” lor PAUER, E. Musical Forms. gressive and logical method. ... HELLER, STEPHEN. Thirtyhirty SelSelected Studies. For third, fourth and fifth fingers, «k ely, by a most PERRY. Descriptive Analyses of Piano Works_ 1 BEYER, F. Elementary School of Piano Playing The best studies' “ Youthful Diversions (with words). Introduces “ Stories of Standard Teaching Pieces. Two FIRST STEPS IN PIANO STUDY. The first nine « Strengthen and stretch the hand STANDARD CONCERT ETUDES 1 well known children’s melodies with words. 5! SCAMMEL, A. E. Two books giving legends, episodes, poetic, dra- dies; Op. AS.. Preparatory School of Technic. Daily practice STREABBOG, L. Twelve Melodic Studies,Op.w I mure door. Large notes, < “ Well-known Fable, Set to Music (with words) 5t xz “ 20 Progress’^_jdies, Op. 46 . “ Twelve Easy and Melodious Studies, 0p.« STANDARD OPERA ALBUM.. 5< “ 25 Studies, Op. 47. .. School of Technic. An exhaustive compen VETTER, HERMANN. Melodic PUruMt*6 TREBLE CLEF ALBUM. 54 HERZ, H. Scales and Exercises. To follow any first instructor VERY FIRST PIECES, THE. 5< o Method, Op. The New Gradus ad Parnassum,in eight hook* YOUNG VIRTUOSO, THE. 7! KLEINE PISCHNA. Book I, Left Hand Technic* Book 11 Riokt VOGT, J. 24 Octave Studies, Op. 145. . 1 Op. 94, A LANDON, C. W. Method for Piai ». Board bind- UrmHroNuRECREAT,0N album' CCAI, N. 1 RIEMANN, Dr. HUGO. Dictionary of Musk and KOHLER, L. First Studies, Op. 50. Ha„d Technic: WIECK.F. Pi.no Studies PIANO COLLECTIONS—FOUR HANDS “ 12 Little Studies, Op. 157. Book IV Arpeggios; Book V, Double Notes ?fR4u“‘’0ps:4:49’66;;;; Musicians. 4 “ 12 Preparatory Lessons, Op. 151. Book VI, Octaves and Chords- Book Vll' CHILDHOOD DAYS (Harthan). Instructive Duet, SKINNER, O. R. First Year in Theory. “ Very Easiest Exercises, Op. 190. .. Thejrill, Book Vin. Various Difficulty's; ORGAN WORKS for Teacher and Pupil. artistic work lor style and finish. STAINER AND BARRETT. Dictionary of Musical WAGNER, E. D. First Instruction Book for the “ Small School of Velocity, Op. 242. Indent’s Manual of Sight Singing. Cleat Piano, Part 1. 1 CLASSIC AND MODERN OEMS for M W| CONCERT DUETS. STAINER, Dr. J. Guide to Beginners in Composi- KUNZ, K. M. Two Hundred Short Two-Part Each separate department of technic LANDON, C. W. Reed Organ Method .... ■ J-Viuu, prepared material for Junior pupils DIABELLI. 28 Melodious Studies Canons, Op. 14. DUET HOUR. . LEJEAL, A. Concentrated Technic 1 “ School oi Reed Organ Playiof.d ndl..lF>‘» STREATFIELD. Life Stc of Great Composers 1 PIANO TECHNICS AND STUDIES DUTTON, THEODORA. Mother Goose Duet TAPPER. First Studies ii LEMOINE, H. 50 Juvenile Studies, Op. 37.... FOUR HAND MISCELLANY.... VOCAL COLLECTIONS BACH, J. S. Little Preludes and Fugues. LESCHETIZKY METHOD. The Modern Pianist. 0REM,'J\ W^The Org» Playu-IV ^ FOUR HAND PARLOR PIECES. WODELL, F. W. Choir a W acting!:: j “ Inventions for the Piano...... ITALIAN OVERTURES. BUC.BEE, L. A. Musical Thoughts lor Little Tots. “ First Study of Bach (Leefson). LOESCHHORn!"^1 ’’sTlecl'cd Studi«,el|hwo vois. 1 ORGAN REPERTOIRE. Pip. OrganC**. MATHp7ocea S,and“d *** and Second Grade JUVENILE DUET PLAYERS.. . CHURCH AND HOME. Sacred Songs, High Voice VIOLIN BERTINI, H. 25 Studies for Pianoforte, Op. 29.. The best selection of short, specific, techni- PRESSER, THEO. Velocity Studio.. F*"> “ rf^“dli^Gr,d.-pi«e.:::: LOW, JOS. Teacher and Pupil, “ Sacred Songs, Low Voice. FRANKLIN, F. A. Operatic Selections. “ 25 Studies for Pianoforte, Op. 100. ROGERS, J. H. Octave Velocity. S, " lrd ,Fif«? *>d Si,th Grade Pieces, MARCH ALBUM. GALLOWAY, TOD B. Friendship Songs . . “ Selected Classics BIEHL, A. Elements of Piano Playing, Op. 30 . “ Op. 65, Studies for the Development of Technic Rogers!1?. h.“ G^dS'iIutiui. lot Pip> ^collection, lorteaching and recreation MOSZKOWSKI, M. Spanish Dr “ Seven Memory Songs. HOHMANN, C. H. Practical Violin School, Gerl BUGBEE, L. A. First Grade Studies. Easy, origi¬ and Expression, three books, each. “ Double Note Velocity* NEUMANN, F. Sixteen Four-H JUVENILE SONG BOOK. nal, melodious study pieces. .. “ Op. 65, complete. j SARTORIO, A. 12 lnstrui STAlN^irr,TU^an,',,r,“ An original musical work in grades II SACRED DUETS. For all Voices. “ Sameln I^Books^each**' c0,nf'ele. BURGMULLER, F. 25 Studies, Op. II SENOUR, CARO. Juvenile Musical Poems. 29 1 12 Br “ Op. 66, Etudes Progressives, three books, each OPERATIC FOUR HAND ALBUM. KAYSER, H. E. Elementary and Progressive “ Etudes Progressives, Op. 66, complete 1 SWThTt?nAGRDg°ER0G^,S2T, .feSfSg vol TolumV°Leu.cd with the corre SARTORIO, A. Instructive Four Hand Studies, Op. 20, Book I. 18 Etudi le Genre, Characteristic Etud MacFARREN, WALTER. Comprehensive Scale the Pip. Organ. T.73T. d* *** volume of Mathew.’ Standard 20 Melodious duets lor Teacher and Irupu STANDARD VIOLINIST. Op. 10 and Arpeggio Manual. 1 Lourae of Studies and all othe. “ Pleasant Hours, Eight Instructive Four Hand STUDENT’S POPULAR ALBUM. The Beginner’s Pipe Organ Book. *: TOURS, B. Complete Instructor lor Violin technical practical instructor THEO. PRESSER CO., pres ser Building 1712 Chestnut St., PHILADELPHIA, PA...... 11.mi.mm...... ll,lllllllllllllllli|l|llll!lll»IIIIIIIIIIIIIIIIHIIIHIIIIIIIII.. THE ETUDE 73 72 THE ETUDE

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A Unique and Exhilarating Musical Custom in Rural Districts in the Far South. PREPARATORY SCHOOLS TECHNIC Questions and Answers By ALICE GRAHAM FOR THE PIANOFORTE Helpful Inquiries Answered by a Famous Authority There is to-day existing in the South ask the singers to sound their tones. The y ISIDOR PHILIPP Conducted by LOUI§ C. ELSON a form of rural music extreme in its bass sung fa, the tenor fa, the soprano CONTENTS Professo°rnof Theofy at?he New Engiand Conservatory simplicity but in a way unique, that may sol, the alto me. Then at his signal the Exercises in the Five prove of interest to those who care to four parts started together, singing syl- Exercises with Holdi Rhythmical Exercisi ^“^ey> ScralPe“andrArpePg^o.0in All Keys be informed about every phase of music ables. In vain did I listen for do. There Similar and Contrar Exercises in Chord Positions in our country. It has no element of the was no do, nor ti, nor re. They were M. PHILIPP is the leading professor of pianoforte playing in the Paris 5i° an delayer’ negro in it, though existing in that sec- using just the four syllables, fa, sol, la, and these works embody the result of years of experience both as teacher and player. tion where the negro population is thick- me. The effect was novel, sounding like M. Philipp is advanced in thought and methods, thoroughly abreast oMhetimea. jjn com- est. It is what is known as the ‘ All the tonic chord in a variety of inversions. left hand. The matter Is so simple that I andrtjpon the logical manner of their presentation. am in doubt if I have understood your quts- Day Singing.” Presently they began to sing the words tion rightly. But I may add another little e plays with the bass? This unique festival is looked forward to a. song) and so they contjnue(j untji The “Preparatory School of Technic” is one of the best “technics” ever' issued for point of scale instruction. In advanced scale general utility work. Such a book may be used through a number of years for daily work try the fingering of each scale with the to from summer to summer, and antici- noon wjth only a few minutes intermis- fingering of the C scale. This will give some practice in whole or in part, to supplement or round out any course consisting of the pated with the greatest pleasure and en- sion between songs, singing first the syl- usual studies, pieces, etc. The “Preparatory School of Technic may be taken up by No. 1. £ very awkward fingerings and Is therefore 0- < S good for practice. thusiasm. Farmers and their families and ffibles and then the words. The voices students who have about completed second grade work and continued to good advantage Some of the old-fashioned teachers used to the village people begin to arrange their were entirely untrained and without any for some time. It will serve as an admirable preparation for M. Phdipp s larger and say that everything necessary for the fingers highly successful work, “Complete School of Technic. EE±£E5q was contained in the scales. This is em¬ plans early in the spring to attend the shades of expression, though the rhythm phatically untrue. Note in scale-playing that All Day Singing. They will drive from varied and was very good. Some of the the fourth finger gets less use than the fingers 1, 2 and 3, while the fifth finger gets twenty to thirty miles to reach the place songs were rather bright, but most of almost no exercise at all. It is good for the of meeting, frequently going from one them were melancholy, or filled with a equalization of the fingers, in much scale COMPLETE SCHOOL OF TECHNIC practice, to finish the scale at both upper county into another. May, June and July kind of pathos. But oh, how lustily they and lower ends, with a slow trill given with are the months in which these All Day sang! There was one bass in particular FOR THE PIANOFORTE the fourth and fifth fingers, to give these slighted fingers their share of the work. Singings are held. June and July are who stood all morning with head thrown By ISIDOR PHILIPP PRICE, $1.50 HARMONY LESSONS usually the favored months, the Fourth back and eyes fixed on the ceiling, and ■ volume opens with a series of Exercise, for the Flexibility and Independonce of the Q. Please tell me the meaning o/ the fol¬ of July being sometimes celebrated in “poured forth his spirit in song.” Verily chiefly basePd upon holding and lowing sign between the two quarter notes, BY EMINENT TEACHERS written above or below in any measure: this way. The mid-day meal is usually the power of music had transported him riedouTfn'various keys^n^m^variety^f rhythms, rhythmic treatment and the employment of all —D. W. B. possiWe^keys being one of^the^mportarnifeatures^of^he^work.^^ ^ f numerol YOU can take a complete course of weekly Harmony Lessons at small cost, in a barbecue. beyond earthly things. the quiet and privacy of your own home, under Mr. Adolph Rosenbecker To one who never before heard of an models for varied scale practice. Chords and Arpeggios are presented In a Uiorough manner. The department of Double Note, is very extensive. This is an important feature in model and Dr. Daniel Protheroe; the former noted soloist'and conductor, and a pupil All Day Singing the term sounded strange A family picnic. . „v, d vT-lps In double thirds and in double sixths are given complete in all keys with the corre- of Richter, and the latter eminent composer, conductor and teacher. indeed. To imagine people singing all At noon there was recess of one hour technic. t are give („r ^romntic seal! In double thirds. The fingering is given Each lesson is a step in advance, clear, thorough and correct; no learning of a few day long seemed a rather extraordinary for dinner which was enjoyed picnic °ra A goodly space is given to the development of Octavo cut and dried rules without knowing how to apply them in a practical way; a thing—a very tiresome proposition both fashion under the trees, every family hav- written examination on each lesson in connection with ample originial work develops A. This Is a sign which Is r bidketf octaves. f°The TrilMs*Thoroughly treated?™!! forms and various fingerings being given. a-in the Instructloi to singers and audience. The usual song ing brought a well filled basket. It was your knowledge and fixes the important principles in your mind. You are thus C°nSi Aechapter?sndmiotecf to\heVGlissMd?randP fiiia^BnMrura'exerclse is given for the development Tusoni and others t„__ recital of an hour and a half in the even- during the latter part of this dinner hour able to compose, arrange or orchestrate a piece of music in a thorough and __.sion of the piece. It may mark of finger resistance. musicianly manner. the end of a period, or of any other Im¬ ing generally leaves the singer quite tired, that I managed to secure a brief inter- portant division. This work may be used in DAILY PRACTICE and should if not exhausted, to say nothing of the view with the leading man of the day. become an indispensable portion of the routine work. HARMONY TEACHES YOU TO audience. A choir rehearsal that lasts He was the author of the. book from Q. 1. If the following is played thus, Analyze Music, thus you can determine the key of any composition and its two hours is tiring. What about a song which they had Keen singing, or rather THEO. PRESSER CO., Pubs., Philadelphia, Pa. various harmonic progressions; Transpose at Sight more easily accompaniments festival lasting eight or ten hours? it was his revision and version of a very which you may be called upon to play; Harmonize Melodies correctly and We arose early one morning in May old form of' rural music. The book he arrange music for bands and orchestras; Detect Wrong Notes and faulty pro¬ and started on a twenty-mile drive placed in my hands bore the title The gressions whether in printed music or during the performance of a composition; Memorize Rapidly, being one of the greatest benefits derived from the Study of through the country to Mt. Sion Church Holy Harp. In reply to my question Harmony; Substitute Other Notes when for any reason the ones written are where the meeting was to be held. Tak- about the syllables they were using, he inconvenient to play. ing the drive leisurely, for the day was explained that 'The Holy Harp’ had four hot, we enjoyed a view of wide fields of tones, to which were given the four syl- In short: Harmony is the “grammar” of music, a knowledge of which will make should the following, with short g YOU and All Other Home- you a better judge and more appreciative of the music you play, teach and hear. be played thus growing cotton and corn. Crossing bab- lable names I had heard, These Harmony Lessons, under Rosenbecker and Protheroe, are not only thorough, bling brooks flowing over pebbly bottoms, “Fa,” he said, “as you know, is the practical and comprehensive, but they are endorsed by several thousand leading bordered by ferns and moss, wild vines first syllable of Father. It stands first teachers and musicians throughout the country who are taking them; also by Loving Women NEED of grape and bamboo—the southern and is most important. Sol, which sug- leading authorities, as for example: how the long appoggia- smilax—we now and then heard the song gests the soul, comes next. La is short very much interested ■ J’~ - enclosed quotation from the Finale of the ...."de Symphonique of the mocking bird, or the lyric of the for the Law, and Me (I noticed it was by Schumann, is to be treated. —Sistee M. G. thrush in the woods. Oh, what is more spelled me, not mi, as the'Italian syllable) Today’s Magazine joyous than an early morning drive in is least important.” An old man stand¬ !-d-~i // the term “a tempo” occurs aftc ee spring through the cotton fields of ing by prompted that me was the first |l=I=rZZZZd ritard does it mean that the ordinal t Dixie? syllable of Mediator. “So,” he continued, ——--] to he resumed at once or that it is In t You need TODAY’S because it On Tou: with the New York Symph m m taken as gradually as the ritard teas taken When we arrived at Mt. Sion the sing- “do we get the names for the tones of A. m! is devoted to the greatest of all "My Dear Mr. Prot The lesso. "J-LLr ■'•LlT ing had already begun, and tones from our Holy Harp. The notes in the book professions-—that is to say the leiehadPnoideaathat ai imparted in this novel fashion, A. Again the interminable question c lusty voices aroused woodland echoes as were shaped, some triangular, some like ace-notes, and again the usual misprint. 1 we approached. It was somewhat diffi- a diamond, a square, and some round, business of being a successful wife, ‘ ‘"(VALTER DAMROSCH.” A. This question Is almost similar to the were to bo played as you have written foregoing one. But Sister M. G is wrong In ion it should have been written as a lor cult to find a hitching place for our similar to those known in some districts mother, home-maker and home- calling it a long appoggiatura. It is a mis- •ace-note, a small sixteenth-note. As it nnnt u, give it as a sixteenth note, it should SAMPLE LESSONS FREE be yen above it should be played much short! vehicle, as every available space seemed as buckwheat notes, keeper. printed an eighth note with a diagonal the accent should come on the E an already taken. There were mules and The songs were on religious or emo- Fill in the coupon and mail KtoerJ IS,1*. shoula therefore We will then send you our valuable catalog, be played on the beat, that is. the C ahnnM ^?loererr£re thousand of misprints of grac horses, spring wagons, buggies, carriages tional themes, as shown by the follovv- You need TODAY’S because it will sample lessons and test questions, a dictionary—*"y ofot musical terms, full information come simuitaneousi.y with the upper C, and , s* The most usual misprint is to turn and quite a number of automobiles. It ing titles: The Family Bible, The Red help solve your perplexing Clothes and about our courses in Normal Training by Sherwood,iherwood, Pi;Pipe Organ by Clarence the E flat simultaneously with the upper E og grace-note into a short one. as has bc€ . Eddy; Public School Music by fl&t m b°th cases cominS a very teef0 thb0Ve,i Ther° no Axed rule to d was a strange picture of the old and the Sea Anthem, Crucifixion, Resurrection, Household Problems as few magazines milt ,LSlrln!,s except that the teach! new. The congregation, composed of peo- Long Ago, Comrades, Carry Me Home, j Frances E. Clark; History by Glenn e misprints In the matter of grace-notes tonrti,1 emc-mber that the long grace-note have ever attempted before. I Dillard Gunn; and Choral Conduct- noughuuuj4u to unvedrive the young music teacher *?“2er, yearning, or sorrowful, while it Pie from the most primitive rural dis- Mother’s Gone, I have no Mother Now, crazy. The time will soon comecom< when everv You need TODAY’S because it will entertain you delightfully, afford you recrea¬ g ing by Protheroe, besides other inter- long grace-noterc-uoie willwin beDe nrfntedprinted in iuu*»,n n, bright 5nSCe‘note ls almost always oris tricts, country beaux and belles, and more and Farewell Anthem, which began- My • esting information to musicians. tion so that every grace-note found In the Fnrv.n -! ,sn«ppy. Gluck’s "I Have I.ost XI tion and good cheer, will inspire you with more faith in yourself and a better hope As harmony is the grammarof music, I* recall6 « S ’f i’.lful of lonB grace-notes, ar modern and prosperous farmers and friends I am going on a long journey, for to-morrow. as a short grlcl-note! ^ be reaov<* description. I kno a teacher properly equipped without edi,'on where almost all these lor iastn of the hour. The church was country folk meet in the church or a knowledge of the subject. Our cata¬ u»6‘.fluia — A hJixu. x tlon hnf tj hav° l,’een changed Into full not crowded, many standing. Those who schoolhouse nearest them, and selecting .oggiatura can be translated »Vij the ’intLnnl6 fareless editor left a few whl< log shows how we have removed the could not find entrance formed lively a leader, learn and practice these songs, difficulties and drudgery and have short »li1Sent engraver at once turned In line tthB™'«s l,y drawing the dlason groups outside of the windows. All that afternoon until four o clock Street Addres made the study of Harmony interest¬ ing, easy and practical. Send for a Vo Tale t,hheeSe°l.rlr The singers were seated in the front the singing continued, and many of the TODAY’S MAGAZINE, free copy of the book to-day and learn figghoVmaSy vw part of the church about the pulpit, and same voices sang practically the entire of our Partial Scholarship offer to teachers were misled by the errors. extending several rows back. The leader time. At its close no one seemed tired 461-4th Ave., New York Hade you studied Harmony tefore ?_ Etude Readers. stood by the pulpit. He did not direct, The day had been a full one. They had I enclose 60o for which send me TODAY'S MAGAZINE 01 How much P—_ The country girls in Sweden frequent but beat the time. He gave the pitch, voiced their feelings m song, had been sometimes with his voice without aid of good friends, happy in each other s cotn- Do you play ? .—-Teach ?-. SIEGEL-MYERS some authoritative informal*n'the ZJtVef. count the cuckoo’s calls to ascertain ho SCHOOL OF MUSIC many years they have to remain unma Pitch pipe, again by striking a key on pany. happy in the sound of each other s In which course are you most interesied ?_. the little organ. They sang without ac- voices. No one could find more real joy 821 Siegel-Myers Bldg., Chicago, Ill. ne , but as Carl Engel informs us, “tlx generally shut their ears and run awi companiment of any kind. They were in life than these sincere earnest pea- Please mention THE ETUDE when addressing our advertisers. when they have heard it a few times.” grouped in four parts, and at the begin- pie received from their All Day Sing- ning of a new tune I heard the leader ing.” Please mention THE ETUDE when addressing cur advertisers 76 77 THE ETUDE THE ETUDE reasoning. In the latter capacity he is HOW TO FORESTALL NERV¬ OUSNESS IN PUBLIC rarely nervous and perhaps never em¬ The Paganini Concerto and its Interpretation APPEARANCES. barrassed. And why ? He is not in the focus of attention. The impulses of self, elements By the Well Known American Violinist, ARTHUR HARTMANN BY SYLVIA H. BLISS. abasement and self-assertion are dormant. Seldom indeed, is a question asked For according to Oscar Wilde in that The organist is here subordinate to the Rhys-Herbert SCHOOLS which is prompted by a real desire for marvelous creation The Ballade of Read- SYMPTOMS. music and this in turn to- the service. OF MUSIC the information the answer will contain, ing Gaol: PIANO The symptoms of genuine stage fright Neither the congregation nor himself is ~ question is posed merely Operettas are, alas, too familiar to many to need concerned with praise or criticism—that with a curiosity All m^n kill the thing they love, EASTERN A PRIMER OF FACTS ABOUT MUSIC to see whether the a BARTELom^«-^w,: much consideration. They range from is to a marked degree. swer coincides By all let this be heard, are works that recommend themselves. vith the views of the Several thousand performances have what the victim believes to be complete To cite a personal instance: I was about propounder. Some do it uith a bitter look, been given of BEECHWOOD (20 minutes of Philadelphia) AThomas Moore, Franz Liszt. Moscheles and other noted authorities, shall begin at 3.30 promptly and do one fluence on Russian music. rebelliously. Each mother’s precious Mendelssohn, Schumann. Edward Mac- p** V Elementary School-First Degree, $2 hour’s hard practicing. Mary will have Sir George Grove, the editor of tl p"? J, Exercises & Etudes-Second Degree, $2 nerve strength was tried to the Dowell and many others has been no shal¬ her bed to make and the dinner table famous dictionary, and author of mar —r* 3- Exercises & Etudes-Third Degree. $2 uttermost in keeping her unwilling .critical and analytical writings was a low interest of the jack-of-all-trades. I» daughter at the piano. Some of the little to set and then she can play outdoors LIBERAL DISCOUNT TO THE PROFESSION till a quarter of six.” engineer and lighthouse builder unt many cases it has been a high degree of girls had real musical ability. None of music claimed his chief attention- ar genius finding equal expression in various Published by THEO. PRESSER CO. the mothers wished to abandon the chil- The new rule worked well, as their Flease mention THE ETUDE when addressing our advertisers. ways. U12 Chestnut Street, Philadelphia, Pa. teacher, who told me this, can testify. ! Please mention THE ETUDE when addressing onr advertisers. 80 THE ETUDE Greatest Savings in Magazines Ever Offered Substantial Rewards for Obtaining Subscribers to THE Etlde ’ • ... Canadian and foreign postage additional. Canadian postage on THE ETU INDISPENSABLE MUSIC WORKS OUR MOST POPULARAD PREMIUM 25 cents; on other magazines about^0“f“trs^OTg|n^T0^ ligtlfs

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