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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
2-1-1917 Volume 35, Number 02 (February 1917) James Francis Cooke
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His voice was completely Ralph Kent Buckland ! if the San ( ’arlo Opera Company offered t :e of 355.00 to t,,e rJiivEBsrrT society, restored. Are We Musicians? . i Love Blossoms .. benefit of the school childre I congratulate you on your work and commend it to 44.60 East 83rd Street, m Perosi, who was In an Austrian health re¬ Practical Hints on Elementary Merrv Sleigh Ride. ... I»t mj, to celebrate the success of hi New York City. (Et. 2-17) sort when the war broke out, has been work¬ Transposing, Polonaise’olonaise Militaire.Mi” . .H. b. Hewitt 112 opera season in Wichita. The evangelist pci the student of harmony. Gentlemen: ing quietly and energetically in Italy since the Mrs. John Edwin Worrell ‘ “--“te.<1. n. Martin 114 suaded the city authorities that any kind c WRITE US beginning of hostilities. He has completed Talk About Ambition! Phew ! .... 1 Blacksmith and His Song. Gfl.. Spenser 115 music, except that played by his own partiei Very sincerely, TO-DAY two concertos, one for piano and another for Miracle Plays of Other Days. 1: St. Nicholas March.E. F. Christian* 116 lai brass hand at the head of his own pai wart S3 00 »°nrt Seei?*?ncc °' ‘he boSta I am to C violin. In addition he has developed two ad¬ A Practical Advertisement, At Sunset (Pipe Organ 1. ticular Sunday-school procession, might n< John Philip Sousa. Kindly fi ditional numbers to his Italian National Mildred T. Stone 1 Goff)/ Sellars 116 be sacred music. Therefore. ’’Rails mit it. Suite. These are named after the cities of The Exciting Career of Tartini.... 1 Into My Life She Came (Vocal). Wichita is deeply stirred over the event an Italy. The list already includes Roma, Fir¬ Department for Singers, G. H. Feilerleln 118 may not look so kindly upon evangelists i enze, Venezia, Milano, Tortona. The new Nicholas Douty 1 Tomorrow (Vocal) . .C. W. Cadman 118 the future. numbers are Genova and Torino. With his New Books on the Voice . 1 Love’s Dawn (Vocal).-/. L. Galbraith 119 THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. duties as director of music in the Sistine Department for Organists, Valse, Op. 39, No. 8 (Violin and ancTaddrMs°lveiTeplai!dyn HIS MASTER'S VOICE' VOL. XXXV No. 2 FEBRUARY, 1917 always look for the famous trademark, "His a every Victrola and every Victor Record. It Deutsche Griindlichkeit m all genuine Victrolas and Victor Records. Courtesy in Music During two and one-lialf years of the greatest war ever fought Courtesy is not comparable. It has no superlative. One is the Central Powers have withstood the combined onslaughts of nine either courteous or discourteous. Most discourtesy comes etther from lack of breeding or from passions uncontrolled JheJiscour o-rcat nations, immensely superior to them in population, to which The greatest artists they have responded with a ferocity that has amazed the world. 1 he teous person manufactures his own punishment, for no one can 0 discourteous without losing the respect, good-will and the friend success of the Central Powers has been largely due to German thor¬ ship of his fellow-men. Discourtesy are hard to forget. He who oughness in preparation and organization. Notwithstanding an of all the world has been the victim of one is branded—branded with a mark that intense distaste for militarism, irrespective of nationality, The Etude burns every time the discourtesy is recalled. finds in the German prowess an occasion to comment upon the remark¬ make records for the Victor exclusively Yet few of us have escaped discourtcsy-we may have been able thoroughness of the German people. the unfortunate victims or we may have been the more Musicians for years have heard of German thoroughness Besides bringing to you the magnificent interpretations of the perpetrators. If you are conscious of having been discourteous, Deutsche Griindlichkeit. It has been the pride and boast of Germany world’s greatest operatic artists, Victor. Records also present to remember that brand, and do everything in your power to aheviate in every branch of human endeavor. In music, the German conserva¬ it, by controlling yourself so that in the future you will be distin you the brilliant renditions of the most famous artists of the tory systems have been exacting and thorough to the last degree. concert stage. gU“ brU;»“»rS the heart. cannot be affected, Just as in mechanical engineering, chemistry, electricity, physics and Wherever these great artists appear, in opera or on concert C.„rte,y in militarism the theory and technic of the subject has been drilled into tour, they are greeted by hosts of delighted music-lovers. precisely as discourtesy cannot be disguised. A look, a shrug, a scowl, a wink can be just as discourteous as the spoken word. the student until he is ready to confront any problem and hold his But great and enthusiastic as these audiences are, they are Musicians are often guilty of discourtesy. Their exacting, nerv¬ own against any similar competition. tar outnumbered by their vast Victor audiences who hear and ous exciting lives make self-control difficult at times. It frequently applaud their superb art on the Victrola. This thoroughness cannot make great artists. If it did, Ger¬ happens that the musician lets discourtesy grow upon him like a many would be naught but artists. Given the material, the talent, the And because their Victor Records are absolutely true to life, habit Tolstoi in his “What is Art?” refers to an operatic conductor genius, it will develop a Strauss, a Reger, a Brahms, a Wagner or a you enjoy in your own home all the exquisite beauty of inter¬ who, during one hour of rehearsal, called his performers and sing¬ Beethoven. On the other hand, thoroughness is the enemy of char¬ pretation which has established Victor supremacy on a basis of ers “Swine, dogs, beasts” no less than forty times. The wonder is latanism. Half-baked teachers are not recognized in Germany. Thus great things actually accomplished. that such a man could achieve results at all! A striking contrast is the musical understanding of the whole country has been wonder¬ _ There are Victor dealers everywhere, and they will gladly show you all the the case of John Philip Sousa whose band is as well known in Lon¬ various styles of Victrolas and play any music you wish to hear. Ask for a copy of don, Cape Town, Berlin and Sidney as it is in New York, I lnladel- fully advanced. What is meant by German thoroughness? Take up any German the Victor Record Catalog—the most complete catalog of music in all the world. phia or Boston. It is a model of cooperation and respect for the text-book for elementary school work and you will find that every Victor Talking Machine Co., Camden, N. J., U. S. A. leader Why? Attend one of Mr. Sousa’s rehearsals. He never Berliner Gramophone Co., Montreal, Canadian Distributors commands—always requests. He never makes needless abusive fact is hammered in with a sureness and firmness and definiteness, so Important warning. Victor Records can be safely and satisfactorily played only with V.- advertiser TEE ETUDE Page 81 FEBRUARY 1917 Success in Chorus Conducting Hints, Aids and Advice to Leaders by the Foremost English Choral Conductors HENRY COWARD, Mus. Doc., Oxon Director of the World-Famous Sheffield Chorus An Article of Immense Interest to All Community Chorus Workers ter”—the brassy, brazen effect produced by the too- with every probable pitfall, and able to give a lead At the present time (1916) when, owing to the prominent overtones in the voices—noticed in some to the sopranos, contraltos, tenors and basses at all great European war, the brutalities of life are ram¬ choirs. This can be effected by means of judicious critical moments—say in abrupt changes of key or pant, and the gentler, more gracious artistic elements chromatic chords. Thus he will save stereotyped errors scale exercises sung softly so as to develop the upper of existence are threatened with submergence, it is with The Etude will contain every month a series of questions sim¬ material of a most interesting monthly event. The questions may as well as time, because it is surprising how much frontal resonance. The exercises should commence on peculiar pleasure that I respond to the wish of the ilar to the followin'? with sufficient space for writing the answers right be taken all at one meeting or in groups at separate meetings. sooner a piece is learned when the conductor knows the vowel oo to get the air current fixed near the front Editor of The Etude, to write for its columns some¬ After the session the teacher may correct the answers and if she it well, possibly due to a kind of telepathic sympathy of the mouth by the upper teeth. Afterwards the vow¬ in the issue itself. Answers to the questions will be found in the thing calculated to stimulate chorus singing and choral reading text (see pages marked at end of questions). This enables chooses, award a suitable prize for the best prepared answers. Under between him and his singers. Another aspect of the els oh, aw, ah, ai, ee should be chiefTy used, to get -the work in the United States. mastery of the music is the power to discriminate be¬ tone placed in such a way that each voice will produce the teacher or club leader to hold an Etude Day every month as no circumstance will The Etude attempt to correct or approve The request is most timely, because many people are tween the important and unimportant parts of the the sounds approximately in the same region of the soon as possible after the arrival of the journal. The pupils assemble answers. Such an undertaking would be too vast to consider. How¬ very pessimistic about the general tendency of modern music. Some people imagine that every note of the mouth, thus producing, very nearly, the series of over¬ and each is provided with a copy of The Etude, or, if the teacher ever, if the teacher is interested in securing a prize or series of prizes society in view of its love of light, frivolous pleasure tones which blend well with similar overtones of so decides, the copies may be distributed in advance of the suitable for these events, The Etude will be glad to indicate how in the form of the Cinema, the senseless Revue, and the other voices, without producing a strident clashing meeting. such prizes may be obtained with little effort or expense. kindred forms of amusements. To these anxious souls effect. Although oo may be used as a starting point, On Etude Day the answers are written in The Etude in the I would say: Take courage and have hope for the it must he avoided as a model, because it is better to proper place, thus giving each issue the character of an interesting To Self Help Students future.' This species of entertainment is only a pass- - ing fashion, the good traits of which will survive, while have a rather harder tone than the dull characterless text book, insuring a much more thorough and intelligent reading of Many of the ablest men of this and other ages have acquired the dross will be consumed. Progress is the law of the “ooey” sound. To get the upper frontal resonance, just the journal itself, giving the student a personal interest in his work their educations by self study. Answer the 250 questions that appear sufficient of the air column should be directed towards and at the same time providing the class with the occasion and the spiritual universe. thus during the year and your education will be greatly enriched. "Blest pair of sirens, pledges of Heaven’s joy the nasal cavities to give “nasal resonance;” but any¬ Sphere-born harmonious Sisters, Voice and Verse.” thing like nasality should be avoided. From this foun¬ I am happy to think that, notwithstanding the tem¬ dation all degrees of force, from pianissimo to fortis¬ porary setback, through the war, there has been, for simo, can be successfully developed in the voices of a half a century, continuous progress in choral singing. chorus. ETUDE DAY—FEBRUARY, 1917 This will continue in ever-increasing ratio, and to fur¬ The ultimate object of the above is to secure the chief ther this desirable end I venture to give, in the short element of those vital factors in ensemble singing— space at my disposal, such hints and advice as experi¬ “Balance and Blend” of voices. At all choral competi¬ ence'has shown me may be useful to those who are tions Balance and Blend carry high marks, because I—QUESTIONS IN MUSICAL HISTORY 2. Why do chorus singers “flatten” or lose pitch? (Page 81.) carrying on the magnificent work involved in training however good the voices are if they do not.unite to 1. What was one of the favorite pastimes of von Weber? (Page 82.) and conducting choral societies. form a well-balanced, harmonious whole the artistic 3. Do composers adhere, rigidly, to their own metronomic markings? (Page effect is nil and unsatisfying. This is true whether the (The Conductor’s Equipment combination baa chorus or a party of accredited artists 2. Name two operas produced in the seventies which murk a I liming point in To every conductor two propositions present them¬ of high repute. I remember hearing,at a great musical fes¬ Italian operatic art. (Page 85.) selves : tival, an* important octet sung by Alhani, Anna Williams, 4. What is frequently the cause of failure to attain speed? (Page 83.) (1) How to achieve success. Patey, Lloyd, Santley, Foli and two other lady artists. (2) How to avoid failure. I expected to be lifted into the seventh heaven by such 3. In what was Mascagni’s early education like that of Handel? (Page 85.) The first essential towards being a successful con¬ 5. How was program music regarded before 1880? (Page 87.) a galaxy of vocalists, but owing to one or two of the ductor is: Confidence—confidence born of knowledge singers being determined to outshine their colleagues, 1 of what ought to be done under the heads of (a) Music, •was transported to purgatory. There was little bal¬ State how the musical talent of individuals may differ when subjected t (b) Voice, (c) Breathing, (d) Diction, (e) Expression, ance and less blend, the general result being chaotic. actual scientific measurements. (Page 89.) and also confidence in himself and what he wants done. Nunie an opera of Mascagni, Leoncavallo and Puccini other than the Therefore conductors must always keep a sharp ear by which these composers are best known. (Pages 85, 86.) “The unknown—or unmastered—is always the ter¬ in all concerted music for*the few self-assertative sing¬ rible” to a conductor, and if he is so nebulous in his What did Mendelssohn say of Chopin? (Page 90.) ers—it only takes one or two voices to spoil a chorus-^ ideas that he does not know what is coming or what who think more of personal prominence than of the to expect or how it should be performed, he will be How many years elapsed after the composition of the Eroica Symphony excellence of the ensemble. This watchfulness is nec¬ before it was given in Rome? (Page 86.) 8. What form did Haydn establish on a permanent basis? (Page 91.) so hesitant that all confidence will go from his chair. essary with every body of singers, from a quartet of He should know exactly what he wishes to attain or he well-known professionals to a mighty chorus of ama¬ will kill all effort on the part of his singers. He will be music is of the same value. It is not so. In each teurs ; or the result will be comparable to a good din¬ How should the first hour with the new beginner be. spent? (Page 95.) like the costly drawing-room clock that had every good 0. Who is the musical director of the Sistine Chapel at Koine? (Page 86.) phrase there is a principal theme or melody—not always ner badly served. point but one—it would not go. Seventeen years ago in the soprano part—and the other parts may he re¬ I was visited by two officials from a celebrated organi¬ garded as “packing,” sometimes beautiful packing but Flattening and “Sour” Chording zation—The Huddersfield Festival Choral Society, 7. Which modern Italian composer was trained in Germany? (Page 86.) still packing. To these principal melodies—sometimes Loss of pitch and its frequent accompaniment, sour HI—QUESTIONS ON ETUDE MUSIC which, in 1911, was selected by the London committee only a few notes in length—the conductor should give chording. arise from a great variety of causes. There to represent English choral singing at the International 1. What is a Polonaise? extra attention, especially to “leads,” “marked entries’ is at times a dampness or something in the air which Music Congress—who came to ask me to become con¬ 8. What is the oldest known English folk song? (Rage 88.) or unsupported solo-like phrases. seems to affect the voice; but more frequently it is ductor of the society. I was pleased to accept the terms caused by careless delivery, inertia, fatigue, shouting, offered, but as a precaution I asked why the conductor The Voice vitiated atmosphere, or—in small choirs—a single voice. was leaving. They told me he was a real good fellow, 9. Which English composer attempted a forty-part composition? (Page 88.) What is an acciacdtura Every conductor should always have before him the But I think the most important causes are psycholog¬ a gentleman, a good musician, prompt, regular, and problem of improving the tone quality of his chorus. ical, that is the attitude and action of the mind. There¬ obliging. I naturally said, "How is it that with such a He must insure a blending quality by eliminating “clat- fore, the first thing is to impress the choir with the paragon you wish to change?” The reply was that, thought that it is a disgrace to sing flat with sour chord¬ “notwithstanding his good points he had one fatal de¬ ing. All they have to do is to will or determine to fect.” I expected to hear that he had fits, or drank, or maintain the pitch. If they grasp this fact, they will did not pay his debts. It was nothing of the kind. Editor’s Note.—Dr. Henry Coward has won the admiration of the greatest Choral Conductors of our then exercise the mind in noting and mastering those They said that “his lack of confidence was such that he time for his masterly work with the great Sheffield physical conditions—sensations in the mouth, nose and could not conduct.” I learned afterwards that he was Chorus, which made a highly successful tour around the world in 1011. This remarkable conductor worked throat—which tend to losing or maintaining the pitch. in many respects very accomplished, but at rehearsals as a cutler in one of the great manufactories of Shef¬ The first thing to attend to is the proper production he did not know what he wanted, would scarcely utter field from the time he was nine years old until his twenty-second year. During this time, by dint ol of the tone. Backward tone means downward tones. a word except “we will try jt over again,” but never enormous work in self-study, he prepared himself to gave any reason why he wished it to be repeated—he become a teacher. When he was thirty-nine years old In this fact we have another argument in favor of the he decided to devote himself to music. This he aid cultivation of the upper frontal or nasal resonance. lacked confidence. Hence he did not succeed. with such success that when he was forty-five Oxford We will now take the principal parts of a conductor’s University gave him the degree of Doctor of Music. To develop the power of maintaining pitch take a H4s work entitled “Choral Technique” is a standard passage wherein the chorus flattens and get the singers equipment and treat them separately. work. He is one of the most inspiring examples of success through self-help In all musical history. He to hum it through the nose. The probabilities are that was born at Liverpool, November 26, 1849. This Mastery of the Music to be Performed nrflnlo tttM/iIi Via Vio a npunoroH OOTYAUl011V for TVIE the pitch and chording will be true. Next sing it softly to the vowel ee. Again it will be in tune. Then try it It is assumed that, every conductor will have a fair with the words, and if not perfect it will be nearly so. grasp of the music before he begins to rehearse it. But this is not sufficient. He should have that thorough Try it again, and urge the choir to will not to flatten mastery of its moods and tenses that he is acquainted and the result will be true intonation, THE ETUDE Page 88 FEBRUARY 1917 FEBRUARY 1917 Page 82 THE ETUDE Keep a Lesson Book 0 with such limited space at my disposal, I can on y Another help in this difficult problem is to impress upon the fringe of the subject. . _ upon the singers that all sustained sounds if pressed By Robert W. Wilkes Dealing first with the dynamics-degrees of force 0 towards the nasal cavities can be slightly sharpened; of expression, I would say that while the normal force whereas if they are sung in the ordinary way, without of music in general is a nice mezzo, there should always For several years the writer has made it a practice to any mental effort, the probabilities are the sounds will be a constant ebb and flow from piano to forte or vice use a book in which to mark the progress of the pupil. get gradually lower and lower in pitch. A third assist¬ Surmounting Stubborn Passages in Piano Study versa, according to the sentiment of the words, but The following records are made for each lesson: the ance to strict intonation lies in the treatment of semi¬ always following what I have elsewhere termed lhe scale played at the lesson and the scale given for the An Analysis of Technical Difficulties tones, and the fifth and sixth notes of the scale Line of Beauty.” While this is done theoretically, as next lesson; the new exercise given and old exercises (soh-lah). There is a general tendency to sing semi¬ a matter of fact there is little variation from mezzo- reviewed (if any); the new piece given (. any); the tones flat, which arises from the following fact: There By PERLEE V. JERVIS forte in most choirs, the result being a boring monot¬ old piece or pieces reviewed (if any), also a mark are two kinds of semi-tones—the diatonic, containing ony. It must be the business of a conductor to vivify showing the progress of the pupil during the past week five commas, and the chromatic, which contain four as evidenced by the performance of the work given; An Intelligent an. Progressive Plan tor Overling Obstacles by Means o, Persistent antl Well Directs, Work commas. When semi-tones are sung downwards the the effect by securing real contrasts of force which are absolutely necessary if interest is to be maintained. He also any remarks which may be necessary or desirable with the arm so lightly balanced that there is just tendency is to make each a five-comma interval, while tinue this practice till the passage can be played auto¬ must remember that in the human voice he has an In their effort to overcome technical difficulties, enough weight to keep the key from rising but no press¬ when singing semi-tones upwards the inclination is to To mark the progress of the pupil for the week, the matically and without conscious thought. Practice the instrument which appeals to the emotions more power¬ manv players practice blindly, making numberless repe¬ ure Carry the hand and arm sidewise till the second sing four commas only; thus it follows that singing writer uses the figures 0 to 5-5 representing a very next section in the same way. Then combine the two fully than any other agency; and he must make full titions of a passage before they succeed in conquering, finger rests on A flat. There must be no reaching out semi-tones, either up or down, tends to lowering the good lesson. It will be found advisable to make two sections, playing a few times at the three rates of use of its potentialities. Perhaps the most spirit search¬ it With more thoughtful and intelligent practice these ^ with the finger, or any turning of the hand on the pitch. In singing soh lah, I have found hundreds of marks-one for the progress in exercises and the other speed. Proceed thus with each section till the entire ing thing in existence is a real pianissimo sung by a big repetitions might be reduced to a minimum. When we wrist joint. The entire arm swings from the shoulder times that vocalists sing an eight- or even seven-comma for the progress in pieces; so that if the first figure passage can be played without thought. Ten or fifteen chorus, for the nearer the voices get to silence the are ill and call' in a physician, his first care is to while the fingers are kept parallel with the keys. After interval^ instead of raising their voices for nine com¬ represents the mark for exercises and the second the • minutes of this practice usually suffices to conquer the carrying the hand and arm back and forth a number of closer the soul soars to heavenly visions. Fortissimos . .• • cc_1J while diagnose the case, find out what disease we have, and mas, with dire results. To remedy these sources of flat¬ difficulty, yet I have known pupils to practice the pas¬ times, practice from G to D flat and B flat to F in the tening, fix in the mind the following rules: In descend¬ are equally effective in thrilling the heart, but in another if possible, the cause of it. Upon the accuracy of his sage in its entirety, without analysis, for a week, and way. Both extremes of force if artistically approached diagnosis depends the success of his subsequent treat- ing by semi-tones make the intervals as small as pos¬ work in the piece. still bungle it. , . - _ When'tfiese lateral movements can be made without sible. In ascending by semi-tones make the intervals are capable of making the backbone feel like a cork¬ The failure to attain speed is sometimes more oi a In case the teacher decides to send out monthly or Similarly the player who can—so to speak—diagnose reaching or twisting practice the lower voice of the as sharp as possible, and do the same when singing the screw. I wonder how many of us have wanted to stand bi-monthly reports of the pupil’s work, these figures are mental than a physical difficulty, very often the fingers a difficult passage, and find the cause of the difficulty, cadenza entirely through. The finger action in de¬ fifth and sixth degrees of the scale (soh lah) ascend¬ up and shout after a grand choral outburst. Some time almost indispensable, as it is almost impossible to re¬ being addressed when it is the mind that is at fault. will be in a more favorable position for overcoming pressing the keys E flat, G, and B flat, and the lateral ing. If the flatness is confined to one or two singers, ago I sat behind a young lady listening to King Saul, member with any degree of accuracy the amount nt Speed depends partly upon the ability to sense a series arm movements at these points should be simultaneous. conducted by the composer, Sir Hubert Parry. After a it than the unintelligent player who simply practices of of tones as a unit. No matter how agile the fingers, speak privately to the culprits, urging them to make per¬ work that has been done by each member of a large it. An Irishman being asked whether he played the Practice at first slowly, and gradually increase the glorious climax, she turned to her friend and said, “Has we cannot play a passage at a high rate of speed as long sonal effort to amend their intonation; only be sure to class of pupils. The writer finds that the bi-monthly fiddle by ear or note, replied “Nayther, be jabers, 1 speed till the lateral movement can be made rapidly with my back hair come down?” These thrills occur after as we think single tones, just as we cannot read a book stroke them down the right way. If sour chording, reports that he has been sending out for the last few play it by main strength.” There is a good deal of ease. . , . every convincing fortissimo. Therefore, once or twice rapidly and spell the words letter by letter. The quick¬ without flattening, is in evidence, the best corrective is years are much appreciated by the vast majority of piano practice of this kind. Almost all, if not all, Now take the upper voice of the passage, phrase •to practice slow chording, paying great attention to the in a performance—not many times more—see that the parents and stimulate the pupil to better work. On est way to attain speed is to divide .any passage into it in pairs, playing the second note of each pair stac¬ difficult passages can be accurately analyzed, the cause hand positions. By hand positions is meant as many singer! become real sons of thunder. the card is recorded the number of lessons given; num¬ cato. As the key G rises, carry the arm sideways till blend of the voices. of the difficulty determined, and successful treatment notes as can be played without changing the position With respect to the interpretation of a piece, study ber of lessons missed; number of times late; progres- the fifth finger rests on D flat. Play each pair in the applied. A few examples of such analysis will be here of the hand. These groups, which will be more or less Breathing the music thoroughly, and then take your own interpreta¬ in exercises; progress in pieces; and general remark- same way, taking care that the key rises and the arm given. The student can work out further problems for irregular as to the number of notes contained in them The art of breathing correctly and effectively should tion, 'guided of course by the indications of the com; (if any are needed) as to the home practice of the moves sideways at the same moment. Finally practice himself. ,, . are readily grasped by the mind as well as by the be developed in a chorus by means of the Lateral Costal the cadenza as written, connecting the notes in pairs. ' Technical difficulties may be broadly divided into fingers. The passage should then be built up group or Side Rib method, as opposed to the abdominal As to tempo, I have never known a composer stick Lesson Book Almost Indispensable As the second note of each pair is played, allow the three classes—mental, physical, and combined mental by group as in the Chopin run described above. method. Both methods enable the user to obtain full to the metronome mark he has indicated. Therefore The lesson book is a great help to the teacher tn and physical. Contrapuntal passages are good exam¬ third finger to rise staccato, leaving the arm balanced on some! little latitude is allowed in tem^i. Don’t be capacity of air in the lungs, but the Lateral Costal man¬ enable him properly to direct the work of the pupil ples of mental difficulties. A Famous Cadenza the thhmb, which should hold its key down. Using the alarmed at any slight, variation you may make, but fol¬ I have become so accustomed to looking over my book thumb as a pivot, carry the arm sideways till the hand is ner gives the singer control over the expiration of the Take the Bach Invention number 8, for instance. It is in the case of a physical difficulty that the breath, which is the vital thing in singing. In devis¬ low what you think is right. With respect to light and at the beginning of each lesson, that I feel quite at a over the next pair of double notes. Play this and each analysis of a passage is most fruitful in results. As ing exercises to develop long breaths, short breaths, shade, composers do not always realize the full power loss, in case the book has been mislaid. By means oi Vivace succeeding pair in the same way, the third finger rising an example take this cadenza from Liszts Dreams of catch breaths, for phrasing, and breath pressure, for of their thought forms. Many of the greatest living the lesson book a teacher can tell how long a pupil has ^ quickly and the lateral movement taking place at the fortissimo singing, see that each one is short and to composers have said of certain performances that they had a certain scale. I do not believe that a new scab Love, No. 3. same instant. After these movements have become auto¬ the point, or the chorus will soon rebel. did not know that there was so much in what they had should be always given, no matter whether the old one matic, increase the speed ti'l the passage is brought tip written. This gives point to my argument that it is for is well learned or not. to the proper tempo. If all the practice just described Diction the conductor to recreate the composer’s thought by By means of the lesson book, the amount of time be done pianissimo, the lightly balanced condition of By diction one means not only the clear articulation investing his crotchets and quavers with new .beauty, that a pupil has taken to learn a piece may be readily 62 the arm, necessary for playing this cadenza rapidly, will of every word, but the rhetorical accent—the giving of born ,of interpretation. Remember that though ps and ascertained. And if poor progress has been made in be quickly secured. Then, in order to shade the pas¬ These first measures offer no particular difficulty, even just stress upon every syllable, joined to proper vowel fs are marked in the copy, there is a something beyond scale or exercises or pieces for two or three weeks, the sage, it is only necessary to add as much weight of the to a beginner, when played hands separately. But the quantity, combined with that subtle .quality which pic¬ and behind them which is the vital spark. This is real¬ teacher may adopt a different tone in dealing with the arm as is needed to produce the degree of power re¬ tures out the inner meaning of the word, phrase, or ized when the conductor by his thought force projects pupil than if the lapse is only for one week. moment we try to play the hands together, “that is • another story,” as Kipling says. Now this difficulty quired. sentence. his personality into the music and invests the notationa! For a teacher of voice, the lesson book will indicate scaffolding with artistic beauty. But though I advo¬ arises from the inability of the brain to think two A Noted Liszt Difficulty Of. all subjects neglected by conductors, diction comes the vocalizes given, the vowels used, and the highest Another example of technical difficulty which yields out an easy fi,rst. The diffieulty to the conductor lies cate the personal element in expression, one must be things at the same time. A familiar example of this note obtained, the sight reading exercise, the song and quickly to analysis, is this passage from Liszt’s Cam- in the unwillingness of the singers to believe that they always; on guard to avoid exaggeration. With self any other matter it is desirable to record. mental difficulty will be apparent in the effort to twirl do not articulate clearly and distinctly when singing expression there must be self repression, or caricaturing The writer has found it advantageous to review each the thumbs in opposite directions. The quickest way panella. to overcome these contrapuntal difficulties is to practice Further, they have a suspicion of being insulted when the sentiment will result. This is specially likely to season the pieces that the pupil has learned the previous 8.> j» ^ : f « « p Kt r told of their articulatory shortcomings. Consequently a conductor of an emotional temperament. He should season. It will be found out by experience that a in short sections with each hand alone, working up the most conductors, being impotent against the ingrained study the principles of expression well, or his very “feel¬ piece is usually known much better after a review speed till the passage is played automatically. The ing”—a splendid gift—will lead him astray. Therefore, hands may then be put together, the mind concentrated inertia of the labial lingual muscles, give up—without than it is when first learned. The difficulties in this passage are of three different coming back to my first idea—avoid monotony, have on the hand that is most difficult to control, while the 0A tempr'P knowing it—their efforts, in despair, and tolerate the At the beginning .of a new season a new lesson book kinds. First, the 'double finger action; second, the artistic ebb and flow, all governed by the conductor’s other hand plays automatically. This may require some semi-articulate style of singing words which so gen¬ will of course be required; and after the name and lateral arm movement; third, the perfect control of the individuality. slow practice at first, but as the speed is worked up, erally prevails. But conductors must fight against this address of each pupil, a record of the pieces studied weight of the arm, necessary to lightness and speed. the playing of both hands becomes eventually automatic, ever-present lingual inertia of their singers. By pat¬ during the previous season may be made; so that what¬ Clearness in double note playing depends upon quick- and very little conscious thought is given to the per¬ terning how to say words, giving short articulatory Melody Hunting ever.pieces it is desirable to review may be taken up ness and equality of up action, not upon height of The difficulty here, which is threefold, lies in the exercises, coaxing, storming, ridicule and praise, he in turn. formance. raise. To concentrate upon the study of quick action, quick repetition of the same key, the rapid expansion must ever be on the alert to enforce clean-cut express¬ Von Weber and his musical friends often went “mel¬ Time Required An Example from Chopin take a pair of notes, and splitting it in two, so to speak, and contraction of the hand required m playing the ive articulation so as to convey the inner meaning of ody hunting,” roaming about the streets, listening to the Another example of mental difficulty is this run from form this exercise of the lower voice. broken octaves, and, comhined with this, the tendency the words spoken. What is it that makes the silly popular songs of the day, and seeking inspiration from Some teachers may object that they have no time to keep a lesson book in such a manner. As a matter the Chopin Valse in C sharp minor, opus 64 to stiffen the muscles in playing rapidly. The diffi¬ banalities of the variety and musical comedy stage them. In this way he found the idea for his “Invitation culty in obtaining a quick repetition arises from ten¬ receive rapt attention? It is the chipped out, carrying to the Dance.” Charpentier must have used this same of fact, the two lines of matter needed for each lesson may all be written in about fifteen seconds, and the sion of the muscles, undue arm weight, or sluggish re¬ words of the performer. The singer may have a voice method in composing that eulogy of Paris—Louise; for lease of the key. Generally any one of these faults will like a saw or rasp, or may suggest a cracked sauce¬ in his Louise he reproduces the street cries of Paris, advantage to both teacher and pupil is so great that Practice at first staccato and p or pp as follows. Rest induce the other two. To secure a quick repetition pan, but the well-patterned words make up for all vocal and we can easily picture him roaming the streets as no one who has given the system a fair trial, will be the finger lightly upon the key F flat, then depress the action, practice this exercise. deficiencies. This is the lesson that all conductors and Von Weber and his friends did, trying to catch every likely to go back to former methods. Your dealer has key quickly and the moment it reaches its bed, instantly chorus singers must learn if they wish to carry the fragment of melody or cry. lesson record books of various kinds which should be public with them. Therefore let each conductor have With the advent of the phonograph, “melody hunt¬ of great value to you. release the pressure and relax the muscles. If this be for a motto—“Words! Words ! Words!” ing” has become a favorite means of gaining musical done properly, the key will rise, carrying the finger— which should always remain in contact with its key—UP ideas. With the phonograph Percy Grainger penetrated The artist of the future will understand that to com¬ If' this were simply the diatonic scale, almost any quickly, thus producing a crisp staccato tone. Play t Musical Expression the wilds of the South Sea Islands, collecting folk- pose a fairy-tale, a little song which will touch, a pupil could play it at the proper tempo. Yet I have had Play always pianissimo, as a lightly balanced arm is flat in the same, manner, and continue thus till a quick This is a very wide subject, embracing as it does the tunes, with the result that his music is very strongly lullaby or a riddle which will entertain, a jest which many a pupil who could play scales at a speed of 600 thus more quickly acquired. Each note should be played action is secured. Next play the exercise legato, one, technique involved in many grades of force of voice, .tinged with the material he has collected. Howard will amuse, or to draw a sketch which will delight to 800 notes a minute, who balked at this passage. The with the staccato described above: if properly done, two, and four notes to the count, concentrating the mind the almost numberless ways of varying the tone qual¬ Brockway, our own composer-pianist, has recently made dozens of generations or millions of children and difficulty lies in the sudden change from a diatonic to this secures a quick key release. In addition to this, on the up action of the finger, keeping the latter always ity-dark, sombre, bright, strident—as well as breath a study of the folktunes of the mountaineers of Ten¬ adults, is incomparably more important and more fruit¬ a chromatic progression, and is largely a mental one. the rotary arm movements should be carefully studied, in contact with the key. After treating the upper power to control the verbal and musical phrasing. In nessee and Kentucky, by the same means. The repeated ful than to compose a novel or a symphony, or paint Now instead of practicing the passage over hundreds as these eliminate muscular tension. Practice the exer¬ voice in the same way, combine the two in a double addition to the above technical points, it includes the experiments among the American Indians with the a picture which will divert some members of the of times in its entirety, as is often done, take the cise slowly till all the conditions enumerated have been note exercise in quarters, eighths and sixteenths, first greater gift of interpretation, due to the priceless gift phonograph have often been described. But this wealthy classes for a short time, and then be forever first bracketed section and play slowly a few times. brought under control and perfect clearness has been staccato, then legato, and continue thus in pairs through of imagination in the conductor, by means of which he method is only one resource of composers. Other forgotten. The region of this art of the simple feel¬ Then double the speed and after a few repetitions prac¬ secured, then play as rapidly as is consistent with clar¬ the entire cadenza. Now for studying the lateral arm makes his chorus and auditors realize the things which composers have sought solitude for inspiration; ings accessible to all is enormous; and it is as yet almost tice as a velocity exercise, thinking the group of tones movement, practice as follows. Put down the E flat. ity. his clarified vision sees in the composition. Therefore, Brahms, for example, and Beethoven. untouched.—Tolstoi. as a unit, just as you group letters in a word. Con¬ THE ETUDE Page 85 FEBRUARY 1917 FEBRUARY 1917 Page 84 l1 HE ETUDE The Rest as Climax Next practice the passage in broken octaves, com¬ Twelve Factors in Successful Teaching By Philip Gordon, A.M. mencing with this preliminary exercise, No. 73, Mason's Touch and Technic, Vol. 4. Take the long tone with By Edward O’Conner, Mus. Bac. the fifth finger and hold it throughout the exercise. nf the rest is its substitution for Young teachers who are about to begin *dr tebors Then bring the thumb upon the same key alternately with the octave. The holding tone will not repeat. in the field of musical pedagogy will make rapid P 8 ress in their profession if the following suggestions be in fact, and put l>lt\_ Know your limitations—and extend them. _ 2. Carefuly study your pupils, their mental, PhySjC r to the chord at the beginning of the next and moral make-up; then be governed by the broadest measure The present discussion of the rest will deal discretion in handling them. , After these extensions and contractions can be made 3. Make exceptionally plain your rules and regula¬ entirely * with the substitution of the rest for this with the hand in a limp condition, practice the passage tions in regard to time of lesson period, terms for strongly Rented climactic note of the mot.f. The thus. lessons, plan of payments, etc., so that no m'sun purpose is simply to point out the existence and the standings may arise. Remember this, a misunderstand¬ significance of the fact, which is so often overlooked ing with a pupil in regard to money matters means, in and which is to many students only a myth. In Example 1 we have marked the phrasing to show nearly every case, a pupil lost. 4. Observe the strictest punctuality yourself ana .the significance of the rest in measure 3. But the demand it from your pupils. Punctuality is one of the Beethoven Sonata, Op. 27, No. 2 Be careful always to retain the condition of muscular crowning virtues of the music teacher. looseness and to accompany the expansions and con¬ Mascagni S Be a student always. As a novice in the field, you Italy the art treasure of the world of yesterday, tractions with the rotary arm movements. don’t know very much, so use every opportunity to Pietro Mascagni was born December 7th 1863 m Finally practice the passage as written, and combine the glorious land of flowers, sunlight and song, is still increase your supply of knowledge and tact. pouring out from her rich cornucopia those wonderful UEhorn a,*. »ir^7a>' wmmm the movements used in the preliminary analysis. 6. Be patient. Patience will win where the profound- melodies which seem native only to the land of the est knowledge will fail. editions ordinarily in use are not carefully phrased and A Physical and Mental Difficulty ™ • i~y"- 7. Learn and apply the psychologic value of a smile. the student is generally at a loss for an interpretation others, Mascagni -as ohlijrf “ f» £ £*££ A simple example of a difficulty that is partly men¬ T Musical development in modern Italy follows closely It works wonders. of a passage such as that cited above. the great revival of activity attributed to the resump¬ lisher, however, did not bring out the w k with■ ■ tal, partly physical, is this passage from the Chopin Im¬ 8. Do not attempt instantly to make a Bach enthu¬ It is the writer’s experience that students will, how¬ tion of national entity after many years during which promptu in F sharp, opus 36. siast out of a backwoods pupil whose musical diet for ever, understand such a passage as soon as they see years has been composed of such stuff as Napoleon s gg went^to Sonzogno! noTvely successful through the value of the rest. So we shall content ourselves the promotion of Mascagni’s Cavalleria. For this pub¬ Grand March and The Charge of the Light Brigade. with pointing out that in measures 1 and 2 the climax A mind that has been satisfied with this sort of lisher Leoncavallo wrote his two-actopera of the motif is the chord, whereas in measure 3 it is excuse for music -will not, and should not,- be expected which met with immediate success when it was given the rest. One expects, of course, the recurrence of the to yield to intellectual music without careful grading. ’ rnmimCherubini and performed at the conservatory when at the Teatro dal Verme, on May 21st, 1892 9. Be kindly and considerate toward backward pupils chord and gets nothing but a soft bass note. The rest As in the case of Mascagnis other operas, and those whose early advantages have not been the is substituted for the note of the climax. But the compositionTn ^prize'competitionere^OTciled°the^tather, cavallo has as yet had but one signal success and that best. After you have been in the field a few years you . phrasing is not affected thereby, and the climax exists is Pagliacci. He seems to have been visited with gen will know that many pupils who are backward at first nevertheless. Only the effect is much more beautiful nine misfortune in many instances, as w'ththecas®of s£ sts his opera Chatterton, his Crepusculum, La Bohcme will later make serious and substantial students. than it would have been if Beethoven had written a which Beethoven used for the text of his Choral Sym- 10. Do not rush your pupils. Study grading care¬ chord instead of only the bass note. For nothing pro¬ nhonv This found great favor with a nobleman, who Zasa Der Roland von Berlin In the: last named Here the difficulty is caused by the large extension A fully. This is one of the most glaring faults with claims the true artist so much as does a piece that gnaranteTd Mascagni^ expense, a. the work the Kaiser Wilhelm II of Germany hoped that he sharp, E, D sharp, followed by the contraction "at C young teachers; they try to cram third-grade music allows free scope to the imagination; and every one fory. There he studied with Ponchielli and Salidino, had found in Leoncavallo a composer who could pre sharp and the jump downward of the left hand. This into the head of a first-grade pupil. It always ends will realize that here the single bass note is- developed but his restless nature made him a poor student serve in operatic form the history of the Hohenzol- is further complicated by the independence required of disastrously for both teacher and pupil. at once by the listener’s imagination into the complete could not be held back by the routine of counterpoint lern family, as Leoncavallo had hoped to preserve that 11. Above all things, do not adhere obstinately to a of the Italian family of the Medici.. The opera wa^, the left hand to play its part—largely a mental diffi¬ triad. and fugue and accordingly ran away from the con so-called “method.” The only safe, sane and sensible however, a flat failure when ,t was produced m Berlin culty similar to that of twirling the thumbs in oppo¬ It is quite essential that we mention another kind servatory to join a traveling opera company. Ill pre plan to follow is to apply whatever will do a pupil the December 13th, 1904. Leoncavallo is a very clever site directions. This passage might be analyzed by of motif in which the rest is used in the manner we pared from the academic standpoint and withm*^con¬ most good at a certain time. If this be your “method,” librettist, and he has for the most part written the concentrating upon the points of difficulty, first taking have been discussing. That kind is the long crescendo servatory credentials, he was forced to live the life cling closely to it, but do not mention the word, for to libretti for his own works. His La Boheme was pro the extensions. Difficulty in playing extensions is often motif, which one expects to end with a crash. Here of the itinerant conductor of small operatic com the majority of serious musicians it suggests charla¬ panies, and had his taste of bitter poverty at times. duced in Milan (1897) only a few months after Puc¬ caused by failure to accompany the extension of the the substitution of the rest for the final forte produces tanism and lack of breadth of mind. (All able teachers Later he married and settled in a little town manag g cini’s opera of the same name had made a hu§e s^ fingers with the proper lateral movement of the arm. much the same effect as snapping one’s eyes shut just have long since realized that a different plan of training a local music school and giving pianoforte lessons* cess Naturally, Leoncavallo’s work was forced, to re¬ The finger, on reaching its key, pulls the arm along at the climactic moment in a moving picture. Needless is required for each pupil.) From these depths Mascagni one day found himself tire in favor of its more successful competitor. His work after it, instead of which, a lateral arm movement 12. Finally, do not speak disparagingly of other teach¬ to say, this effect must be used sparingly and only in suddenly raised to fame through the astonishing sue- is often very emotional, brilliant and dramatic. His should carry the finger to its key. Practice the exten¬ ers. We all are aware that there are comparatively pieces of great emotional ruggedness. Example 2 is cess of his opera Cavalleria Rusticana. In 1889 the orchestration is often extremely effective. few teachers in any community whose musical training an excellent instance of this device. Here the soft bass sion A sharp, E, D sharp at first staccato, and as the Italian publisher Sonzogno offered a prize for a one-act and general education warrants them to be classified as and the rest at the third measure speak for themselves A sharp rises, carry the arm sideways, thus bringing opera. Mascagni’s Cavalleria won the prize, but was teachers, but persistent lampooning will not remedy and no explanation is needed. The subject is really not the second finger over E. As E is played, a lateral not produced until May of the following year. It was matters. The better way would be to get busy and at all difficult to understand, but somehow we never movement carries the fifth finger to D sharp. When immediately recognized as a huge success and Mas¬ help your state music teachers’ association to raise the these arm movements are properly made, practice appreciate it until it is pointed out to us. cagni became famous over night. The King of Italy standard by examinations. Work on this point and legato. Beethoven Sonata, Op. 10, No. 3 presented him with the order of the “Crown of Italy, Facility in making jumps depends upon accurate some day something may be accomplished; for if it is ever going to be put through, the younger generation a rare distinction, and medals were struck in his honor. measurement of keyboard distances, and still more Unfortunately Mascagni’s later operas, which contain of teachers are the ones to do it. Mascagni. largely upon the quickness with which the hand nego¬ many masterly passages, have not equaled the popu¬ tiates these distances. Bearing this in mind, practice what we now know as Italy was merely a collection larity of the inspiration of his youth and poverty. His the left hand jump in the following way. Resting the When Interest Lags of small states, ununited save for the will of the com¬ L’ Amico Frits. I’Rantsau, Guglielmo Ratcliff, Stlvano, hand upon the chord, carry the hand and arm down mon people. Italy came to its own during the late Zanetto, Le Maschere, and other works are rarely slowly till the finger rests upon the low F sharp. Do By Wilbur Follett Unger sixties and we may note that the performance of two heard. His Iris (a Japanese opera of decided merit) not raise the hand and arm in the air, but keep close significant operatic works indicates in prophetic manner is given occasionally. How true it is that everybody can learn something to the keys, measuring the distance back and forth many the turn from the old to the new. These were A\da, Mascagni has made numerous tours as a conductor. from everybody else! Frequently I find myself learn¬ by Giuseppe Verdi (produced at Cairo, Egjpt, December In 1903 he visited America with an orchestra; but did times. Now closing the eyes, play the notes till the ing things of value from my own pupils—who, indeed, 24th, 1871), and La Gioconda, by Amilicare Ponchielli not succeed in making a deep impression upon the distance can be accurately measured without seeing the often remain in ignorance of the value of the very thing (produced in 1876). American people. His case is in many ways lamentable, keys. All this should be done slowly till perfect ac¬ I am learning from them. The other day a quaint Punctuality at the Lesson It was at this time that observers commenced to note because the real promise he showed in Cavalleria has curacy is secured before attempting quick movements. and interesting bit of sentimentality was disclosed to unmistakable German influences in Italian ^ufiCMR ofd^ae not been redeemed in his later works in a way that The average player is inaccurate in skips because the me from the pages of one of my pupil’s music books. By Herman Kahn of Verdi Is analogous to that of Haydn, who in has old age was so much impressed with the accomplishments of his has compelled universal or permanent interest. Caval¬ hand or finger, instead of being over its note before it I observed at the top of the first page of the piece, the pupil Mozart that he developed new methods and n-n fairly regenerated his old style. Verdi still re¬ leria, however, is still immensely and deservedly is time to play, leaves the previous position too late. letters “P. P. M.” printed in large type in pencil. I When the pupil is late at the lesson several things ctmjpvsens. ms. Altia, surpassed among Italian composers. His. Aiaa, popular. When quick movements are secured, practice the pas¬ inquired their significance and the pupil answered: happen. OtcTlo and 'T'alstaffFnlataff a.,,; pinnacles1,,™,,,. ^of Italian operatic- musical art. ranking in modernityI tv with the best productions of men Leoncavallo sage as follows. Play the first bracketed section a few “Well, you see, my big brother always had the am¬ 1. The teacher is annoyed. an old man. Best of times slowly, then double the speed, and, after a num¬ bition for me to learn certain favorite pieces, and so 7lb°Verdi! Hke'bi? younger confreres, succeeded Inin producing Ruggiero Leoncavallo’s father was a Neapolitan 2. The pupil is flustered. ber of repetitions, make a dash for velocity, taking when I failed to practice them as much as I should an art fortified by Teutonic tecbmc but still Italian to the magistrate. The boy was born at Naples, province of he marked those letters at the top of each piece,— 3. The pupil loses time. off the last note with the finger elastic up arm touch. Unfortunately space does not permit us to discuss Campania, middle Italy, March 8th, 1858. His early ‘P. P. M.’—‘Please Practice Me,’—hoping that when I Practice section two in the same way, then join the 4. The teacher wastes time. here works of such able Italian composers as Boito teachers were Simonetti and Sir! Later he became came across those letters they would serve as a re¬ two sections. Take section three separately, then join 5. The lesson is likely to be a poor one. (1S42-), Bossi (1861-), Pirani (18S2-), Martucci a pupil of the Naples Conservatory, where he came to one and two. Finally add section four, when the minder and possibly an inspiration to work on them under the tuition of Cesi, Ruta and Rossi. He re¬ No pupil who is habitually late can have the respect (1856-1909), Ferrata, Franchetti (I860-), Giordano entire passage may be played continuously. diligently for his sake.” (1867-), Cilea (1867-), Montemezzi, Zandonai, Busoni ceived his diploma of Mxstro (Master) at the age of It is no( a bad idea, is it? Just a little thing, but it’s of the teacher. The teacher sells time and it is right The examples given will show how any passage may (1866-)’, and others. We must confine ourselves to eighteen. His first attempt at an opera was upon the those little things, somehow, that seem to take hold of that his stock in trade should be respected. He like¬ plot of Chatterton, that erratic genius and dreamer, who, be analyzed, its points of difficulty located, and the those fortunate (but in many instances no more worthy a pupil and awaken interest when interest lags, where wise knows that if the pupil is late to lessons he is very failing in his early ambitions, poisoned himself before difficulties overcome with a minimum of practice com¬ composers) upon whom world-wide popularity has be¬ Leoncavallo. a long pedagogical lecture would miserably fail. Try likely to be late for his practice. Try to make a record. he was eighteen. Leoncavallo secured an impresario pared with the many thoughtless repetitions which stowed a crown. mark the practice of so many piano students, it with your pupils. Try not to be late for a month, six months or a year. THE ETUDE Page 87 FEBRUARY 1917 FEBRUARY 1917 Page 86 THE ETUDE in America with great success. Wolf-Ferrari was for¬ tunate in that, at the start, he was almost entirely Judged by the number of his successful works, this self-taught, and was enabled thereby to develop along composer stands at the forefront of the later Italian very original lines. Indeed his opera. U Sulanuta, was masters. He was born at Lucca, Northern Italy, June produced before he went to Munich to study with Curiosities of Music 22nd, 1858. His family (like that of Bach, Couperin, Rheinberger. This rare acquisition of self-development Wesley and Strauss) has been distinguished by the was then brought under the strict discipline of the great number of musicians it has produced. None of them, German contrapuntalist. The result is that Wolf- By FREDERICK F. CORDER however, has approached Giacomo Puccini in ability Ferrari has preserved a naturalness and sensuousness or celebrity. As a youth he was fortunate in securing which is most alluring, while at the same time he has Professor of Composition at the Royal Academy of Music, London, England the patronage of the Queen of Italy, who secured for a technic which is wholly adequate for his artistic him a pension which provided for his education at the needs The musical result is very delightful and two whole measures. This one scrap would then give was said to have been so highly esteemed that it is Milan Conservatory. There he came under the instruc¬ No ART at all approaches that of music in the number you the skeleton for about sixty measures of a Kyrte tion of Amilicare Ponchielli. said to have been engraved upon a plate of gold and Perosi of freaks and curiosities to be found m it. Amongst or a Credo—it wouldn’t matter which. Mr. Rockstro. deposited in the library of the Vatican. As Byrd was Puccini’s first work was l.e Villi, a one-act comic Dorn Lorenzo Perosi, musical director of the Sistine the painters, sculptors or poets of antiquity to do any¬ in Grove’s Dictionary, after detailing a long list bf opera which met with more than ordinary success. not a Catholic and the gold plate has never been seen Chapel at Rome, has for many years been one of the thing else than follow art honestly and seriously was these curiosities, describes with rapture how Palestrina It was produced when the composer was twenty-four. and the canon is-a frightfully stupid one, this story foremost figures in Italian musical art. He was born to court speedy contempt and oblivion; whereas in the out-did all the’rest in his attempt, which was for five Five years later (1889), he produced his Edgar. The may be said to lack confirmation. The curiosity of December 20, 1872, at Tortona, Province of Piedmont. histories of music we find all the grotesque distortions voices and so contrived that it might be sung either in libretto was very poor and the opera was a complete the composition consists in the fact that the leading and unworthy monkey tricks of composers recorded duple or triple time. What joyl failure. His, next work was Motion Lescaut, brought Northern Italy. His father was the director of music part alone was printed, and the other part or parts out in 1893. It is much more mature in style than at the cathedral in that city. Perosi became a priest with complacency, even with unction. could be brought in in two or three different ways. early in life. In 1892-93 he studied music at the Milan It is a great pity that music ever tried to be a Tallis and His Forty-Part Composition the previous works, and met with considerable sue-. But there is nothing much in that. I could show you Conservatory. Thence he went to Ratisbon (Regens¬ science. As an art it is the most charming and subtle cess. His first real triumph ,came in 1896, with the a setting of the words “A Merry Christmas and a In those days' when music vainly strove to be an burg), Germany, to further his studies in Church music exponent of beauty conceivable; as a science it. is 'production of La Boh hue, which is still one of the Happy New Year” so contrived that eight voices could exact science the great object of the devotee was to most popular operas in the repertoire. The work is under Haberl. His first important position was that merely a dull no-thoroughfare out of pure mathematics. take it up, each coming in a measure later than the attain skill in the weaving together of many voice-parts, especially rich in lovely melodies, and the treatment of choirmaster at St. Mark's, in Venice. In 1898 lie Perhaps this will not sound very intelligible to many last and a note higher. It is’ of course not very pretty, the more the better. Rhythm, melody, harmony—all showed that the composer had been a close student of was called to the highest post in the music of the of you, but an illustration will make the proposition but it fits perfectly and sounds at least euphonious, these were but shadows, faintly discerned; but we read his great forerunner, Verdi, although his ideas are Catholic Church. There he immediately set about to clear. There is an old English folk-song of the thir¬ while Byrd’s canon is full of horrid “false relations. of several men having achieved the feat of writing a very fresh and original. Tosca (produced at Rome, improve the music of the Sistine Choir, and it is said teenth century—or possibly earlier—which is neither January 14th, 1900), while not advancing the fame of that this inspired Pope Pius X to institute his famous composition in forty parts. Tallis certainly did this— better nor worse than other folk-sqngs; that is, its The King Who Could Sing One Note it has even been printed in our days, purely as a curi¬ the composer at least showed that he was not to be con¬ reforms in church music. tune was evolved from the metre and accent of the osity, while many truly beautiful works from the same sidered a “one opera’’ man. His greatest work is Perosi has written a trilogy of oratorios The Trans¬ words, and it might have been invented by any peasant It is really only our method of notation which is unquestionably Madama Butterfly, which passed from pen remain in manuscript. Regarding another such figuration, The Raising of Lazarus and The Resum e, either of to-day or five hundred years ago. Some old responsible for all the up-side-down and hind-side-be¬ the delightful story of John Luther Long, through the effort there is a story told that Dr. John Bull, the Hon of Christ. His oratorio, The Last Judgment, is monk in a priory at Reading (about the year 1225, it fore canons with which our ancestors used to amuse dramatic genius of David Balasco to Puccini’s libret¬ Puccini. famous organist, traveled to St. Omer to see the manu¬ probably his best-known work. It is big in scope and is said) made the discovery that the first phrase of the themselves. Choruses have been written, the copies tists Illica and Giacosa. This revealed Puccini as a script in a convent library, and, requesting permission his son to follow his profession. The boy’s early in¬ represents a peculiarly, interesting blending of the old of which may be inverted without making the music great dramatic composer capable of creating a musical • tune could be sung by two voices thus; to study it for a few hours, succeeded during that time clinations toward music were very manifest. At the churchly style With the facilities of modern education ar.y nicer than it was before, pieces which may be atmosphere and characterizing his subject in a manner His Moses, produced in 1901, and his Leo the Great in adding forty more parts to it. The feat would have age of six the boy sang in public and conducted small played backwards and not be as interesting as a both forceful and artistic. Madama Butterfly was first produced in 1902, were much liked in Italy. He has. presented little difficulty if the piece were like Tallis’s, given at Milan, in 1904. Strangely enough, the Italian orchestras. His early teachers were Natalucci and Bar- plaver-piano roll similarly treated—all sorts of stupid in addition tp his choral music, written a great mam but as a matter of fact Dr. Bull never was at St. Omer, public did not like the Japanese setting at first, and the bieri. Later he gave concerts in Rome, playing the curiosities may .be read about, but are never listened organ compositions and some works for orchestra, in neither was there a convent with or without a library opera was virtually hissed from the stage. It event¬ compositions of Bach, Handel, Beethoven, Schumann to. There is a story of Josquin des Pres (1450-1521?) ' and Chopin, at a time when the chief Italian interest eluding a series of symphonic sketches which he lias there. But a degenerate modern composer wrote, a ually became one of the most successful of all modern who wrote many learned compositions (or what passed in music was still in the opera. When Liszt took up named after the cities of Italy, "Rome,’’ "Venice." few years ago, a motet in more than fifty real parts operas, not orily in Italy but all over the world. His for such), and’the king expressed a wish to take a his residence in Rome, in the seventies, Sgambati be¬ “Florence,” etc. His last oratorio, Dies Iste, has not which was a really beautiful piece of music and it at¬ Girl of the Golden West, derived from the play of Be- . The fourth measure does not fit very well and the part in one. On investigation it appeared that the came his enthusiastic pupil. He became a pianist of yet attained the popularity of his early works. tracted no more attention than if he had written a lasco of the same! name, has great strength and pictur¬ continuation is worse, but having plenty of time and in¬ compass of our majesty’s voice was limited to one esqueness, but it has not made the same appeal that distinction but he was not content to let his work string quartet. The Test Questions genuity to spare. Master John of Fomsete (such was marked Madama Butterfly. A composer who has been rest with this accomplishment. He was determined to single note, But the fictitious admiration for multiplex part-writ¬ 1. Name fifteen composers of modern Italy. his name) contrived that four voices should sing this able to produce so many masterpieces before his six¬ introduce the symphonic compositions of the great 2. What influence did Verdi have upon the Iai ing and canon received its death-blow in the outrageous German masters to Italian” audiences. It remained for posers of Italy' round, and be accompanied by two others going thus: tieth year may follow the lead of Handel, Haydn, and entirely unmusical labors of an Italian composer Sgambati to bring the Eroica Symphony and the 3. State some incidents pertaining the education of Wagner and Verdi by producing his greatest works in Mascagni. named Pietro Raimondi (1786-1853). Apart from a Emfleror Concerto to the Roman public for the first ^■L^How did Mascagni jump from poverty years to come. fame over vast quantity of ordinary works (including fifty-five time, over a half a century after they had been writ¬ so, nothing daunted, the ingenious composer contrived Sgambati of the misfortunes which held back Leon¬ operas) of which no traces remain this dreadful person ten. The Beethoven Eroica was given in New York, avallo. .Giovanni Sgambati is the most distinguished of the a motet in which there was a special part for the King, in 1842, at the first concert pf the New York Phil¬ ti. Ilow old w IS Puccini when his first real triumpl wrote— 7, Wbicl consisting of this one note continually repeated. Haw¬ modern Italian composers to direct his attention to harmonic Society. It was written in 1808. From this .., , f. be great modern Italian composers 4 Fugues for 4 voices, which could be sung separately sponsiblesponsible forf the introduction of German symphonii kins seriously quotes a portion of this piece, which symphonic music rather than to the Opera. He was may be seen the need for the splendid missionary work in Italy ? the effect of which is to make a kind of drone bass or all at once. born at Rome, May” 28th, 1843. His mother was an is of course merely a “pedal-point” of no interest. ^ But which Sgambati did in Rome in the seventies. and the whole piece sounds very like what you hear 6 Fugues for 4 voices, which could be sung separately English woman, the daughter of the sculptor Joseph ■ . men mouern nanan composer has been very success¬ I fancy the story must owe its origin to Mr. “Ben¬ Through the friendship of Liszt and Wagner—who ful in writing both operatic and sacred music? when a street beggar pulls a melodeon m and out. or all at once. Gott. His father was an Italian lawyer who wanted 10. Who is the greatest modern Italian composer of music were great admirers of Sgambati’s works—he secured Now if I can persuade our stern editor to sacrifice one jamin Trovato.” A Fugue for 16 choirs (64 parts.) Another antique curiosity is the Nodus Salamoms, or the publication of some of his chamber-music com¬ of his precious music pages and you will turn to 24 Fugues for 4, 5, 6 and 7 voices, any 4 of which Solomon’s Knot, a name given to the subject of a positions. His Symphony in D, written in 1881, at¬ page 88 you will find this old song m what must might be sung together (why not all, then?) tracted wide attention in Italy. This was followed by canon by one Pietro Valentine. This worthy attained have been its original form, with the bars restored An Overture for 2 orchestras in canon. a pianoforte Concerto and string quartets. undeserved celebrity by inventing the following absurd which the good monk hacked out for the sake of his 4 Fugues in four different keys, to be sung together. Strangely enough, his string quartet was first intro¬ round and a modem but modest pianoforte accom¬ theme, duced in London by the Kneisel Quartet which, by the (These last two works I have seen.) paniment supplied. You will then, I hope, perceive how A serious and a comic opera to be performed simul¬ way, while an institution of which Americans are very No. 4 proud, was born on the continent. Such is the cosmo¬ much nicer is musical art than musical science. taneously. politanism of art. And, finally, three oratorios. Curiosities of Canon Sgambati’s works gained the recognition of serious These last were actually played separately under the musicians in all parts of Europe. In 1886 he was This device of imitation, or canon, as it was called, titles of Potiphar, Pharaoh and Jacob at the Teatro. which, he maintained, must be the strain sung by the! invited to become Liszt’s successor at the French In¬ was an early and deplorable one—an attempt to sub¬ Argentine at Rome, on August 7, 1852; and then, to Seraphim in heaven, because by a proper distribution stitute. Of his forty or more works the most pre¬ stitute ingenuity for invention. A man used to e a fourth libretto Joseph, all at once with an ensemble of parts, and by the devices of inversion, retrogression tentious, and possibly the most effective, is his Messa applauded for having written a canon quite apart from of 400 performers. This is an actual fact; the score da Requiem, written in commemoration of the death and multiple augmentation it could he sung in ninety- the musical results, which were of the meagrest The stood 6 feet high and had to be laid down like a of King Humbert, in 1896. Sgambati died in December, six parts—the greatest number on record. This- idea musical histories and treatises on composition of the tombstone in front of the conductor, with two men 1914. was comfirmed when a mathematician demonstrated eighteenth century teem with examples which only to turn the leaves. It was offered for sale in. 1860, but Wolf-Ferrari that by the same methods the number of parts could differ in degrees of dismalness. Dr. Prout in his able I do not know who bought it. The composer fainted Ermanno Wolf-Ferrari, like Sgambati, is only half be increased to 12,200,000—or practically to infinity. treatise on Double Counterpoint & Canon devotes an with excitement (I doubt if the audience did) and Italian, and is the son of an artist. His mother was No > one seemed to regard the fact that the total entertaining chapter to what he calls “The Curiosities (pok to his bed; but he survived the shock for more an Austrian. He was born in Venice, June 12, 1876. musical effect would be less interesting than the hum¬ of Canon;” but outside the works of Bach and Mozart He began composing when he was only eight years old. ming of a wayside telegraph post—perhaps because than six months. where will you find any canons that are anything but When he was nineteen, he wrote an opera. He was there were no telegraph posts in those days. very dull curiosities? It is a belief impossible to dis¬ Program Music Yesterday and To-day a pupil of Rheinberger, in Munich (1893-95). In 1902 But the ancient monkish musicians seemed to' care turb that “The old masters” were all vastly superior he became director of the Liceo Benedetto Marcello, very little for beauty in music; a favorite device of About thirty or forty years ago, when I was young, to the moderns; but the only canons I have ever found in Venice. His Cenercntola (Cinderella), brought out theirs was to take a ribald folk-song—the more ribald it was thought beneath the dignity of music to make in 1902, attracted much attention to his work, not only to possess any musical interest at all are (1) a Suite the better—and by dint of. stretching out the notes to more than very faint and spasmodic attempts to illus¬ Italy but in Germany. In 1903 came his Le Donne for Violin and Piano by Ferd. Hiller. (2) Three inordinate length, make the tune cjuite unrecognizable trate definite ideas. The thunderstorm, the cannon-shot, Curiosc, which brought him international fame. This Dances for ditto by Battison Haynes (really charm¬ and then use it as a base on which to build a mean¬ the rolling wave, the song of birds—these were about was quickly followed by La Vita Nuova (The New ing), and (3) a Suite for String Orchestra by Georg ingless contrapuntal jumble, to which they then set the the only legitimate objects for music painting. “Pro¬ Life), an oratorio founded upon ideas from Dante, Henschel. There are transient passages of musical words of the mass. One such tune, called The Man in gram-music” was, in fact, up to about the year 1880, This has proven the most successful choral work pro¬ canon, as in Beethoven’s Fourth Symphony and Cesar Armour, a rollicking soldiers’ song, was used thus by regarded as a mere curiosity, even when practiced by duced by any Italian since the Mansonni Requiem of Franck’s violin sonata, but these make no attempt to dozens of so-called composers. It begins thus: such men as Wagner, Liszt and Berlioz. The real Verdi. The Jewels of The Madonna is now his best- be clever. You may have heard of the Non nobis Fancy this with every eighth-note made to occupy curiosity was when, as in John Mund/s Fantasia on known operatic work. Tt has frequently been given Dominc, ascribed to William Byrd (1538-1623?). which THE ETUDE Page 89 FEBRUARY 1917 FEBRUARY 1917 Page 88 TEE ETUDE are cast quite into the shade by Elgar’s peerless speci¬ the Weather (16—?) a tinkling harpsichord or spinet have mentioned above: but no critic or writer of musica men of musicianship. I don’t know what Mozart would attempted to suggest thunder. Ot again, with every history has ever taken the least notice of them. have thought of it, but I am sure that both Bach and what ancient maker of oddities ever contrived anything allowance for the simplicity of our forefathers, I can¬ Beethoven would have listened with tears of joy in not imagine them accepting in good faith Henry Pur¬ a hundredth part as clever or beautiful as Schumann their eyes to the strain of strains. .... cell’s setting of the following lines: Carneval? The mechanism of this wonderful set of O, for a few more curiosities to place by the side of pieces—all built on an artificial phrase of four notes- How Psychology can Help the Musician this! __ 0 lead me to some silent tomb is so subtle than many players are unaware of its exist¬ By PROF. CARL E. SEASHORE Where none but sighing lovers come; ence, and think that each piece is a separate inspira¬ Where the shrill trumpets never sound, tion.” What higher tribute than this could there be Modern Italian Operatic Composers Of the State University of Iowa But an eternal hush goes round. to a composer’s genius? Yes, Schumann had plenty of “Le buone Parole ungono, e le cattive pungono” faults, but I am glad to place this one work of his in the (Good words anoint, bad words prick). Guisti's well- front place in my cabinet of really interesting curiosi¬ He makes the voice execute an elaborate fanfare, to known proverb epitomizes in a way the Italian opera ties, even along with the best one of all, Elgar’s won¬ spirit;""" represent the trumpets that never sound, and a short of yesterday. No matter how grave the tragedy, it ^ ® 0j the subject. The result is the following excellent article. derful Carillon. The monotonous repetition of a figure pause to indicate the eternal hush. was surrounded by musical phrases of sugary sweet¬ of music, and measure, with an accuracy sufficient for I have quite a collection of curiosities by one Signor (called “ground bass”) was a device that seemed to throughout the list, and is true even in finer details. ness. Verdi, who was essentially a child of the people, In response to the editor’s courteous suggestion that all practical purposes, each and all of the fundamental Sampieri (c. 1800), piano pieces professing to describe have been exhausted by the early composers, Purcell One may have a fine sense of pitch and yet not have naturally catered to them in this, and accordingly all I write on “Sense and nonsense in the psychology of natural capacities which constitute musical talent. The the movements of the heavenly bodies, the seasons of and Bach. But to the really fine craftsman no device absolute pitch, or one may be sensitive to tones within his early operas were great successes,—notably Trova- music,” I take pleasure in accepting the first half of work is yet in the experimental stage but sufficiently the year, etc. But he would be a bold man who is ever worn out and even the Russian Paraphrases one range and not within another. One may have a tore, Rigoletto, and La the invitation, and shall limit myself in this article to far advanced to be of professional use. To understand would attempt to catalog pronounced emotional free rhythm in action and yet Traviata. These operas one-third of that half. There are three large branches how it is done one must know technical laboratory the objects, let alone now survive by sheer lack precision in rhythmic action. If we take a cross of the psychology of music; namely, the psychology psychology which it is out of the question to describe the ideas, which modern force of their lovely section of the mind of a musician, then, we shall find of musical talent, the psychology of musical training, in the space here allotted.* composers have set out melodies. Many of these that he is not plainly musical or unmusical, but that to illustrate. Indeed, of and the psychology of the art principles in music. I During the past year a series of selected measure¬ Summer is a-coming in tunes are laughably in¬ he has a collection of talents. late years we have had shall discuss only the first of these, and that only appropriate for the On the other hand, like the wheels of the clock, these ments on musical talent was made upon two hundred little else but such curi¬ The.oldest known English song from the point of view of inborn talent as distinguished Arranged! by F. CQRDER dramatic situations, but talents are inter-related and inter-dependent. Emo¬ and eighteen college students in the University of Iowa, osities presented to us. from the results of training. they are tunes, and, tional reaction to music, for example, is conditioned and charts were made for each individual showing a A sober symphony, quar¬ f Responding, then, to one aspect of the sentiment, therefore, immortal. upon a variety of capacities in sensation, imagination, quantitative ranking on each element measured. Four tet, sonata or vocal “sense in the psychology of music” the question is: such charts are shown in the accompanying figures. work attracts scanty at¬ Verdi was not blind memory, and intellect. Thus the character of the emo¬ What is the present status of knowledge about musical Each tells a long story so graphically that one familiar tention; the men who to the wonders of tional reaction may be traced, e. g., to a dominant sen¬ Weber’s Euryanthe nor talent? sitiveness to timbre, creative imagination, or musical with the method can see at a glance the characteristic discard tonality, abolish To make a long story short, let us first open an Wagner’s Lohengrin. He associations. The singing in good pitch, time, timbre, traits of the talent, as one can see the profile of a face. rhythm, ignore melody account showing the principal items with which we and pile up unmeaning saw that the dramatic or rhythm is conditioned upon sensitiveness in the These four persons, it will be observed, have had about sounds in profusion, music of the future have to deal. hearing of these. an equal amount of musical training, but the first two these freak-merchants would be a continuous The complex processes in music are built up from represent decided musical power, whereas the latter two An Inventory of Musical Talents these raw materials, the fundamental capacities. Thus, alone seem to attract at¬ web of tonal colors, represent unmusical minds. melody and harmony are built largely on pitch and tention. woven into the play I. MUSICAL SENSITIVITY. Without going into detail about the method of chart¬ consonance, with instinctive taste, and musical reflec¬ itself. Accordingly he 1. Sense of pitch. ing, it may be said that each of the factors involved Modern Curiosities tion. We can understand the limitation to ragtime or strove valiantly'* all 2. Sense of time. was determined by accurate psychological measurement Still, among the ad¬ capacity for symphony only as we know what funda¬ through his middle 3. Sense of rhythm. in the laboratory with instruments adapted for such mitted masters of the mental talents are present. It is therefore sensible for purposes. The records on training and appreciation period to produce such 4. Sense of intensity. nineteenth century there the student of the psychology of music to seek scientific and expression are not based upon quantitative meas¬ works. The results were 5. Sense of timbre. were several who con¬ understanding of that wonderfully complex and beauti¬ urements but upon systematic observation and interview. not striking until Aida 6. Sense of consonance. tributed some quite ful structure, the musical mind, in terms of the specific All records were reduced to per cent, with reference was produced. This pleasing curiosities, II. MUSICAL MEMORY AND IMAGINATION. talents of which it is built. to norms established on the basis of a large number work, produced when which deserve not only 1. Auditory imagery. or records in each measurement. Thus, if the record Verdi was nearly sixty, Variety in Musical Gifts to be preserved but to 2. Motor imagery. in the chart shows a rank of 100 per cent., it means be played now and has all the youthful 3. Creative imagination. The gifts of music are diverse. Perhaps no musician that this person is within the best 1 per cent, of all possesses all of those listed above in high degree. One again. Joachim Raff per¬ vigor and inspiration of 4. Memory span. normal cases, whereas, if the record is SO per cent, he musician gets along with one little group of talents petrated several: there the young man in his 5. Learning power. is exactly average, or if the record is 0, he has no and a smattering of some of the rest, while another is a scherzo in his first twenties. Musicians, ability. musician employs another group. This is the reason violin sonata which has however, do not give it III. MUSICAL INTELLECT. that musicians differ, and the result of differences in no time at all, yet the same rank with 1. Musical free association. 4^ r mm ■j. ■ - ir p r Pi musicians is differences in music. It is by the relative sounds quite nice; there cow is bleating for her calf and for her lamb the ewe. Bucks are leaping, bullocks creeping; Verdi’s later operas, 2. Musical power of reflection. is a set of piano varia¬ Otello and Falstaff. 3. General intelligence. prominence or absence of one or more of these fun¬ TONAL IMAGERY tions (Op. 179) on an | J - | .' IMil -r^ which in the minds of damental capacities that we characterize a musician. U The person who has strong auditory imagery lives, original theme, half of 1 j'"7" I S 7 many represent the pin¬ IV. MUSICAL FEELING. CONSONANCE f7 4T ^ ? * thinks, feels, and acts in a world of sound. Music is which is in S/8 and the / nacle of Italian operatic 1. Musical taste: likes and dislikes. other half in 7/8. Mos- writing. 2. Emotional reaction to music. to him something entirely different from what it is to the person who does not couch his music in sensory zkowski has written a Since Verdi, the out¬ 3. Emotional self-expression in music. FREE RHYTHM pretty little waltz on one mm r imagery, as is the case with many engaged in music. standing Italian com¬ REGULATED RHYTHM note and Bizet an amaz¬ The person who lacks good natural control of his mus¬ posers of opera are less V. MUSICAL ACTION. RHYTHMIC JUDGMENT ing set of variations on Natural capacity for skill in accurate and mus¬ cles will never become a good singer, violinist or pian¬ than ten, even if we in¬ the chromatic scale. ically expressive production of tones ist, however keen his power of appreciation for music ACUITY OF HEAR1NNG clude Amilcare Pon- There are the wonderful (vocal or instrumental, or both) in: may be. LOUDNESS DISCRIMINATION chiilli, composer of La The differences in talent are enormous. According Paraphrases of Boro- 1. Control of pitch. SINGING KEY Gioconda (1876) and to actual measurement, one normal person may have dine and his friends, 2. Control of time. SINGING INTERVAL charming pieces which with Verdi a great in¬ 3. Control of rhythm. two hundred times as keen a sense of pitch as another; VOICE CONTROL can all be played whilst fluence upon the young¬ 4. Control of intensity. one may have forty times as retentive auditory memory REGISTER OF VOICE a child plays the figure er Italian composers. 5. Control of timbre. as another; one may have twenty times as fine capacity QUALITY OF VOICE known as Chop-sticks at Among these must be for control of finger movements as another; yet in TRAINING society and in business these individuals may all be re¬ the top of the piano. A mentioned, together with The first sensible step in the psychology of music is MUSICAL APPRECIATION living Italian composer, garded as normal and very much alike. It is when we their best-known work, to make a study of one’s self or pupil in terms of an MUSICAL EXPRESSION Bossi, has composed an Boito, Mefislofele; Mas¬ inventory of the concrete items of talent. focus the microscope of scientific analysis upon these amusing set of Musical individuals that the differences stand out in their true cagni, Cavalleria Rusti- Fig., 1 Satires on the ultra¬ cana; Leoncavallo, Pag- The Inter-Relations of Musical Talents proportions; and we can account for achievements or modern methods, mak¬ lack of achievement in art only after taking account of liacci; Puccini, Madama To one who knows music and psychology, the most ing cacophony almost sing, for thy song Is ev-er such fundamental differences in personal equipment. The first. Fig. 1, is a young man with good appre¬ jji Butterfly; Giordano, An¬ striking impression from this outline is the fact that pleasant; and a living Education can do wonders but it cannot make gold ciation and power of expression in music. His forte is i .. | = drea Chenier; Wolf-Fer- one may have or not have any one of the above listed English composer, ! ■.urrri Spl in action—finger (motor ability) and voice (control, out of iron, or a musician out of one who is not born rari, The Jewels of the capacities quite independently of the other. Thus, the whose name doesn’t with a musical mind and body. The psychology of in¬ register and quality). The lower than average score in Madonna; Montemezzi. six types of sensibility are quite independent. One matter, has actually pub¬ dim. dividual differences in music is therefore a most fer¬ intervals is due to his limited capacity in tonal hearing, i f L’Am ore dei We Re. Of may have the sense of pitch and no sense of time, or lished a set of twenty- j 1 1 V r tile field for the use of scientific procedure in keeping imagery and memory. The poor loudness, or intensity, 1 all these men, no suc¬ vice versa; one may have a keen mathematical sense discrimination is a mark of inferior power of observa¬ four pretty characteristic that ancient commandment of the Greeks, (to whom cess has been comparable of time and yet have no sense of rhythm; one may pieces to be played on a music and science were one)—“Know thyself.” tion. He may be classified as decidedly musical. taunt m to that of Puccini, who have a keen sensibility for loudness and be without second piano and amuse The second, Fig. 2, a young man with unusually high already has six immense¬ a musical sense of rhythm through accent.. While the a child while she is Analysis and Measurement of Musical Talents talent—better than that of many professional musicians practicing her Czerny Copyright 1917 by Theo Presser Co ly successful operas to sense of timbre is dependent upon both pitch and in¬ —has superior sense of pitch and time with superior his credit, although he tensity, one can 'have either or both of these without It is no fault of the musician that he has not been exercises. All of these, able to analyze and measure musical talents technically, tonal imagery and control of voice and hand; but the and a few of the others, . ‘‘Summer is a-coming in” often seen in the old English spelling “Sumer is icumen in” is probably the is this year at the same the sense of timbre. So also while consonance rests on small register of voice makes it advisable for him to famous piece of music in history. Professor Corder has done THE ETUDE the great service ' ' for that is a recent achievement in laboratory psycho¬ are musically and in¬ of making it age when Verdi pro¬ certain types of intellect and feeling as well as upon limit himself to instrumental music. accessible to our readers in a modern form. While totally different from its original in canon foi logy, and the procedure is not generally available. It tellectually far superior preserves duced Aida, the opera a sense of pitch, one may have each of these and still the spirit of the old composition in splendid manner. that was to be the turn¬ not have the sense of consonance as a sensory basis for is, however, possible now to take the prospective mus¬ •A general account of methods is given in the author's to the dull attempts by ician into the laboratory-studio for the psychology Psychology in Daily Life. ancient writers which I ing point to a still melody and harmony. The same principle applies greater career. THE ETUDE Page 91 FEBRUARY 1917 FEBRUARY 1917 Haydn built upon the popular songs and dances of his native land, which in the matter of struc¬ Page 90 THE ETUDE Chopiniana HAYDN’S father was a poor wheelwright. ture belongs to the same order of art as sym¬ These charts are, of course, not complete, ^ Haydn was born at Rohrau in Austria, MUSICAL TALENT OB phonies and sonatas; and how this kind of music items of talent are not touched and some are exam.n April 1st, 1732. The house in which he What Chopin Said of His Contempories could be made on a grander scale was what TONAL HEARING in detail. But the same plan may be foIlowed “d ‘S was born is still standing. Thalberg: “Thalberg plays famously, but he is not Haydn wanted to discover. being followed to cover such a senes of factors Haydn aimed always at perfection in his art. that given in the above outline. an , He plavs forte and ptano with Haydn was below middle height, somewhat Z pedals but not with the hand: takes tenths as easily Haydn’s paternal ancestry was Slavic rather CONSONANCE There are three ways in which the psychology of heavy in build, but not particularly strong. His musical talent will reach the musician. The material as I do octaves, and wears studs with diamonds. ■ than German. The name probably was origin¬ complexion was dark and his eyes dark grey. now fast collecting in laboratories and other work¬ Aloys Schmitt: “He is already over, forty years old, ally Haj den. That name is now common in His skin was badly pitted with small pox marks. Croatia. FREE RHYTHM shops will soon take shape in elementary text-books in and composes eighty years’ old music.’ His nose was large and disfigured with a polypus. Kalkbrenner: “He proposed to teach me for three Haydn spoke his native Austrian (German) REGULATED RHYTHM psychology of music available and adapted to pupil and His jaw was heavy and his underlip coarse. with a dialect. He also spoke Italian, French and RHYTHMIC JUDGMENT teacher. There is much valuable material on psychology years, and to make a great artist of me, but I do not Throughout his life he wore a wig with side English with fair fluency. ACUITY OF HEARINNG in scattered sources on music, physics, physiology, psy¬ wish to be an imitation of him, and three years is too curls and a pigtail. chology and art. But before one can really appreciate long a time for me.After having watched Haydn delighted to play upon the drums—in¬ LOUDNESS DISCRIMINATION Haydn’s first post as music director and com¬ the applied psychology it is necessary to have a reason¬ me attentively, he came to the conclusion that I had no struments to which he was accustomed from his poser of chamber music to Count Morzin, netted able command of general psychology, for which there method, that though I was present in a very fair way, early childhood. are excellent text-books available. Among these are him board and lodging and about $100 a year. VOICE CONTROL I might easily go astray, and that when he ceased to Haydn’s character was a curious admixture of James, Psychology, Briefer Course (Holt) ; Pillsbury, Nevertheless Haydn felt this meagre income suffi¬ REGISTER OF VOICE play there would no longer be a representative of the kindliness and practical good sense. Essentials of Psychology; Titchener, A Primer of Psy¬ cient to warrant his marrying to daughter of a QUALITY OF VOICE grand old pianoforte school left.” Haydn stamped the native and fragmentary local wigmaker. His wife’s maiden name was chology (Macmillan) ; Muensterburg, Psychology, Gen¬ Zwyny and Eisner (his teacher) : “From Zwyny and utterances of folk-feeling with the careful, pur¬ Maria Anna Roller. She was three years older eral and Applied (Appleton); Angell. Psychology MUSICAL APPRECIATION Eisner even the greatest ass must learn something.” poseful orderliness of art. than Haydn, and was a veritable she-devil, who (Holt) ; and Judd, Psychology (Scribner). MUSICAL EXPRESSION Carl Czerny: “He is a good-natured man, but nothing made things hot for Haydn all the rest of their Out of the laboratory-studio will come a number of Haydn proved a generous friend to innumer¬ able young men of talent. He was always ready married life. simple tests which can and should be employed by m°Berlios: “This is the way Berlioz composes—he -to aid them with advice and substantial help. Prince Esterhazy was known as “the magnifi¬ competent teachers and supervisors of music. The sputters the ink over the ruled paper and the result is character of some of these tests may be inferred from cent” and some idea of the elegance of the Court The third, Fig. 3, with about the same amount of train¬ as chance wills it.” ■ Haydn recognized the genius of Handel, say¬ our inventory; but, like drugs, they should only be ing of him, after he had heard a performance in which Haydn spent much of his active life ing as the first two has failed in music and the reason is may be gained from the fact that the Prince’s used by those who can use them safely. What His Contemporaries Said of Chopin of the “Hallelujah Chorus”—“he is the master clear: he is seriously defective in tonal hearing, tonal own court costume was embroidered with genuine imagery, tonal memory, and motor ability. The thing The third aspect is that of the work of the consulting Mendelssohn: "Chopin is now one of the very first of us all.” psychologist. The important work of vocational guid¬ diamonds. The favorite instrument of the Prince that has drawn him into music is his good time sense pianoforte players: he produces as novel effects as Haydn was Mozart’s teacher, and he was ever was the viola di bordone. Haydn was obliged ance at its best cannot be done by a mere psychologist and his intellectual appreciation of sound. He is Paganini does on the violin, and performs wonders ready to acknowledge the latter’s gifts. to furnish new pieces for this instrument all the or a mere musician. It must be done by a technically doomed to be a failure now at twenty, that could have which one would never have thought possible.” Haydn was appointed chef d’orchestre of time. been predicted with certainty at the age of ten. trained psychologist who is also an artist in music Wiener Theater Zeitung (a Viennese journal of much and devotes himself professionally to this highly special¬ Prince Esterhazy’s orchestra in 1761, remaining Haydn was very fond of children, but never, consequence at the time): “He plays very quietly, with in the royal service for thirty years. ized task. little emphasis, and with none of that rhetorical aplomb had any of his own. f The only claim made here is that it is worth while Haydn was not above conducting the music which is considered indispensable by virtuosi .... Haydn looked upon his genius as a gift from to take advantage of the latest and best aids that He was recognized as an artist of whom the best may for dancing at court balls. above, for which he was bound to be thankful. scientific psychology offers for the discovery and analy¬ be expected as soon as he has heard more ..... Haydn gave the score of the “Creation” and the sis of natural musical powers. Haydn, like Mozart, was an ardent freemason. He knows how to please, although in his case the desire “Seasons” to the Tonkiinstler Societiit, which has derived a permanent income from both works. Haydn wrote very neatly and uniformly,^ remarkably What Shall it Profit to Know One’s Musical Self? to make good music predominates noticeably over the Haydn replied, “The ‘Creation,’ for here angels speak, free from corrections; “because,” he said, “I never put It is possible to find out early in childhood, before desire to give pleasure.” Haydn said to Kalkbrenner, “I have only just learned and their talk is of God; in the, ‘Seasons,’ no one Berlioz: Berlioz told Legouve to see Chopin, “for he anything down till I have quite made up my mind musical education has'begun, whether or not a child has in my old age how to use the wind instruments, and higher than Farmer Simon speaks.” is something which you have never seen, and someone about it.” natural musical capacity, how the various elements in now that I do understand them I must leave the Haydn established the sonata form on a permanent you will never forget.” Haydn composed the first German national hymn, this capacity are relatively prominent, and, by reference basis. Many tentative efforts toward a new method to norms, what degree of each element of talent is What Chopin Said of Himself “God Save the Emperor.” It is said to have been based Haydn said of himself, “Anyone can see by the look of musical structure, based on an organized contrast necessary for success in a given type of music. On the of themes and keys, had been made. Haydn organized on a Croatian popular air. “I am well and in good spirits. Why, I do not know, of me that I am a good-natured sort of fellow. He basis of such concrete facts in hand, the parent and but the people here (Vienna) are astonished at me, and this material and welded it into the sonata form. was fond of a joke but never indulged in immoderate Haydn, at the close of his life, called his household teacher can decide intelligently whether or not to give I wonder at them for finding anything to wonder at together, and played his “Emperor’s Hymn” over three this .child a musical education, how extensive the plans laughter. Haydn was in Vienna at the time of the bombard¬ for a musical career ought to be, and what type of ment by the French. At the sound of the cannon his “There is an almost unanimous opinion that I play Haydn’s operas like those of Handel are now swal¬ music to undertake in order to use natural equipment household was filled with terror. Haydn called them Haydn was forced to lead a more or less secluded too softly, or rather too delicately, for the public here lowed in oblivion. He wrote over twenty-five works for to the best advantage. (Vienna)—that is to say, they are accustomed to the together, and tried to calm them, remarking, “No harm life at Esterhaz, as his royal master felt that the the stage including five marionette operas. The musician who has entered upon a career and has drum-beating of their own piano virtuosi. I am afraid can come to you while Haydn is near.” grandeur of his own court made visits to the outside world unnecessary. Haydn said, “I was cut off from found difficulty may, however, also turn to these meas¬ the newspapers will say the same thing, especially as the Haydn’s journey from Vienna to London took fifteen Haydn owed much to Emanuel Bach—the greatest urements to analyze the exact nature of his difficulty the world, there was no one to confuse or torment me daughter of one of the editors drums dreadfully; but days. It can now be done in two. clavier player, teacher and accompanist of his day. Of and to find out whether or not it is such as can be and I was forced to become original.” never mind if it be s6; I would much rather they said I him Haydn said, “Those who know me well must be overcome by training. played too gently than too roughly.” Haydn laid great stress upon the desirability of com¬ aware that I owe very much to Emanuel Bach, whose Haydn’s younger brother, Johann Michael Haydn, was But as in other fields, the exact and scientific knowl¬ “My manner of playing pleases the ladies so much.” posers learning to sing. works I understand and have thoroughly studied. famed almost entirely for his church music, much of The fourth, Fig. 4, a young lady who has had as edge is neither the commonest nor the most useful. “If the newspapers cut me up so much that I shall Haydn’s Creation was first given in Vienna in public which was very beautiful. His disposition was totally much musical training as the other three but with Witness our knowledge of animals and plants. Every not venture before the world again I have resolved to Haydn composed some 250 airs, accompaniments and in 1799. It netted Haydn $1600, a large sum in those different from that of his courtly and more famous doubtful success, the reason for which we can see again student of music is entitled to a general knowledge become a house-painter. That would be as easy as any¬ symphonies for. the poet Thompson, friend of Burns. of the elements of psychology which should result in brother. He was rough and somewhat given to drink. in the low scores on the fundamental talents. The high thing else, and I should at any rate still be an artist.” days. In the correspondence between Haydn and Thompson habits of observing himself and others, and the joy of “I move in the highest circles, and I don’t know how is this letter, “I send you with this the favourite air, Like his famous brother he was practically self-taught ability in rhythmic judgment is of little use in the Haydn knew that he was not good looking and could seeing how the mind works and of acting reasonably I got there.Among the Paris artists I “The Blue Bells of Scotland,’ ” etc. in musical composition. absence of the fundamentals. She has no vital interest never understand why so many good-looking women upon such knowledge. Knowledge of self is neither enjoy general esteem and friendship; men of reputa¬ in music and cannot acquire it. Haydn was for some time Beethoven’s teacher, al¬ Haydn was industrious. He was an early riser, and cold nor abstract; it is warm and concrete, especially tion dedicate their compositions to me even before I were attracted to him. though Beethoven afterward would have been glad to long after his student days were over, he worked when it pertains to the art impulse, as in that most have paid them the same compliment. Pupils from the Haydn had a high regard for melody. One of his disclaim such a relationship. Haydn regarded Beet¬ MUSICAL TALENT CHART beautiful of all gifts—the gift of music. Conservatoire—even private pupils of Moscheles, Herz sixteen to eighteen hours a day. At work, he sketched favorite expressions was, “The invention of a fine hoven as a pianoforte player; Beethoven regarded out his ideas roughly in the morning, and elaborated and Kalkbrenner—come to me to take lessons. Really, melody is a work of genius.” if 1 were more silly than I am, I might imagine myself Haydn as behind the age. them in the afternoon. The importance of a melody TONAL imagery he specially emphasized. “It is the air which is the a finished artist; but I feel daily how much I have still Haydn often said that it was not till he had been Haydn was inspired to write the “Creation” from TONAL MEMORY Stop! Look! Listen! charm of music,” he said, “and it is that which is to learn.” hearing, frequently, Handel’s oratorios in England. CONSONANCE in England that he became famous in Germany. His most difficult to produce. The invention of a fine . j-1 By T. L. Rickaby “I am in this world like the E string of a violin on a second sojourn in England netted him some $6000, fnjrn When he had finished the “Creation” he remarked, “I melody is a work of genius.” contrabass.” lessons, concerts, and symphonies, not counting his hope the critics will not handle my ‘Creation’ too Thf. railroad man who created this device is said “You will play in memory of me and I will hear you other compositions. severely, or be too hard on it.” Haydn’s last public appearance was at a performance - .FREE RHYTHM to have received quite a sum for his cleverness. People from beyond. Oh no, not mine; play really good music Haydn delighted in practical jokes. He was expelled of the “Creation,” given in the University at Vienna, 'HE(IULATEI) RHYTHM do not listen nearly as acutely as they should. The —Mozart, for instance.” Haydn’s English admirers made him many odd pres¬ . -j-1- • from the Choir School of St. Stephen’s Cathedral, in in 1808. All the great artists of Vienna were present, Rhythmic judgment violin pupil is trained to listen because he must make ents. One gift was composed of six pairs of cotton Vienna, for cutting the pigtail off the wig of one of including Beethoven and Hummel. At this time, Beet¬ ACUITY OF HEARINNG his intervals. The piano pupil is absolved from this stockings into which was worked favorite themes from hoven, forgetting incidents of former days, fervently LOUDNESS DISCRIMINATION Haydn’s Boyhood Pride the other boys. —| ‘ difficulty and as a result he listens very little indeed. Haydn’s works. kissed the aged composer. SINGING KEY .|-- There are of course tone-deaf people who are as One of Haydn’s first attempts at instrumental music Haydn’s one hundred and twenty-five symphonies KINGING INTERVAL unfortunate as their brothers, the color-blind. The was with the bass drum. When a small boy he was Haydn has been called the “father of instrumental number but about forty that' are ever heard of in this Haydn, when in England, was commanded to Carlton VOICE CONTROL m; : : color-blind man, who sees a field of bright emerald studying in Hamburg, it happened that his boy friends music.” He created the modern forms of instrumental day. Many are still in manuscript. Eighty-two of his House many times. He met George III and the Queen, REGISTER OF VOICE grass and tells his friends that it is blue, is to be pitied were invited to march in a grand procession. Assem¬ music. He individualized the instruments of the or¬ symphonies were, however, published in London during and they tried to persuade him to settle in England. He was addressed by the King as “a good and honor¬ QUALITY OF VOICE , just as is the man who hears beautiful music and bling for the parade, the drummer was missing. A boy chestra, and gave them independence. Haydn received Haydn’s lifetime. . .1-, cannot distinguish it from noise. Very, very few people, able German”; to which Haydn replied, “To preserve TRAINING suggested Haydn; he was lined up, and we can assume the degree of Doctor of Music, from the University however, are color-blind. If you find yourself striking Haydn was extremely pious. He attended to his that reputation is my greatest pride.” MUSICAL APPRECIATION acquitted himself finely. In after years he often re¬ of Oxford. He was honorary member of many false notes, it is time to “Stop! Look! Listen!” there called that he never remembered a prouder moment religious duties with great care. Most of his scores MUSICAL EXPRESSION learned institutions. were prefaced with the words “In the name of God” Haydn first visited England in 1791. The orchestra : is danger ahead—and the danger is a habit that will than when, scantily clad and half starved, he marched h::::: (In nomine Domini) and concluded with “Praise be to playing his works at that time numbered between ruin the work of any piano student if it is not cor¬ proudly among his boyish friends, beating the bass Haydn was once asked by Emperor Francis which thirty-five and forty performers. This was then con- Fig. 4 rected. work, the “Creation” or the “Seasons,” he preferred. God” (Laus Deo). THE ETUDE Page 93 FEBRUARY 1917 FEBRUARY 1917 Page ; TEE ETUDE The Advantages of a “Practice-Book” sidered ample. Haydn did not conduct the orchestra. The “Delicate” Hand Salamon, his manager, and first violinist did, Haydn By C. L. Wiswell sitting at the harpsichord, keeping the band together The following plan has been found extremely The Composer with an occasional chord, as was then the practice. Therk is still much discussion relating to the protec helpful, eliminating some reiteration on the part of Haydn said of Mozart, “I only wish I could impress tion of the pianist’s hand. Of course the hand must be the teacher. Certain important principles or rules upon every friend of mine, and on great men in par¬ protected against serious injury or abnormal stra . as to phrasing, legato, staccato key-signature, ac¬ A Powerful and Fascinating Romance of Modern Musical Life ticular, the same deep musical sympathy and profound As a matter of fact, however, the P>amst s hand is cidentals, modulation, accents, the number of notes appreciation which I myself feel for Mozart s inimit¬ in a trill or turn, etc., are dictated to the pupil as really a very strong member. Beware of the hand¬ By the distinguished writers able music; then nations would vie with each other the need for them arises in the progress of our shake of the virtuoso. His fingers are like vises ana to possess such a jewel within their frontiers. work; generally one at a lesson, sometimes two. his grasp like that of the grizzly bear. In years gone AGNES and EGERTON CASTLE Haydn’s first English concert was an immense suc¬ These rules the pupil writes in a practice-book, by the pianist protected his hands as though they were cess. Burney records that “his appearance in rte or¬ which contains ruled music-paper At the same Authors of “The Pride of Jennico”, “The Bath Comedy”, etc. chestra seemed to have an electrical effect. i he cream puffs. Thalberg, even when he was a great artist, time an illustration of the rule from a page of concert was held in Hanover Square Rooms, which always refused to carry an umbrella for fear that he the music in question is dictated -The composer” commenced in THE ETUDE of last October had been opened in 1775 by J. C. Bach, a son of J. S. might strain his hands. Today it is not uncommon to This the pupil also copies in his book “It is, iiberkaupt, no career for a well- “His Phsedra!" repeated Sarolta, clasping Bach, and where later appeared in concert Hummel, see famous pianists running automobiles, playing tennis At the next lesson he is required to have the rule brought-up young woman,” said Frau Bertha CHAPTER XIV ' less sleeps which had replaced her broken her hands, as if holding, something precious Liszt, Rubinstein, Mendelssohn. It was ap this time and golf, without thinking of their precious fingers. memorized and to bring two other illustrations of nights, and the Idleness of her waking hours, sententiously. that he composed the "Surprise Symphony,’ to wake ’ it written in his “practice-book. These two illus¬ There was little change In the Hege- had done wonders for her appearance and anphmdra! Sarolta knew as little of her as CHAPTER XV manusche Haus for the “e*V" £ health. But upon receipt of Lothnar’s tele¬ once she had known of Iphlgenia, but she up the sleepy Londoners. trations he is at liberty to select from any of his The increased liberty which had come gram she became as one who has received a At last the order came that Lothnar was Haydn at Esterhaz, had everything that he could told herself that If it was to be another rdle expecting them. Sarolta, as she and Rein¬ music old or new. rolta from the night of her debut continued. new soul: all her listlessness fell from her. of sacrifice like that of Agamemnon s daugh¬ wish for. The palace itself was comparable only to Another help in the economy of time an FEBRUARY 1917 FEBRUARY 1917 ueu ___the darkness. Her soul . , tl„. mar —rounded her, sheseemed leanedUto Blip from the body and fly across ' Sarolta sat stiffly, holding her foaming cof- aad ^engt^nlaved with^ her.hcr . the hidden spaces to where a tiny light ever be not tall? Is be not strong and disdain¬ pl y-.... — have ever learned gleamed yellow between swaying ful? Is be not a man to waste a woman's fee-cup. Scarlet-cheeked and h^a™aa’ fhat ,.From the tot .you ——added,orlflpfl. Stillstill aUQana . , C3.*g" j,hoe , too, was watchingl The Teachers’ Round Table heart within her for longing? Ach, maiden, s was a horrid little mind; but quickly,’^ he said. , -whatwe isstni post- w - WOnder she could not sleep! Was he maiden you may be, but It is of ma*de“a at she wanted to tell her. . t forgotten, and we have stm thinking o Conducted by N. J. COREY that women are made. Look at him! I tell ■Ah, thou, my love,” soothed Reinhardt poned is not linger on such a hope? and not technical problems pertaining to musical you that he is beautiful, if you don't see it— To sing! Anything in the vworld would 11D|he tQ,d herself that she would never be all Frledhelm Itelnhardt as be Is! Forget unmoved, ' and address must accompany all inquiries. that he is Friedbelm Reinhardt, that you are _ earth would understand, i Fraulein . . . Fraulein, ach was! What CHAPTER XVI - assurances that"she was not dream- ™"'“he,“puce in his life; bis singer, part development i, alwalow. Seale praotiee ahonld com matters It? Be Phffidra!" wanted assurances ,ievabie thtag was true— a™y work Yet for that very reason n The First Lesson tain a great variety of treatment with accents so tnat “Look at me/’ said Lothnar. mg, that Jusav agaln tbat tils soul was helpmate than any other w -AVer, tester Ueister, . . pleaded He was sitting at one of the pianos, in wanted him to say abe *was"ws -chosen; that bc""““The voTce^ ^ lngplratlon„ Tiresome Work “e iind must pay attention. Such compm.tom» a Reinhardt, the scarlet rushing to his hand¬ odd great music-room, and Sarolta •■I would be pleased if you "°u,T£g'a pupR thevSunderstood each other. She wanted ^ ^ Reinhardt. To be that to Lothnar, way in which to spend anJio f 2iven lessons Mason’s Touch and Technic and Mastering of some face. standing beside him. ’ “IexerrfsesPvery Hresomeflnd hart1 fo his or her first lesson. I na^ e ne'ei s time.” -Look at him!” shouted Lotbnar again, .Look at me,” upon .— with all the innocent ardor of her tiapped intimately, as wife Is closer than before, and I intend t FEBRUARY 1917 LUDWIG RENK FEBRUARY 191? Page 100 THE ETUDE LOVE’S YOUNG DREAM ‘A mighty pain to love it is, „ And ’tis a pain that pain to miss_ r Cowley A very pretty reverie in the style of a slow waltz. Cultivate the “singing tone” throughout. Grade 3. R.S. MORRISON Moderate) m.m. J = 144 A very fine minuet in the true classical style.Very few modern minuets have the real flavor of the stately old dance. Play in a precise manner with crisp clear touch. Note particularly the return of the first theme in the left hand beginning at measure 72. Grade 4. Dedicated to The Conway.v AT THE DONNYBBOOK FAIR c^pos^er^s're^Ual work^t^ nu^mberhjs^e^'pIiiyed^fronTfhe^ manuscript J°hDme8 Allegro vivace m.m.J =IS6 -- COBAa Tempo J Jr motto' r/t. sfz jff? edim. HL -* ft i f f - > ~ir -—5—-* rs j|£ «tempo JSSn S , > >» 1 1—«| —r-PJ J u ^5pf fSl: ■poco Fit. — tm ^_o ,ffILt] , , - -__ v//. * yT uf.edim. tnp r ^ r *1L-P c/wj ^ 1 ^ # q fa -Jt h ^ Quasi'eeilp_ jp ^ ten British Copyright secured Copyright 1917 by Theo. Presser British CopyAghu.c.red ,9I« bI ™° P"”" ' THE ETUDE Page 105 FEBRUARY ±917 FEBRUARY 19H MANDOLINATA ROMAN SERENADE E.PALADILHE Arr.by Hans Harthan made much of this tune in larger transcriptions.Graders An easy arrangement of a beautiful old folk melody. Saint Saens and others have Allegretto 108 ISC I w mf j» f J- K— A % a tempo _ n 5 1 k _ ■ K J ' H 1 Sh 2 2 p fTnffi, J ^ « r- r~ ' motto ere sc. — p mT^k r~^7> 1 VO b , *—f - - i~r *~—i Copyright 1917 by Theo. Presser Co, THE ETUDE Ttigr tor FEBRUARY 1917 TRIPPING THROUGH THE HEATHEREDUAKI) H0Lhr "" '"Tripping through the heather^_ PRIMO that cannot fail to please. It has just the right swing Tempo di Polka m.m. 4 = 108 > Good concert polkas for either solo Or four hands are rather scarce but her and the requisite scintillating character Play It in festive style. Ora e SECONDO CODA THE ETUDE Page Hi FEBRUARY Page 110 THE ETUDE LOVET rWTT! BLOSSOMS_ . _ Tare must;t beoe I!taken to bring out well the inner voicM A graceful modern gavotte with alluring themes and clever chromatic harmonie Moderato M.M. J =108 LESTER W. KEITH A MERRY SLM™ „ “«»■>> »«*«" g,1”*""1"* imraedUl*ly’thu8:_ f T | __WALTER ROLFE Grade 2 yivace M. M. J = 108 _ ___ ^ — Ijjjf ■’rT^s. * ' JJ,® \JL* 1-4-J, J j n j/^i. -t—L—Mi- iy If T : F * till1 “p-accel. ■■ f~ - • 1 m j t h - ■ gj— f - 1- Li—» -L-fJI L— —. * i j tj— ___ u-'-i FEBRUARY tin T Page H2 POLONAISE BBILLANJB I",1:” ltvr:v; :s*srar. ^rd Tempo di Polonaise m.m.J=iob INTRO. Allegro eon brio British Copyright secure FEBRUARY mi — VALSB ^ ^ (.gawsHi; Moderato con aninia THE BLACKSMITH AND HIS SONG anvil chu KUS'Xl "-is- Meno mosso gip - sy? Say! Who cheers the days of the ro - ving ro - ving gip sy? *^Who cheers the days of the British Copyright secured Copyright 1916 by Theo.Presser Co. British Copyright s«cor#d Copyright 1917 by Theo.Presser Co THE ETUDE Page FEBRUARY 1917 FEBRUARY mi Page US THE MU BEtatto MY LIFE SHE CAMESnakes his first appearance in «(t Two wist-ful pulse-less ghosts, we meet and say, GOTTFRIED H. FEDERLEIN Grace Denio LitchfieldLHchl.eia snd c01Dp.ser.With ""8 M” 1 A short but very artistic song y ETUDE pages. J _ Allegretto m.m. __ ■ i7\_ dolore r7\r*ll‘ ^^ , _ —m pit-v us, we wast-ed yes-ter - With graspinghands that touch no oth-erhand, God ■ day-- ns r—| 1 1 . 1 \ " * ft* ppp^- P" rail, ns ^ | _ _ K VgE=EEg=E L ft|» 1 ~ ^ |“ ♦ r 3 ^ 1 “ LJ' '■J w vJf LOVE’S DAWN A tender little love song, suited tor teaching purposes or for use as an encor' number. The composer is a ’j““AJTH Andante THE ETUDE Page l®1 FEBRUARY 1917 FEBRUARY 1917 Talk About Ambition! Phew! The following little article came from So gladly I’ll sweat for it, p i TSCHAlKOWSKY,Op.39,No.8 an Etude reader in Columbus, Ohio. It Fret for it, 1,T^Vriotion for Violin and Piano by was signed “Unknown” but if its author Plan for it, Page 120 THE ETUDE Free trangggg HARTMANN* valse lives up to its creed he or she will not Lose all the pleasures and comforts to learn of it, t \ a arranged for the violin by Mr.Hart- be unknown after a few years. And I’ll surely go after that thing that fnr the pianoforte. _iaV Grade III. ‘A Musical Education” I want, I crave music well enough to go out With all my capacity. and try for it, Strength and sagacity, ^ Work day and night for it. Faith, hope and confidence, Give up my time, and my joys, and my Stern pertinacity, sleep for it, For neither cold poverty, famished or My earnest desire for it gaunt, Makes me have love for it, Nor sickness, nor pain Never to tire of it, Of body or brain, Makes me hold other things back for Shall turn me away from the thing that the place of it; I want. My life seems all empty and useless If, dogged and grim, without it. I besiege and beset it. And all that I scheme and I dream is Thru patience and trust, about it, I am sure I will get it. Miracle Plays of Other Days Much interest is taken at the present churches were the scenes of indescribably day in the old miracle plays, dramatic coarse revelry. A “Fool Bishop” cele¬ productions sanctioned by the mediaeval brated a burlesque mass; the censors church when learning was not as uni¬ were filled with pieces of old boot-leather, versal as it is now, for the purpose of ac¬ which filled the church with an intoler¬ quainting people with certain phases of able stench; dice were cast and cards religious life, Scripture stories and played on the altar; the priest invoked legends of the Saints. While originally coarse maledictions instead of blessings produced in all reverence, miracle plays on the congregation; in short, all sacred were later subjected to deterioration. ideas and rites were parodied in the most “With the admixture of secular ele¬ outrageously profane way. The Feast of ments,” says Fillmore, “and the admis¬ the Ass was little better. It com¬ sion of strolling actors and minstrels as memorated the flight of Joseph and Mary performers, the plays grew more and into Egypt. An ass, dressed in monk’s more profane, until at last the coarsest costume, was led into the church, the and most scandalous jests and songs be¬ priest intoned the Latin hymn, Orientis came a prominent feature. These low partibus, closing each verse with an imi¬ elements even invaded the churches. At tation of an ass’s braying, to which the whole congregation responded with an the Fool’s Festival, a sort of Christian revival of the Roman Saturnalia, the uproarious hee-haw!” A Practical Advertisement By Mildred T. Stone In a recent- Etude, I read among the long been established. We expect the “Don’ts for Mothers,” this bit of advice, storekeeper to show us his goods and “Don’t expect the teacher to entertain they must be A No. 1. He wouldn’t be you for awhile after each lesson playing very successful if he just took orders or for you.” This is an excellent piece of told people where to get what they wanted without displaying his wares. The advice as far as the mothers are con- ability to play well is a part of the cerned; but on the other hand— teacher’s “stock in trade” as her knowl¬ What better advertisement can a young edge of music or gift of imparting ■teacher have than her own playing? Is knowledge. A teacher who plays for a not the willingness to play for a few few minutes once in a while often in¬ minutes now and then after a lesson al¬ spires the pupil to “try to play like most as good a recommendation as a teacher,” and she pleases the mother, who Ready For Company framed diploma signed by Prof. Some¬ is likely to recommend her to her friends. body, of whom mother has never heard? That little musical hour will be all We may lose a little time thereby, but Of course I am thinking of younger shall we not gain in the long run, through the pleasanter for the piano’s cheery and less experienced teachers, not of new look. those whose reputation and price have good will and respect? _ PIMBLEY’S _ Piano-neweK The Exciting Career of Tartini brings back life and beauty to the was made up of sixteen voices and twen¬ The career of Tartini, the great violin¬ ty-four instrumentalists, and was con¬ good old piano. Oils, paste polishes ist of the 18th century, whose music sidered the 'finest in Italy. For a long and waxes will in the end deaden the every violinist admires, was full of ex¬ while he concealed his identity, but at finish. Not so with Piano-Newer. citing adventures. When he was a stu¬ last on a day universally observed by the A few brisk rubs and—lo! all gone the bluish, smoked or greasy coat¬ dent in the university at Padua he devout for a pilgrimage to Assisi, to the ing. A child can do it. Doesn’t rub off and soil the clothing; dries seemed to have every prospect for a tomb of St. Francis, he was recognized cmickly and perfectly. , . happy and prosperous life. His father by people from Padua. All obstacles to At most good drug stores, hardware stores and furniture stores was wealthy and influential, he was him¬ his return were removed, and he rejoined everywhere. 50c—31.00. self a brilliant student. But he fell in his wife, and lived among the most cul¬ PIMBLEY’S PIANO-NEWER has been used for 25 years by manufacturers, deal¬ love with a girl whom his parents did tured people, devoting all his time to ers and users of all sorts of high grade hardwood articles—pianos,. violins, miscellaneous not approve of, and he was forced to music. In addition to discovering the furniture For efficiency, convenience and thoroughgoing satisfaction it is unapproached. “third sound.” which has been mentioned leave the university and his bride, and PIMBLEY PAINT & GLASS CO. flee from Padua. He traveled about, in The Etude, he made many improve¬ ments in the construction of the violin playing the violin for a scant living, un¬ bows, and in the thickness of the strings ST. JOSEPH MISSOURI til he finally secured the position of vio¬ linist at the chapel in Assisi. The choir used. Please mention THE ETUDE when addressing advertisars. 1 Mr Hartmann’s name must be mentioned on the f * When played in public, Mr. Harima Copyright 1917 by Theo.Presser Co. THE ETUDE Page 12S FEBRUARY 1917 FEBRUARY 1917 over “Ne pousse pas” (don’t push) when the whoopy, heady tone, and tried to the pupil would force the voice. keep the voice down to its real and nat¬ Page m THE ETUDE ural resonance. The result was that all Singing in the Chest his pupils who obtained an insight into this principle sang with a firm, vibrant Another idea on which he dwelt per¬ IVERS & POND Department for Singers sistently was singing in the chest. He It is difficult to put his ideas on paper, often told me that this was the secret of because they seem so spontaneous and singing and a principle that almost no¬ intuitive—so like flashes of genius. Editor for February, PE * —— body understood. I think few of his They do not seem the same when writ¬ PIANOS “oils thoroughly understood this, and he ten down as they do when illustrated often said so. I know, in my own case, by someone who understands them. But HIGH-CLASS UPRIGHTS it was indeed, some years before I fully I have given a few ideas that I learned Mr Parlm Dunn Aldrich, the appreciated the principle and saw the from watching him teach many different editor Of the Voice Department almost breath-bereaving results I could VER 400 Leading American Educational Insti¬ nf Tim Etude for the present pupils, hour after hour. I have never O riontl has had ™ unusunHy obtain with it. It was very difficult to ceased to be grateful for this opportunity tutions and 60,000 individual owners now understand, because it seemed impossible Vsf TTe Xr^anTcon- I had for observing his wonderful teach¬ use Ivers & Pond Uprights. Not by acci¬ SSSp^i Pr .r irgffia Wvatory, where hU. ;«•«**« for a soprano to keep her high notes sing¬ nr Louis Maas, phtn hmerv ing; for I feel sure that whatever meas¬ ing in the chest, or for the tenor to keep dent or chance have these discriminating buyers, ae°Ti YITX'cr a* a rZull his mixed voice there; but, like all real ure of success I have had has been largely due to his inspired teaching. insistent on quality, searchingly scrutinizing value, maestros of the voice, he could not abtde chosen the famous Boston make. Its delightful tone TritedeilTinPari™ quality—the heritage of half a century s striving tJoCt^XU£fer^ toward an ideal—our patented improvements and SS&wsr;Sbriglia must have been l fof The Secret of the Art of Singing sterling integrity of construction offer the explanation. ning and charming auout “ —_ ho)c ^ -a°fage {ormanCe ofo* ManhainManna ... actually lived with f^tglia and Many people who sing, or teach sing¬ not strange that each one has a wonderful **voice. it It * ■seems»*• to*“ modify ;,rr the \£* he sang m a Pp Philadelphia in ‘ secret.’’ Someone tells me that a very acted ae u.uistant ami ing lay so much stress upon one special ■ scale ' when properly understood, and ,he Academy of Music t t panist.v. Jr. ^Aldrich has a fine celebrated teacher told him that singing rich hif/h baritone voice amt at phenomenon connected with the v0'ce gives’ to the upper part of the voice a ^ and {or ape^the linn*time (inpe.arcd constantly in and its production that they finally de¬ was entirely “a question of the nose.” It mysterious beauty and carrying power. It time sang m Cuba, m He does not seem as if any real teacher of wiU not have this mysterious beauty un- States in opera and conce ^ ^ clare themselves to be the possessor of the xrsde^^i the voice could put it that way. I imagine secret of the art of singing. And they less it be produced with the greatest o teaching on his Italian own1 MMdiTin Philadelphia^ there must have been a context with the SsV Sleast restriction or obstruchon ^ trained b I ahan t here he is extremely succeas/ul really believe it. Perhaps for themselves remark that was omitted in the telling. w a vocal instructor.—fe they have found the “secret”; but it does of the voice channel seems.to deprive Machers Nap es anf> jia“school, Che Etude. By the way, I wonder who ever invented not follow that another artist could not of its beauty. The least effort to force f ^ the principles of the1™ this singing “in the nose,” anyway? Did sing just as well with quite a different beyond its natural strength deprives ot was eminently a pract'c^ anyone ever hear a great singer who did idea in mind. . it? I never have. Someone told me it could sing and sing without fatigue and A singer who has a beautiful voice and was Sbriglia. But I knew Sbriglia very give every graduation needed for the tone a genuine talent for singing can make well; I lived in his household, I played I “,« often wondered wh,o.n,.»g- P^ ” k„ „„,hing of the mo« beautiful effects with comparatively little It was an understanding of this idea that accompaniments for him and taught some teaching, if it be of the sensible, common- The Head Voice enabled him to develop Madam Nordtcas of his pupils alternately with him, and I sense variety. Singing is such a simple, voice from a lyric to a dramatic soprano rarely heard him refer to this nasal sing¬ Someone asked me once why I worked natural process that one only needs to voice. He insisted on this support so ing, except with contempt, and the re¬ follow the natural development of the strongly that many of his singers, De marks he made to one tenor who insisted voice to succeed fairly well. But when Resake Planqon, and many of lesser note in doing it would not look well in print. reply was that man, the singer “chases after false gods all And another person told me that the singing beautifully does not seem neces thjs one particular line. Hi¬ wore abdominal belts to aid in s«Pp°rt the time, in the hope of finding a “short r artist had acceded by the perfect.™ ,he chest. Of course, many pupils abused whole of the art of singing lay in the lary for success, to patiently work away a gen ^ empiricai and intuitive.. I cut/’’he usually finds himself in a blind the power that this chest development diaphragm. Fortunately, I escaped before at the small kernel of the head voice un- ‘ g taught entirely as his mtuiUon alley from which he backs out and hope¬ gave, and “hollered- untd the vo.ce wa I had to listen to the stentorian tone that S it blossoms into full flower, but if one ^eheve.^ ^ sometimes ^ was d.fficuU fully chases up another. It would be his highly developed diaphragm could has the patience to make haste slo y> f0ll0w for his system would s worn. But this. I take it. was Iart^* amusing to watch these half-baked sing¬ and choose the path of beauty, rather to^ohow, ^ ^ student He contl„u from his idea. I feel sure, however, that ers chasing from one idea to another in calliope to unwilling ears. lost this trick ? „gard to than power, in the beginning, Ac reward sQught after the natural voice )>u many pupils came away with the wrong the vain quest to buy proficiency, if it I knew of a lady who felt so sure that the is much greater in the end The young * he would use unnatural means idea of this “support, and gave y were not so pathetic. Even if the article secret of singing lay in keeping the tongue ascertain pupil “.Tic “ singer should remember that an artistic end. j mean, he would ,tr\ to wrong impression of the maestro s they buy from the singing master were of flat that she invented a contraption with career is cumulative. One does not tog^ ^ ^ before * the very best and really did bear some which to sit on this unruly member. And iwNor;i.\.>.«sxb'“,i,ul achieve a great success at once' °"® treated the voice as a whole. For ex- °fISoncenasked him why he did notjnte resemblance to the Secret of Singing, it another invented a machine to hold the lips goes on from victory to v.ctory and n j have heard him exercise a pup. down his method. H.s rep y jas fflr would be of little service to the phantom in place. Another insisted in singing en¬ the long run, the beauty of the voice wil vjgorously on the sounds fee and fay, with chaser, for he would not stop long enough tirely in the head register, and, therefore, SSHgSS win success over others who have shout cjosedj on the middle notes, to to develop what he had learned. But it had no medium or low voice. Another, away their birthright. Therace.snot & strong resonance throughout the is true that some simple truth carefully that there was no such thing as registers, always to the shouter, nor the-tattleto ^ voice He would use the Concone and logically developed does seem to con¬ and he nearly blew his head off trying her of the strong lungs. But ^ working Lmm|U ^ ^ same way, making SSiSIS'tconclusion that I had ^ experience sing. If the voice is too open, I shut, tain the secret of singing. The same idea to force his middle voice to the high 'for head voice, the young singer should y ^ sometimes one and some- may not appeal so deeply to another and truth. I thought over y if it is too shut, I open. , Style 705-Ivers & Pond be warned against that substitute ^ other of these vowels. When may even seem harmful. head voice known as frontaI voice. Thii the syllables I have He taught in the old-tashuMied w y ej character of voice has a hollow —- they ^ ^ ^ /fl to fce (or ,„) using the Concone exercises on the Different Methods for Different Voices sound adapted to the need of the P«P Albani’s Secret Shown here is the most popular Upright we have cal quality-something like a falsetto ^ & ;i ^ wag weak and heady, But why go on to enlarge the list? Let (the ah the last of all, usually)- Then^ Someone told me once that he asked voice that does not amalgamate with any j ^ ^ carry this same work into us come to the gist of the matter. _ Sing¬ ever built—one of the great pianos of the day. Be¬ would use the same exercises n Albani, who was a very beautiful singer, other tone, and is so likely to soun as possible, to cure ing is the very simplest thing in the fore purchasing, examine it, or at least write for our ==SK« ^t= sharp. Even if it is on the key . sound ^high^ — < ^ of the so- fixed do syllables. He would £ <£y what she did to obtain those lovely notes. trust that the work we5 are doing is world. To be effective it must be, ap¬ new catalogue giving pithy piano truths valuable to • hr line We try to teach our pupils to “off,” as the tone has no bottom ^ ^ fronta, reglster. Perhaps and over the same aria, day a Her reply was, “When I feel that I am and even week after week, using ^ parently, spontaneous and* natural. The foundation to stand on. ^ ;l wouW work entirely on the singing in and not out I am very sure I voice must flow with ease and certainty, every intending buyer. /he P ace of he real h ad vo ^ o Qr 0() to remedy a voice that was vocal exercise, caring very tiffle am singing well.” This was her secret. so that the listener has a sense of com¬ which must be at the same t0Q white and reedy. interpretation, but spending She had learned it from the elder Lam- fort and security as to the outcome. But ,h„dd he. ' But 1 think the impo^ penetrating and heautitui. and thought upon the freedom of perti, in Milan, who, so they say.^ taught How to Buy Perley Dunn Aldrich this presupposes a perfect voice—some¬ v A Firm, High Chest his pupils to sing “Come here” (like Singing on the Lips thing that we rarely hear. Now, the drinking). It was the same person, I He insisted upon a firm, high chest for making of a voice is a serious proposi¬ If we have no dealer near you, we can supply you The Prima Donna in the all pupils. For those who had weak For certain voices he !nsis‘ed CS think, who told me that Albani had to re¬ tion. We find no two voices alike, and from our factory as safely and satisfactorily as if you Ff“f^i."c'reS”^ much upon the use of the lips, P ^ Forest chests he urged regular use of light turn to Lamperti three times before the each one has to be trained according to lived near by. We make expert selection and guar¬ fine head »te.. a«d * ™ on the closed vowels o and oo. , Page 128 THE ETUDE The Playing Over of Hymn Tunes la the Emerson Synchrona By William E. Warner, A.R.C.O. one enjoys k remarkable The playing over of hymn tunes is ™at ^a^dtpaTon, flute, gedeckt musical experience. The SPORT COATS ffTSSS tti" DWine gamha or £ of sof range of expression is infinite. THE KNOX SPORT COATS service. Yet, in spite of this, or perhaps eight-footstops y right hand FOR WOMEN are made of genuine Oriental fire, the Magyar holds his maiden it is more correct to say because of this, (Z) f»e “ while the left hand and Camel’s Hair Cloth woven exclusive- Pen Pictures of Great Compos¬ him by his first name. I think you would Some Things to Know about and turns with her like a whirlwind, till Whether played by hand— it is one of those details which oftenre- ide a quieter accompaniment, ly for us by the Worumbo Mills. be rather afraid to approach him, though his power is gone. . . . Thus dances ceives insufficient thought and attention are oboe, clarinet They are exceptionally desirable at ers: Guess Who They Are I’m sure the bent shoulders and languid Hungarian Music when it yields the pleasures all seasons due to the lightness and the Magyar; but his song is of a more It is quite a common experience to hear S ^ ^ some organs the cornopean movements would make you feel very peculiar texture of this fabric. The Names of the Composers will earnest character, and within the region to be found in Emerson hymn tunes played over in a most per sweu box shut. sorry for him. His brow is high and Nearly every aspiring piano student has functory manner even by a capable and The melody played an octave lower The Knox Polo Coals for both men be Given Next Month. of minor key his centuries of trouble and thoughtful, his nose is prominent and dreamed one day of playing a Liszt Hun¬ Piano quality and tone—or and women are also made of this skillful organist; no wrong notes or m- ™ while right hand and aquiline, his hair is chestnut and his eyes garian Rhapsody and not a few have real¬ the desire of his long-lost grandeur is re¬ accuracy, of course, but in a way which by th ^ accompaniment. This popular Camel’s Hair Cloth. played electrically, when it are brown, his lower lip protrudes and ized the dream. I wonder how many of flected. He only smiles through his tears, shows that it is being regarded as mere g*1 J -res practice and a knowledge Knox garments as well as Knox Dr. Charles Burney said: “The figure you know about Hungarian or Magyar and mourning he rejoices ; and every inch introduces one to the life¬ routine. A little consideration and fore- Met or 1P;s weU WOrth any extra hats give service in use, satisfaction his delicate features are stamped with Qf __- was large, and he was some¬ music and how its peculiarities have of the singer, of the player, is an em¬ thought would soon result m something PfJwW- in appearance, and the pleasure that melancholy. what unwieldy in his actions; but his touched the imagination of our great com¬ bodied minor chord.” like performances of well- much more artistic. To be an artist even trouble. d ^ ^ indlVidua comes from wearing and owning the VI. best. countenance was full of fire and dignity. Schubert was fond of the Hungarian known pianists—it is still in a small matter like this, should be the h ;g P,orth while to note that Here is a man who is filled with “con¬ posers? His general look was somewhat heavy characteristics and used them more than aim of every organist. * ’ 0 e 0f giving out hymn tunes scious superiority, yet too mild to inspire Its importance is brought to us con¬ any of his contemporaries; constantly the Synchrona, unique and The reasons for playing a tune over be- P Q() o{ten heard ;n combina- and sour, but when he did smile it was fear.” His eyes are deep set and are stantly and its Spirit is not to be confused KNOX HATS the sun bursting out of a black cloud. throughout his works we are coming wonderful. fore it is sung are obviously: (1) to in- stops . *anual couplers are too much shadowed by heavy brows, his nose is with that of other nationalties. The first for Men and Women There was a sudden flash of intelligence, bold and strong, his mouth long and famous composer who felt the thrill of upon peculiarities which tell us of the wit and good humor, beaming in his drawn back as though in a smile. Masses Magyar rhythms was dear “Papa” Haydn; nationality. For example in Op. 54 A special feature—the Ac- 161 Broadway 452 Fifth Avenue countenance, which I hardly ever saw in of white hair fa,ll almost to his shoulders now would you dream it of this placid Divertissement a la Hongroise and in the at Fortieth Street Singer Building companO—enables one to any other.” ^ and his figure is so impressive and strik¬ old man? You will find his use of Hun¬ C Major Symphony and in the Fantasia Psata tune, like St ing that everyone turns to look as he garian peculiarities in the well-known in C major (Op. 15). play his own accompani¬ “His expression was benign, his eyes passes. As you turn to look again you Gypsy Rondo and later in the Solomon The Hungarian Rhapsodies of Liszt are should also be audible to the whole of the Anne, Old Hundredth and[ * , are dazzled and fascinated and a bit ments at a distance from the congregation. This puts out of court the their right artistic coloring when P ay were keen and penetrating. We would Symphonies, these you recall were com¬ those with which we are the most famil¬ overpowered. You wonder why you have use of such extremely soft stops as the Qn the open or stopped diapason, sott have no trouble in recognizing him as a posed for Solomon, Haydn’s London iar. Liszt wrote fifteen Hungarian Rhap¬ turned to look, and someone says to you, piano. voix celestes or aeoline in large build- flutes or duicianas. Registering ot a more German, for in his countenance one sees manager. The Magyars are the lords sodies for the piano, a number of these Church Organs “You cannot help it, it is the magnetic ings, except on those rare occasions when emotional type may be used in modem the strong German traits of strength of of the soil and the Gypsies are the privi¬ have been arranged for orchestra. Liszt power of the man.” absolute silence prevails. On the other tunes but care should be taken that this Latest Approved Methods Highest I will and persistency which almost amount leged musicians of Hungary. was a Hungarian and loved his national Grade Only. Established 1827 | Dealers in principal cities hand, noisy registration is equally out of dogs nQt degenerate into sentimentalism, to obstinaev. His forehead is high, his music, he created the Hungarian rhap¬ KENDAL GREEN, VII. This is what George Liechtenster says place. Variety of style is very desirable. Ear_tickling combinations, vox humanas eyes rather long and narrow, the brows sody after a long study of the gypsies. and towns. Send for catalog. Main Office & Works You would not imagine this man to be of his native Hungarian music: “Per¬ It is a good plan to play each bine at a ^ tremulants are entirely out of place somewhat arched the nose large and In order to appreciate a Hungarian rhap¬ straight, the mouth full, the lips com¬ an inspired genius. His personal appear¬ haps there is no nation whose character service in a different way. Some tu - th;s purpose. Good musical taste and Hook & Hastings Co. sody one should read Liszt’s entertaining pressed, there is a determined look about ance is far from attractive and he is fat is so vividly represented in their songs will lend themselves to one kind of treat- ^ preciation of the inherent dignity of book on The Bohemians and their Music the chin ; when passing this portrait one and short, his face is puffy and his com¬ as that of the Magyar. The Hungarian ment and some to another. instrument will keep the organist from Emerson Piano Co. says, ‘Here is a man of wonderful plexion gives a flabby featureless look to proverb ‘Mourning, the Magyar rejoices,’ in Hungary. c^oTthe t»e on on. tke.e and „«7 o.h„ — the countenance. He is very near-sighted, is the thread which runs through all his Brahms used Hungarian themes simply Established 1849 —ESTEY CHURCH ORGANS-j but the thick glasses he wears do not songs. . . . The imagination of the because he liked them for he was not a Estey standard maintained. conceal the bright and expressive look “There is crowned into this face a Hungarian gypsy changes the songs into native of Hungary. His Hungarian Maximum facilities. in the eyes. His teacher said of him, Boston Mass. Highest grade of product. determination to stamp the world with a dances, and the dances into songs; for Dances are thrilling examples of the spirit An Amusing Ancient Organ Recital Before he “Whenever I wished to teach him any¬ Pioneers and leaders always. message. There is life and,spirit, storm the Magyar often dances his lays. With and fire of the Gypsies; they are said to Examine stop action and wonderful reeai, thing fresh, he always knew it already.” Sultan of Turkey Oboe, Saxophone, Clarinet, etc. and stress, power and beauty hidden be nothing more than transcriptions ESTEY ORGAN CO., Brattleboro. Venaonl, U. under the rugged features. The for the piano of the wild perform¬ eyes are dark and small and filled ances of the Hungarian bands. with fire, the hair is black and The national dance of the country eminent English musical authorities lec- melted and the * « abundant; the jaw is broad and is called Czardas. The famous na¬ New Organ Music On Sale massive. When you pass this por¬ tured on English music of the past. The and you may be sure he y tional tune Rakocsy March was a Have vour name entered for the receiv¬ trait you will stop involuntarily, for proceedings aroused so much interest ‘gluemy view ot it lament for the hero Rakoczy. It ing of a few small packages of new music it is an arresting countenance. Per¬ ON SALE during the professional season, is employed in one of the Liszt haps a sigh will escape you as you th,atdtht 'T*book InTeratfhTgeanedralC^ scnSVatXs organ was a very novel no guarantee as to amount to be kept, rhapsodies. Berlioz, the famous of English Music. An interesting lec- piece of ^echamsm. and was worked by utter these words, ‘Poor soul, you discount the best obtainable; the only re¬ French cqmposer, heard it arranged ture by Sir Frederick Bridge, Organist clockwork. There were all manner o sponsibility the small amount of postage, have lived every inch of your life of Westminster Abbey, upon the subject birds which sang. First of All the clock returns of unused music to be made one with reckless waste of vitality. You for a military band and introduced Guilmant Organ School of “Music in England in 1604” contained struck twenty-two then there was each year; a postal card will stop the have joyed and sorrowed, you have it in his composition Damnation of DR. WILLIAM C. CARL, f?wi“ 7 chime of sixteen bells, and the organ sending any time. Thousands of teachers loved and hated with great intensity Faust. The tune thus introduced receive piano music from us in this way. Send for Catalog 44 W. 12th St., New York “Now I want to say one word about played a song of five parts twice over, of sou!.’ You will linger long be- made a sensation all over Europe. the state of organ building at that time, It was set to play at a certain time. The THEO. PRESSER CO.. Philadelphia, Pjr • fore this face, for. despite its pock¬ The folk songs of Hungary are in¬ and must not omit to add that we have Grand Seigneur, after hearing it asked marked surface, it gives an impres¬ tensely interesting and a great deal in the Exhibition a stand of organ pipes if it would play again, and the attendant sion- of great force and nobility.” has been done to preserve them. THE MEDAL OF which dates back from 1604 to the pres- said it would in an hours time, the at- At Budapest there is a National HONOR IV. the highest award Jn organ ent day. One of these pipes was made tendant then went to Dallam, who stood • Conservatory; also a Royal Acad¬ The portraits of this extraordi¬ by Robert Dallam, a celebrated organ- outside, to ask if it would play again, emy of Music. Liszt was its first PANAMA8 PACIFIC builder of the period, who was born in and Dallam told him that if he touched a nary genius have been greatly ideal¬ director. INTERNATIONAL 15- at Chorley in Lancashire, and who little pin with his finger it would play ized and you will have trouble in EXPOSITION had’a most extraordinary career. He at any time. The Grand Seigneur said recognizing the picture I give you. The follswing compositions taken was sent to take an organ to the Sultan it was very good, but he wanted to know He was not an Apollo, as you prob¬ from The Etude, 1914 and 1915 THE ORGAN POWER CO. of Turkey as a present from the queen, what the keys were for. Dallam was ably think; he was not even dis¬ embody many of the Hungarian HARTFORD,CONN.amkstowk) for which the Levant merchants paid called in to play upon the keys, and did tinguished looking, and according peculiarities: (you may be sure the queen would not so in great trepidation, as he was not to those who knew him best he Rhapsody Marche (Four Hands), nav for it) It took him about six sure that his head would not be cut off. was rather commonplace in appear¬ Ho! for the Sage Brush Orchestra! F. Liszt (March, 1914). STEERE ORGANS^ months to go to Turkey in a sailing-boat, He was afterwards rewarded by forty- ance, except when he was absorbed Hungarian Romance, Kleinmichel and he fell in with pirates. He took five pieces of gold, and was glad to get in his music; bis whole expression went to the hotel where Mme. Schumann- (March, 1914). ^ and appreciate the best would change then and the absent, rest¬ Of course you have never heard of with him a pair of virginals to practice outside safely. Heink was staying and flocked into her Hungarian Sketch, Horvath (August, notable organs recently built less look would become calm and the Sage Brush Orchestra, just as you room. When the motherly prima donna 1914) . peaceful. His head, it is said, was too probably have never heard of Harney BflSSS!^.1915- County, Oregon, where the Sage Brush had heard them play she was so delighted Petite Hungarian Polka, Kronke (Sep¬ We also build the smallest organs large for his body, his face was very pale, that she offered to give a concert for r Billv ORGAN COM I* Too Difficult Orchestra had its lively beginning. Way tember, 1914). his eyes were large, but not bright. Ex¬ their benefit next year. Here is a picture The delightful perfumes of cept for his musical genius h<~ was not back in the open sage brush country of Wandering Gypsies, Renard (January. By F. T. Delany Central Oregon, miles away from a rail¬ of the Orchestra on a big violin photo¬ distinguished. 1915) . COUGHING spells eased, road. some of these talented children are graphed right out in the middle of the sage V. throat soothed, voice helped by More pupils are kept behind by wast- or how gifted the pupil may seem. It is J CARMENComplexion POWDER working for a musical education. Under brush—that desolate shrub that has taken Hungarian Dance (Four Hands), ing their time with too difficult music better to play a great many things in the I It gives a flower-like, glowing charm When you pass this portrait you will the direction of M. V. Dodge, organizer the heart out of many a pioneer. Think Kirchner (January, 1915). BROWN’S I the skin and its subtle, elusive perfume say, “Here is an aristocrat.” This is a of yourself and all your opportunities and # - BRONCHIAL grade in which one can play comfortably 1 appeals to the most refined taste. of the orchestra, this group of interesting From Hungary, Kern (May, 1915). than by any other obstacle, ihere is a than to take pjeces two or three grades gentleman who has known the best in then think of these little children out I White. Pink. Flesh, Cream voung folks have been touring Oregon Hungarian Czardas, Brounoff (Decem¬ TROCHES time and a place for all things, and' the higher, and waste hours over difficulties L 50c Eoerytohere life, who has moved in high circles. His earning money for their musical educa¬ in the Sage Brush country. How does ber. 1915). NEW TRIAL SIZE BOXIO. time for a difficult Chopin Scherzo is not that one or two years later will come t STAFFORD-MILLER CO„ StLouisA^j manner is somewhat haughty and re¬ tions When they were in Portland, they your record compare with theirs? in the fifth grade, no matter how talented with a few minutes’ work. served. You would not think of calling JOHN LBROWNA1 SON. Boston; Mass. addrea THE ETUDE Page 181 FEBRUARY 1917 FEBRUARY 1917 The Third Sound Page ISO THE ETUDE When two tones are produced simul- by tuning until he hears the octave below eously on the violin, in absolutely per- .the lower string, as shown in the first tatie ttine, a third sound appears called chord in the example below. “combination sound,” “differential Summational and Differential Tones Department for Violinists \ 'und ” or “sub-bass.” This curious phe¬ J In the following example, the half nomenon in acoustics was discovered by Edited„ 4.. j by dadftjtROBERT RRATNEBRAINE __— notes indicate the double-stops, played in T-rtini the eminent early Italian violinist, the ordinary .manner on the violin. The at Ancona, Italy, in 1716. Tartini was upper quarter notes represent the sum¬ vastly interested in his discovery, and mational tones, which appear when the out of a class of forty, who have genuine ,,rnt"p a treatise dealing with that and Untalented Pupils talent. It does not follow, however, that double-stops are played, but which are slow bowing mentioned above, is a good other subjects in music. The name of the the teacher should give up all but these so faint that they cannot be heard. The A Letter to a Violin Student one to warm the arm and tingle the A violin teacher in a prosperous city 'treatise was “Trattato di Musica Secondo two or three. Many unpromising pupils lower quarter notes written in the bass nerves. It is best practiced at first on the of the Middle West writes to the Violin ja vera scienza dell ’Armonia,” (Padua, develop into good amateurs. These pu¬ clef represent the differential tones, or By E. W. Morphy two middle strings as there is less danger Department—“Should a violin teacher re¬ >1754 ) The science of acoustics was not pils can get much enjoyment by playing sub-bass of Tartini, which can be fuse to teach pupils with little talent; and 'sufficiently advanced in Tartini’s day to of an accident. Unless the arm is well in Sunday-school and other amateur or¬ plainly heard when the chords are played ' Dear Friend:—So you are not attend- if so, where should the line be drawn under control with this very rapid whole chestras, and appearing on musical pro¬ admit of his discovering the true cause This is a question which has often in perfect tune. ' ins; your violin lessons, because of an in¬ arm swing on the E and G strings there grams at all sorts of social events. They 0f the appearance of this third, or combi¬ jury to your left hand? I must tell you been discussed and there is a great diver¬ is danger of hitting parts of the violin. can also pass many pleasant hours play¬ nation sound that remained in Hemholtz, that you are missing a great opportunity Try the different forms of the crescendo sity of opinion on the subject. As a mat¬ ing with the accompaniment of friends the distinguished modern German scien- for gain. Why not devote all of your at¬ and diminuendo, also quick attacks in ter of fact, the average violin t^her ac¬ who play the piano. A young man or GOLF at the Havana Country Club, tennis, surf-bathing—you can tention to the right arm? Von have failed cepts pretty nearly all comers, unless they enjoy all the outdoor sports in this delightful tropical climate. every part of the bow, not forgetting the woman who plays the violin even pass¬ Hemholtz Solves the Problem to remember how much care, every great spiccato,—the most rapid of all the bow¬ are so dull of comprehension, and so Hotels and restaurants are modem and attractive. Horse racing at ably well is in great demand in society, Hemholtz called these sub-bass tones violinist gives to his bow-arm, and you ings and an excellent one for waking up hopelessly tone-deaf and destitute of feei¬ and he does not have to play like a Ku¬ Oriental Park. Sailings from New York, Thursdays and Saturdays. “differential tones,” and found that the vi¬ must learn that bow technic must not be the wrist. For further advice I recom¬ ng of rhythm that it would be simply belik or an Elman to give his hearers impossible for them to make any head¬ brational number of the deep tone neglected. . mend that you read Mr. Braine’s article, pleasure. For this reason. I think a equalled the difference of the vibrational NASSAU - BAHAMAS Let me tell you something which may “Elasticity in Bowing,” which you will way at all. Even pupils who seem to be violin teacher can with a clear conscience destitute of talent at the start can often numbers of the generating tones. Hem¬ ' put you at work again. Last week Miss find in The Etude of January, 1914. .teach pupils of moderate or even small A perfect climate where the average winter temperature is 72°. Modem be improved by systematic training, and Proving a Chord L_played a long and difficult recital. Enough has been written, I hope, to Italent, if they are able to get pleasure out holtz also discovered a series of higher hotels of large capacity, golf, tennis, polo and motoring attract a brilliant most teachers give them the benefit of Aside from its interest as a scientific Later I heard a person complimenting her show you the mistake you are making lof it, if their musical natures can be tones, which appear when a double-stop colony of winter visitors. Sailings from New York every Thursday. the doubt, and see what they can do phenomenon, the appearance of these dif¬ upon her strong, flexible bow-arm, and developed, or their capacity to enjoy is played, the vibrational number of by staying away from your lessons. Go with them for a few months at least. If ferential or sub-bass tones, when the tones New twice-a-week steamer service between Jacksonville, also the beauty of tone which was the music is improved. which equals the sum of the vibrational back to your teacher at once, and give the line as to talent were drawn too of the double-stote are played in perfect Florida, and Nassau, January to April result of that toughness and pliability. There is one thing, however, which the numbers of the generating tones. These him a chance to take up with you some¬ closely, the average teacher would find tune (and at ho other time), is of great Rail-Water Circle Tour Tickets embracing Florida resorts via Jacksonville, Nassau, She answered, “That bow-arm develop¬ thing besides intonation and other left violin teacher should be strictly honest higher tones are too weak to be distin¬ Havana and Key West, or trip may be made in the reverse direcUon. Special rates. himself without much business, and practical use to the student. Eminent, ment began when I injured my left hand hand problems. In a talk I had with about, even if he runs the risk oMosing guished by the unaided ear, but Hem¬ would be obliged to. give up the profes¬ teachers of the violin insist that their and had to practice exercises on the open him not long ago we agreed that a half occasional pupils, and that is to discour¬ holtz constructed an apparatus by which sion. for real, genuine talent for the pupils practice on each double-stop until MEXICO strings for four weeks.” As her teacher hour lesson once a week is a deplorably age untalented pupils who talk of making they were magnified. The lower tones violin is a very scarce article. the differential tone appears. When this I can remember the pleasure and profit short time in which to solve the thou¬ the violin their profession. One would (or sub-bass) discovered by Tartini can think that such pupils would know them¬ sound is heard, the student knows that we experienced inventing exercises to de¬ sands of problems connected with violin Great Teachers Can Choose be easily heard. These tones come out velop her bow-arm while we waited for playing. Therefore, I would suggest that selves that they could never succeed in his chord is in correct tune. It is an Excellent passenger accommodations on fast, twin-screw steamers Great teachers who are known all over more strongly on some violins than you give him every possible chance to the profession; but not so, many such pu¬ admirable way of proving one’s work in under the American Flag. Literature and information on request. her left hand to get strong again, the the world have so many applicants for (Others. A violinist with a good ear can most surprising thing was when she real¬ help you work out your career. Even if pils do not realize that they can never learn double-stopping. lessons that they can choose those with obtain a perfect fifth on his instrument @ur i nn ¥ IMP NEW YORK AND CUBA both of your hands should become in¬ to play in perfect tune, have no tempera¬ WARD LlINC. MAIL S. S. COMPANY ized that she did not know exactly how genuine talent. It is extremely difficult to hold the bow. Now don’t blame me jured don’t miss your lessons. After all, ment, and no natural aptitude for music. to get lessons from some of these General Passenger Dept, Foot of Wall Street, New York for neglecting my duty; the point is the hardest part of the work is done with They read of great sums earned by fa¬ teachers. Leopold Auer, for instance, the DISTRICT PASSENGER OFFICES simply this, that in holding the bow, like the head and your teacher wants the op¬ mous violinists, and at once become pos¬ Russian violinist and. teacher, is besieged Buying a Violin BOSTON CHICAGO NEW YORK PHILADELPHIA WASHINGTON everything else where skill is required, portunity to train you how to think, sessed with, a burning ambition to try all the time with applicants for lessons, 192 Washinston St. 533 Marquette Bldg. 290 Broadway 701 Chestnut St. 1306FSt.N.W. which is the thing of most importance. the professional field. The conscientious problem which troubles every violinist at every person must learn for himself and and violin students consider it a stroke Happy the violinist who is thoroughly by the road of experience. Of course, Accept my best wishes for a successful teacher should lose no time in undeceiv¬ least once, and often many times, in his of extraordinary good luck if they can satisfied with his instrument, and feels Eta she had been playing seriously long be¬ career, which let me remind you is earned ing such pupils, and should seek by every lifetime,—that of getting a violin per¬ get to study with him at all. I have by turning your misfortunes to some means in his power to prevent them from that there is no other for which he would fore this, but it was not until she was seen letters from his secretary, written to fectly suited to him in every way. If he good purpose. “The humming-bird dpes wasting years of their lives in trying to •exchange it. As a matter of fact, nearly forced to think only of her right hand American pupils who had applied for les¬ has a teacher who has an expert knowl¬ processes, concentrating her entire atten¬ not take the poison and submit to death; succeed in a profession for which they every violin player,—professional and sons, in which he held out very small edge of the violin, and has had wide tion to that end, that she experienced that it transmutes it into life and beauty. The are not fitted. No fear of hurting the amateur.—is constantly on the lookout hopes of their being able to get a place experience in selecting violins, he had delicate adjustment of the fingers to the hero does not let circumstances subdue in his class. He only accepts pupils of pupil’s feelings should prevent him from for another violin, one which he believes best rely on his teacher’s judgment. 5 bow which enters so powerfully into suc¬ him; he makes circumstances subserve the real talent. Some teachers in his position speaking plainly in such cases, as it is would enable him to achieve better re¬ cessful bow technic. Anyone who owns growth of his character.” would simply advance their fees for les¬ clearly his duty to do so- Teachers sults. One of the best-known solo vio¬ (j A. CHIN REST OF SOFT PLIABLE an outfit can hold the bow in a manner Your Friend and Former Teacher. should also be honest with parents who How to Select a Violin sons to a point where only the very rich linists now before the public said the 1 RUBBER THAT DOES NOT CHAFE OR that will do for a clumsy performance; ask about the ability of their children, If our correspondent is not an expert could afford it, but he conducts his busi- AGITATE THE SKIN. but for artistic expression the most ser¬ as it is not honest to encourage parents other daw "I am constantly searching for judge of violins, and has not sufficient A ness on a different basis. SOFT AS THE PALM OF YOUR HAND. ious attention and prolonged practice to spend comparatively large amounts in another violin, although I have at least knowledge to judge what instrument will The Dimensions of the Viola He has no wish to make money at the USED BY must be given the right hand and arm $15,000 worth of violins already.' Not be best suited to him, and has, besides, “Unfortunately, in size the viola is still expense of his reputation. He therefore seeking to develop talent which does no k ELMAN, SPALDING, HARTMANN, PARLOW and Others The more one works for that delightful exist. The majority of pupils are study¬ one of them is my ideal, not one of them no one to help him make a selection, an instrument of unfixed dimensions, and fixes his fee at a price which,_ although (l PR IGF $000 At any good dealer, or send feeling of right arm ease and freedom, ing for their own pleasure, and if they inspires me as it should. I try out every about the only thing he can do is to rely it can hardly be said there are any stand¬ high, is not above what pupils in moder¬ U PKIGh, — twQ douar bill direct to the more alive that great tone-maker be¬ have even passable talent they should be fine violin 1 hear of, in hopes of some day on the judgment of the dealer, or else ard measurements, though it should be ate circumstances can pay; and in this THE R. S. WILLIAMS & SONS CO., Limited comes. at least a seventh larger than a violin. encouraged, for even if they do not become finding my ideal; and when I do find it, have several violins sent to him on selec¬ If you cannot use your left hand for way he has enough applications for lessons The length of string, from nut to bridge finished performers, they will be re¬ I shall be willing to pay almost any price tion by a music house, and choose the a while, here are some exercises for the to enable him to fill his classes with the (taken from a good 16-inch instrument), warded in the increased enjoyment whicn for it.” one he likes best. Another plan would right arm only. With a piece of chalk, “cream” of talent of fhe world. is 14;4 inches, or a shade under; distance they will gain listening to music. be to pay some good violin teacher a fee mark off eight equal parts on the stick A Suitable Instrument from top' of soundholes to top end of If only pupils of first-class talent were of the bow. Now practice wrist strokes, A Few Weeks’ Trial to help him select the instrument. taught, musical art would soon die. The A correspondent writes to The Etude: or more correctly called “hand strokes, belly, 6% inches. My own theory on the subject is that It is very important that the violin private music teacher is the missionary o “May I ask your advice in the purchase in every one of the eight divisions. After “The viola bow is, or should be, some¬ every pupil who applies be given a trial chosen should be adapted to the per¬ tile great masters who have develops of a violin? Have read much about the practicing this on all four strings and the what heavier, with the head rather of a few weeks. In that time the teacher former and to the purposes for which THE MUSICAL BOOKLET LIBRARY and brought music to the point where instrument being suited to the tempera¬ wrist joint swings as if made of rubber, larger and spread of hair broader than can judge what capacity for improve¬ it is to be used. For instance, a slight, it exists in the world to-day. B 1 ment, and physical nature, shape and size PRACTICAL SUBJECTS COVERED BY SPECIALISTS firm though flexible, try drawing the bow that of the violin bow. A violin bow ment lie possesses. If his case is abso¬ delicate young woman should not choose largely by the music teacher’s faithtui of hand and arms, tonal timbre, degree from the frog to the point and observe does not answer so well. It is possible lutely hopeless, he should be told that he a large, heavy violin with a thick clumsy Very often the musician needs greatly special information upon special subjects in very compact work, even with backward pupils, that of responsiveness, bridge height, nut form. Yet it is information that he cannot secure without going to an expensive teacher and pay¬ the feeling of “float” in your arm. This to play both violin and viola well, though is wasting his time and money, and had neck, and a rough harsh tone. The music has been advanced to its presen ’height, string- gauge, sound-board thick¬ ing considerable money. In the main THE ETUDE booklet library is designed to supply this need. exercise will eradicate those disagreeable there is no doubt that with many players better give up the study of the violin. choice would also be governed to some intonation is likely to be more or less af¬ great popularity with the masses. ness, rib-height, light bowing or other¬ little kinks which cause the bow to trem¬ One would think that a pupil who is extent by the use which is to be made of LIST OF SUBJECTS—Price per Booklet 10 Cents. fected. Theoretically it should not be so, wise, big tone or quiet tone, etc.' I do not ble on the strings. Next try drawing the hopelessly untalented would not1 wish to the violin,—whether for solo use, orches¬ bow as slow as possible. Take a minute as judging of intervals is a matter for continue his lessons, and would give up wish to buy an expensive instrument. 1 l^MtthePUno-6 Vieuxtemps was bom in Belgium, a tra playing, parlor use, or for general 2 Progressive Ways for Securing New Pupils. 7 paJBing the Dead Line in Music Study. to get from the frog to the point. This the brain.”—The Strad. studying of his own accord. Most of was a remarkable prodigy. He pla>’e Please tell me what to do and oblige.’ v Our correspondent is up against a purposes. 3 MaJdng^a^uccess*o?athe Pupils* Recital. By Thomas Tapper. exercise is highly prized by the great vir¬ them do, in fact, but every teacher knows concerto by Rode in public at the age Bv Perlee V. Jervis. 8 Peer Gynt, A Dramatic Prose Reading. tuosi because they know by experience The violin beginner can be taught to that occasional pupils who are practically six, and at the age of seven made^ 4 Trills and How They Should Be Played. Arr. from Notes of Richard Mansfield. that while “in the making” the product remember the names of the major sharp hopeless as regards talent are most in¬ European concert tour. He travele is generally a weak, puny sound, when keys, from the open strings of the violin, defatigable practicers and most enthus¬ over Europe and America giving c°nce- e , ... Prim aps the best definition of talent 5 the Ped“,s-9 By practiced persistently it puts vitality into We may, in a work of art, nmet w.th f Henri Amielj which is: To do G (one) sharp, D (two), A (three), E iastic pupils. He wrote many concertos and other The Numbers marked with an a«erisk»re^,l^ desire far Wachers who w^to £* the tone For a complete change try (four). Then placing the second finger compositions which are often heard a what is poetic, and realistic, and striking tl £ difficuU for others ;s the some martelS strokes at the extreme tip Few Possess Real Talent successively on the three lower strings present day. He met his death * ' and interesting, but these things cannot Jalenfe To do what is impossible THEO. PRESSER CO., PHILADELPHIA, PA. of the bow, followed by some good (G D A) we get the three remaining The average violin class is made up traveling in Algiers, at the hands o feplace the essential of art.-feeling ex- the work 0f genius, strong forearm, strokes, not forgetting B ETUDE when adireRsIng oi sharp keys, B (five) sharp F sharp (six) of pupils of a very meagre talent; some¬ drunken Arab, who threw a stone s fenenced by the artist.—Tolstoi. „ tor Talc“l some work on the up-bow staccato. The and C sharp (seven). times there will be only two or three, ing him on the head. grand detache, the very opposite to the THE ETUDE Payc IAS FEBRUARY 1917 Battles at the Keyboard VIOLINS, ETC. p^SSEROSES By Frederick H. Martens Bv reason of the termination of the co- Literature and the “movies” are not very popular. It is notable for its skill¬ the only vivid portrayers of battle scenes. ful development of the melody of “God Music, which "hath charms to soothe the save the King,” and the realistic and K 1.—Your letter expresses surprise that partner unSrferpf the Supreme Omn, savage breast” can also draw striking effective portrayal of the noise and con¬ New York County is engaged in liquidat- tone-pictures of the wild turmoil of con¬ fusion of a hotly fought field. Other Susanna Cocroft’s f bnerofVi°the year111706. ^whereas a violin ing the assets of said co-partnership. flict, the shock of opposing battalions in battles of the period, transferred to the _ excellent “reputation. Car- Among the assets is an „„„."chose his wood well, and used a beau- the melee, the roar of cannon, the rattle keyboard,- were “The Battle of Jemap- Physical Culture you, in common with “atny J^&s^n al excellent stock of violins, pes,” by Devenue; "The Battle of Jena” CELLOS AND ACCESSORIES of musketry, the hoofbeats of charging . in the thirty-five years of my (at which Napoleon overthrew the power for the Face KSSSrrti": If you desire to purchase a violin or squadrons, and all the incident of combat, of Prussia), by Fuchs; and “The Battle will make the outline of your cello it will be to your advantage to inspect from the ivories of the piano. “Battles Wrtte for History of Belgian School. Enclose of Austerlitz,” by the French composer stamp. Address Registrar, Musin’s Virtuoso ^p^ouT« ^eTbe the stock at once. , ■ , at the Keyboard” (we do not allude, of face, neck and chin graceful— School, 51 W. 7 h St., New York. Pri considerably from its value. obtained and pasted in vnoilns violin bears Showrooms: 141 West 42nd St., ew ork Your Music Is Torn! course, to those between teacher and pu¬ Jadin. Steibelt—some of his rondos are relieve wrinkles, sagging muscles __ en by Ovide Musin in Pe You say J°1u~rl?J? how can you rlconcile the AUGUST GEMUNDER & SONS-Idp Liquidation still played—wrote two land battles and Also Scientific Instruction By Corresponds E a_1 To supplement the Kayser Etudes, pil), may be participated in by all whose and facial blemishes—make your Op. 20, you might use Manas’ Special fact^of aUw vioffnbeaCringya date over 200 a naval combat. Kauer and Dussek have Studies, Op. 36. Book 1. 2. For P‘S^ years old? AUGUST M. GEMUNDER technical “preparedness” allows them to skin clear and soft, your eyes the grade ot Humoresque, by DvoYSk (sim handle artillery in the bass, the march both penned naval battles, and J. W. bright. You can make your hair ‘EASY VIOLIN MUSIC” plified edition), and Trail meretby Schu¬ Multum-in-Parvo Binding Tape Wilms, a Dutchman, born 1847, wrote a For Solo Work, Sunday School, Church snd Ami; mann. you might try the following—Simple massive'^usie Sand, with Sea^ffiXl rhythms of heavy infantry in the middle glossy and abundant — y o u r Confession, Thome; La Cmquantame,^Ga¬ register, the swift charge of right hand “Battle of Waterloo.” The celebrated hands smooth and white—your u^n^'L^beraf'di^count^to'^eachers^Schools^'and briel-Marie ; Berceuse in G Renard, Inter- && overhand The Original Abbe Vogler (1749-1814), among the mezzo “Forget Me Not," Macbeth; Faust Transparent Adhesive Mending Tissue cavalry passages from the upper octaves. feet comfortable through definite Fantaisie, Singelee ; Steyrische Handler and spectacular organ pieces he played on his placed on the desk, The majority of the “Battles at the Key¬ directions which will take only strings our icauto. --= carried around, one < tournees, included “The Siege of Gibral¬ besken^by BohmXsiX'petitXAirs Varid, nickel-plated stands is _convenient. Get If your music dealer does not carry it, send to board” have their being in four-hand ar¬ a few minutes at home each day. E. T. Root & Sons, 1515 E. 55th St., Chicago bv Dancla (first series) ; Harvest of Flowers, -of tlm... friction- “telescopic” stands which tar,” “The Falling Down of the Walls of Book 3, by Weiss; Largo, Handel; The Swan, Theo. Presser Co., Philadelphia, Pa. rangements in which the primo player Saint-Saens. Why do you not get an assort¬ thumbscrews. Jericho” and a “Sea Battle”. ment of violin pi es ot this grade on selec¬ might be called the commanding general OUR “SPECIAL” tion from a music lea.er, and pick out what ^ PIANO and the secondo the chief of staff—bass But it is the comparatively modern OCr 10 Tested Lengths, OCo you want? 3. Get Famous Violinists of copy ofy Please mention THE ETUDE wien addressing our advertisers. THE ETUDE Page 1S5 FEBRUARY 1917 Music Buying Etude Binders by Mail At What Age Should a Child There may be a post office here and This is the season of the year when our there throughout the length and breadth Begin Music Study? subscribers are interested in binding then- of the land that is not entered on our lists copies of The Etude. A large number of as the address of one or more patrons of our subscribers gather together their issues By Alice M. Steede the Theo. Presser Co., but, without boast¬ of the previous year and put them into a ing, we can honestly claim that our convenient binder which we have manu¬ IFnspMng Easter /Ifcusic reputation for taking care of the wants Parents frequently have a vague idea factured for us, and others have a binder of music buyers has made the name ot this on hand and place their current year’s Selected from the Publications of the Theo. Presses Co., Philadelphia, Pa^ that the sooner a child begins music les¬ concern known to nearly every postmaster sons the better it is, and a child of six is issues within its covers as they appear. We have two ready-made binders, one in the United States, in Canada, and in launched upon the wide sea of pianoforte at $1.00 and one at $1.25, postpaid, the many distant parts as well. The problem Easter Anthems of distance and quick delivery has been Easter Solos and Duets playing with a teacher at his side for latter a much stronger article than the Uplifting Easter Solos (Continued) perhaps one pitiful half hour weekly. overcome by promptness on our part, (Continued) combined with an ever-improving mail Others of our subscribers bind the music and Duets 2 HE IS RISEN At the end of two years, the child has and express service, the former in par¬ Shockley. In the Dawn of the alone in one or two volumes. This can learnt to play a few pieces, necessarily ticular contributing more and more every “Raill TtiQp risen onel* Early Morning. 2 Keys— new works. Easter be done at a cost of about $1.25 each in High and Low. Violin Ob¬ slight and childish, and very probably ac¬ season to the convenience and profit ot its Music a plain cloth book. We do not recom¬ bligato quired a faulty hand position, partly due Advance of Publication Offers— patrons; these splendid facilities, however, Easter is the principal feast of the mend it for .the very reason that it sepa¬ to much practicing without supervision rates the reading matter from the music, would mean little for a mail order busi¬ February, 1917. Offer ecclesiastical year, the festurn festorum, ness if the merchandise offered were in¬ Shelley. King of Kings, and partly due to weakness of the fingers and, from the viewpoint of the choir and we believe that the literary section is Keys— more worthy of being retained even than ferior or the house service were unsatis¬ lin Obbligr" ' and consequent use of the arm. The Album of Sacred Piano Music . 50.35 director, offers an exceptional opportunity factory to customers. High, Medium • ■ • the music section. Stephens. Hail, Thou Risen parents are disappointed and sorrowfully Bach’s Well-Tempered Clavichord.30 for an elaborate musical program. Easter It is the unvarying aim of the lheo. One. 2 Keys—High and compare the child’s attainments with falls this year on the twenty-third of Presser Co., not only to fill and deliver Low ...• • ” 1 01ChoSinOW11 B°0k °f. Great.MU3iCianS' .10 Calendars Stnlts. Voice Triumphant., Edith’s. Edith has also had two years’ Children’s^Sonsss and Games. By M. gQ April. orders promptly, but what is more essen¬ Keys—High and Low Voice. . tuition, but she can play much more We have four suitable Cantatas, any for 1917 tial, to publish only* the most desirable Stnlts. Resurrection Song. High Seldom have we had as attractive a music teaching material and to carry an brilliantly than their child and can learn Ch^nTstudies in' Two Volumes.60 one of which can be worked up between Voice . Vnav Octave Studies .AD now and Easter at regular rehearsals and calendar to offer as during the present unexcelled general stock of all publications _, piece by herself. They forget that tasy ^ Bach .30 Elijah and IMessian . given a creditable performance. Victory season. We have a very artistic folder, in music, both American and foreign. It takes a strong organization of intelligence Edith’s two years of study began when Bngelmami Album for Four Hands .... -20 Divine, by J. Christopher Marks, for solo something on the order of the present Rockwell, G. N. Every Flower and capital to originate, develop and That Blossoms. (Soprano she was ten, and consequently possessed* Tour Indian Songs for Violin and Piano. voices and chorus. Dawn of the Kingdom, method of mounting photographs. 1 he By,Th“rl°w Lieurance .2b maintain a business institution of this and Alto) . of a stronger hand and larger brain. The by J. Truman Wolcott, with solo work folder consists of . two leaves, with a Grieg’s Sonata, Op. 7 . musical picture showing through a cut-out nature, but its largest measure of success child feels most unfairly discouraged, and Handel’s Id Easy Pieces for Pianoforte .15 chiefly for tenor and baritone—a fine portion of the upper leaf. It is supplied is due to the appreciation and support choral work which can be rendered with Joyous Easter Anthems the unfortunate teacher comes in for Melodies of the Past. By M. Greenwald .26 with a silk cord for hanging and a cal¬ received from the music-teaching and ime undeserved censure. 10 Melodious Studies. By A. Sartorio . .15 good musical results by the average choir. endar pad, of course. The price is the music-loving public. We write this in a Come, See The Place On the other hand there are undeniable Mother Goose Island (Operetta). By The Greatest Love, by H. W. Petrie, same as heretofore, $1.00 a dozen, 10 spirit of gratitude for that support, and Geo. L. Spaulding .i0 whose uniformly excellent compositions Where Jesus Lay. dangers lying in wait for those who de¬ cents each. The musical pictures are to assure our patrons, past, present or to Berwald. Morn’s Roseate Hue pictures from Fairyland. By D. D. ^ are known and appreciated by choirs assorted, some colored, some single toned come, that we shall always exert ourselves lay their musical training too long. The Has Decked the Sky...... throughout the country. This cantata re¬ to deserve their confidence. Berwald. Rejoice, the Lord is pleasant Pastimes.' ' By Helen L. Cramm .25 etchings. King average boy or girl of 15 or 16 dislikes quires about forty minutes for its adequate To music buyers not already familiar ___ Triumphant Lord, being in the “Baby Class” of music quite 60 Progressive Exercises. By Fischna . .25 rendition. Immortality, a new Easter with our way of doing business we extend Thy Work Is Done. ... Schmoll’s Method for Pianoforte.30 The Etude as much as in any other subject and may work by Irene Berge, contains excellent a cordial invitation to make our acquaint¬ Bird, P. D. O, Glorious Morn.. Stainer’s Organ .® Portrait .Supplements Bohannon, * Morn’s" Roseate require some persuasion to begin. Also ensemble numbers and a fine organ Inter¬ ance through a trial order for music, Hues ... Standard Advanced Pieces . lude. This is a brilliant short cantata, The enthusiastic response which has either on regular account or “On Sale.’ Ala p.Mliln* f« U» Y*f. Brackett. Christ Is Risen. when they have been safely guided Technical Studies for the Left Hand. suitable for use in connection with the greeted the very novel and beautiful Brackett. Easter TrimTriumph, Hotchkiss By M. Paloverde . -io The ON SALE PI,AN is one of the Easter Joy .. LANSING. through the earlier stages they are unduly regular church service and is destined to Etude supplements presented with the distinctive features of our business, and Brackett. Victor I m m o r t GOD. , .-«=„> . Young Folks Musical Stndy Playlets. December and January issues of The Brackett. Glory, O God, for Marchant. Thanks be to God. impatient of the simple pieces to which By Carol Sherman.4U be popular with choirs. one designed to be of the greatest utility High Voice .- Evermore .. .. For choristers preferring a varied pro¬ Etude has shown us the educational value Coombs.mbs. King of , Glory. 2 Brackett. Hail, Thou Once Minshall-Nevlu. Christ is Risen their powers—or their weakness rather— to teachers, singers and choristers. A full Kevs—High and Low Voice (Men’s Voices) . gram of their own choosing we refer to of this feature. We shall therefore con¬ explanation of the plan wil be sent on Despised Jesus. Morrison. Christ Is Risen. should confine them, and the wily teacher New Music Gelbel. The Risen Lord. 2 Brackett, F. H. I Know That our fine list of festival pipe-organ num¬ tinue them from time to time. The idea request—its details are also given in each Keys—High and Low Voice Morrison. Song of Triumph- will do well to avoid any pieces whose My Redeemer Liv"" Neldllngor._ Jesus Christ On Sale bers. Vocal solos and choir anthems for of having a passe partout frame or bind¬ of our principal catalogues, “The Hand¬ titles recall the nursery. -High and Low Voice To-Day . J* This company is the originator of send¬ the Eastertide noted in another column. ing printed on the back of the picture book of Piano- Music,” “The Singers’ Bridge. Norris. s it Began to Dawn. 20 How then are we to decide? It is ob¬ with the measurements so exact, that any¬ Gelbel. Hail, Glorious Morn. 2 Perclppe. Come Ye Faithful... .15 ing to teachers new publications “on Several new anthems are presented this Hand Book,” “Hand Book of Violin Keys—High and Low..... Behold,’ I Tell You a Christ Our Passover. .15 vious that no hard and fast rule can be one can purchase a piece of glass for a Harding. Hail to the Risen Rathbun. approval” or “on sale.” The idea Has been year, including Thanks Be, to God, by Music,” and others, any of which may be •4r nucsnrn. Christ (he Lord laid down, but there are various points A L Lansing; Break Forth Into Joy, few cents in the standard size of 8x10 Lord. High Voice.. The King ’of' Glory... Risen To-day (Easter Pro¬ taken up by most publishers, but none of had for the asking. Holt. The Lord of Ages. i Christ is Risen. whose consideration will help us to a de¬ them have equaled the facilities of the by Dale; Hail Festal Day, by Morrison, inches, and in a few minutes have the sup¬ Keys—High and Medium Wm. ’Tis Glorious cessional. with Flute or Violin) .. •"> cision. First of all, comes the musical originators. We have lately improved our and a new soprano, and alto duet, I dm plement hanging on the wall of the Child’s Own Book of Voice. (Palm Sunday)- Morning . Schnccker. How Calm and studio, the school, or the home, is entirely Lansing. Lord is Risen. _ With a and Victory. system of sending new publications out the Resurrection and the Life, by R. M. Great Musicians—Chopin Beautiful the Morn and intellectual capacity of the child. If new with The Etude. It is an idea that Easthai___ ... . Hallelujah, _• Passover. “on approval” to practical teachers. There Stults. Our complete Easter services for Christ Is Risen...-••••• Shackley. Christ-fig she can “carry a tune” and shows an in¬ has never been introduced before. Some When you were a child didn’t you just Solly. _Behold * Shew You a are two kinds of packages, one large, and Sunday-schools, Hail Festal Day, The Flagler. Christ is Risen, Hal- terest and liking for music, that is all in of our readers wrote “I bad my supple¬ long for’something you could make with „ M)My»ter^ ■ n-; ■ — y one small. This, however, only holds good Risen Lord and The Dawn of Hope, con¬ Neidllnger. Christ's Victory. 3 GllberL^8 Christ the Lord is favor of early lessons. The brain power tain well selected responsive readings, ment on the wall of my room fifteen your own hands? Weren’t the things that Exalt Thee .,. with the piano and vocal music. There you did make some of your choicest treas¬ Keys—-High, Medium and Risen To-day. Stnlts. Alleluia! Alleluia!.... is a very important factor, for the simplest recitations and musical numbers, par¬ minutes after The Etude arrived; and Low ... Glorza. Regina Coeli, No. 2 Stults, R. M. And When The are a great many teachers who 4nd that “The supplement alone was worth at least ures for years? The Child’s Own^Book Neidllnger. Death Is (Christ is Risen). (Latin movement of the fingers must be directed ticularly adapted for young voices. and English Words)..... Sabbath Was Past. our large package contains entirely too With our unapproached 4 On Sale rlan, 25 cents to me.” The supplement is a of Great ‘Musicians embodies the “some¬ quifhed. 2 Keys—High and Stnlts. As It Began to Dawn by the brain behind them, and the under¬ many pieces, and, on the other hand, some thing-to-do” principle, combined with a Medium . Goodrich. Awake Thou that Trowbridge. Hallelujah, Christ choir directors can secure immediately, real supplement. That is, it supplements Sleepest... standing of the musical notation demands think these small packages are too small very pleasant means of acquainting the Norris. Alleluia. 2 Keys- Granter-Adnms. Hosanna! ... .— is Risen.. ■ upon request, an abundance of material to the articles in The Etude in a manner High and Medium Voice.. Grant. Day of Resurrection, The .15 Trowbridge. Why Seek Ye the intelligence of no mean order. for the very busy teacher. In the future meet all requirements. Write us now for not to be accomplished in any other way. child with musical biography. Inspired Rotoli. Glory to God. 3 Keys Livi Hosmer. God Hath Sent His The next question is the financial one. the packages will be sent in accordance vour music, and resolve to make your It also presents the “something to do by the struggles and ambitions of the —High, Medium and Low Angels .10 Wolcott. Christ Is Risen . Voice . Music is not learnt in a day and piano¬ with the number of pupils that each church services this Easter surpass all idea which makes it popular with students. great masters, interested by becoming forte playing is not attained without la¬ teacher has. , former efforts. Your choir members will Owing to the fact that we have pre¬ familiar with the stories of their works, EASTER CANTATAS borious years and much money. If the We are also extending the new music to enter into the work with zest and we are sented a fine portrait of Haydn on the the student does “twice as much work as DAWN OF THE KINGDOM VICTORY DIVINE our violin, organ and church music sub¬ prepared to help you by furnishing all the cover of this issue no supplement is given he would otherwise be inclined to do. The THE GREATEST LOVE means are limited and more than one scribers. Any of our patrons who desire series we have already published included By J. T. Wolcott. 50 cents By J. C. Marks. 75 cents child in the same family is to he taught, music required. No other publisher has inside. Count on more supplements— By H. W. Petrie 75 cents to have our new issues to examine,, and they will help you in your musical work Bach, Handel, Mendelssohn, Mozart, Schu¬ I would suggest that the tuition be de¬ a larger or more comprehensive catalogue, return at the end of the season if not and our professional discounts are the and enjoyment. Although they cost a bert and Schumann. Everybody liked Any of the above Publications will gladly be sent for examination layed until the child is eleven or twelve needed, can do so by sending us a post¬ most liberal in the music trade. large sum of money to present to our them and wanted more. Now vTe have 1712 Chestnut St. : PHILADELPHIA, PA, years of age. The progress made by a card. readers, we want you to have them. Chopin in preparation. The volumes al¬ THEO. PRESSER CO. child between.the ages of six and nine Thousands of readers will make a por¬ ready published will cost you fifteen cents, Year Book for will be doubled if the work is done be¬ trait collection for use in their educa¬ pistpaid. Tf you order the forthcoming Pleasant Pastime. Music Teachers for 1917 tween nine and twelve, and probably tional work. Think what a set of twenty Cnopin book in advance you can have it By Helen L: Cramm for ten cents. Send cash with every order. trebled if taken between twelve and fif- We will gladly send a copy of this little or thirty of these pictures would mean Be Sure You Know Your Piece This book has been prepared as a sup¬ work to any of’our patrons who wil ask plementary volume to New Rhymes and for it During 1916 we distributed a large Technical Studies for the Does all this mean then that no child Tunes for Little Pianists by the same number of these, and have heard only Standard Advanced Left Hand. By M. Paloverde By Alice M. Steede is to study music until he has arrived at author. There are quite a number of new most favorable comment The hook con¬ Pieces for the Piano We take pleasure in announcing a new years of discretion? By no means. The features in this little volume for children. tains about 100 pages, and is 3% x 6 inches Our series of pianoforte collections, set of second to third grade studies by a , , Do you think you would feel nervous Otherwise, I should, not dream of sug- ideal course is very different. The little There is variety and interest from cover well-known writer, M. Paloverde. These to cover. The music and the verses are m It Contains, in addition to a calendar, printed from the special large plates, has So you are going to play at a recital y asked to play a five-finger gesting it. I heard you play it at Christ- fingers can be trained at a very early age proven very popular. The series includes studies are especially directed toward the all original. The hook is a little on the blank pages for pupils’ directories, lesson development of the left hand. While the next month? That is very nice, ana i J Qn the q scale? Now I think mas, and you were note perfect in it provided that for the first six months o order of a technical work without the collections of all styles and grades, and congratulate you on being among those ^ wkat makes your fingers trem- then, so you need have no anxiety as to year, a fifteen minute lesson be given schedule, sheet music account, cash ac¬ right hand is given something to do in technical difficulties. The various phases count, memorandum pages; and of material we are now about to add a new volume in whom your teacher allows to perform in ^ y0u are afraid you will make a its correctness, and you,may concentrate every day, the child not expected to do the shape of an advanced collection, pieces every number, the left hand throughout of technic are simply touched upon to of permanent value, a list of teaching the book has passage work of especial public. . mistake in those difficult chords or in that your mind on giving it the best possible any practicing without supervision. give the pupil an idea that such things material divided into various grades, with chiefly in grades from four to six, with a few still more advanced than these, all significance. Modern pianoforte playing You feel dreadfully nervous about it? cadenza passage. They generally come interpretation. After that time the number of ^SS°T exist. Among the pieces in the hook is a blank space at the end of each grade for makes so many demands on the left hand littlj pedal exercise. There are several the best composers being represented, That is a pity, for you cannot possibly • ^ kut not aiways. A few weeks’ Of course, there are also other things weekly may be reduced and their lengtn personal lists; in addition to all of the that it is well, even in the earlier grades, little duets, and one little exercise for re¬ above, a pronouncing dictionary of mu- classic, modern and contemporary. The enjoy the recital if you dread the moment more’ practice would make you quitp sure to be attended to. I should not advise increased; also the child may practice pieces will be found suitable for advanced to devote special attention toward the de¬ peated notes. The chromatic scale is Pre" S names, together with nationality velopment of this measure. Great benefit when your turn comes. However, I of ;t> you think. Well, then, give it a you to go to a dance on the previous alone. Thanks to the constant super- sented in a very simple form. The bulk of teaching, for recital work and for concert really think I know a cure for nervous- few weeks’ more practice. evening, or even to practice four hours vision of the first period, the correct po- and vear of birth and death. will be derived from the use of these new the book, however, is taken up with char¬ This will certainly assist every teacher playing. All will be of the very best ness and a very simple one, too. It is What are you going to play to-morrow? on the morning of the concert. Also sition of hand and arm will be fixed, tn possible character. The special intro¬ studies. Our special introductory price, in acteristic rhvthmie numbers. The book in keeping their accounts straight, and in advance of publication, for this new this •’ Be Sure You Know Your Piece. If I were you I would play that beautiful take care to have your hands warm, habit of attentive practicing formed, an will be published in large notes and in furnishing information valuable to them ductory price in advance of publication for this volume is 25 cents, ppstpaid. volume will be 25 cents, postpaid. Ah' you are disappointed at the pre- Impromptu of Schubert instead of the Then when you begin to play, forget since the child has not been allowed t oblong form. The special advance price at the proper moment. Like Naaman long ago, you Chopin Polonaise. You say you learned your audience and make them forget repeat mistakes, the eye and ear will hav Is 25 cents, postpaid.' rather be told some great thing. it six months ago! Of course you did you. been so far correctly trained. THE ETUDE Page 137 FEBRUARY 1917 FEBRUARY 1917 the changes and improvements in organ Page 136 THE ETUDE Bach’s Well-Tempered building, and especially organ actions, etc., Melodies of the Past for the Clavichord, Vol. I Theo. Presser Co. Handel’s 12 Easy Pieces Extraordinary Piano. By M. Greenwald during the past years. This work bids Young Folks Music Study Premium Rewards etude cover Our new edition of Bach’s Well-Tem¬ fair to remain the standard text-book for Publications Plays. By Carol Sherman for the Pianoforte This little volume will contain new ar¬ pered Clavichord, Volume I, is now on years to come. Our new edition will be We will continue on special offer during The early months of each new rangements, in a simple form, of the most superior in all respects. Our special price This new work embraces a series of offer the easiest time of approach for the press. We will continue the special the present month the new volume in the popular melodies that are still retained in advance of publication is 30 cents, Issued January, 1917 plays for children, each play based upon Etude subscriptions, and, to those ot our DESIGN introductory offer during the current Presser Edition announced in the last in our present day. Among them will be postpaid. incidents in the lives of the great masters, Premium Workers grasping the present month, however. In this work, the fa¬ issue, that is the Twelve Piano Selections found The Minstrel Boy, Auld Lang mous edition by Czerny has been followed Bach, Handel, Mozart, Beethoven, Men¬ opportunity for the securing of new Etude by Handel, edited and selected by Dr. Syne, Dixie Land, In the Gloaming, etc. closely. There has been only’ such edi¬ delssohn, Chopin, Schumann and Wagner. readers, we have arranged the following Schmoll Method for Hans von Billow. This collection is one The words of the first verse are attached torial oversight as was necessitated by a They do not require elaborate scenery or special rewards, listing also in this issue. the Pianoforte of the standard educational collections, to each arrangement, and then comes a Prize Contest careful comparison of the various stand¬ costumes of any kind. In fact, they may Page 73, some additional rare offers. and contains most excellent material for very easy and interesting variant; some¬ ard texts. New and handsome plates This new publication is now on the be acted without scenery or costumes or ,7 Subscriptions—Diamond shaped solid about the third and fourth grade pupils. times the melody is changed into a waltz, have been engraved. Every pianist suf¬ press, but the special introductory offer they may even be read in the class. The gold LaValliere, with amethyst and four The preface by von Billow will be found and at other times it appears in another ficiently advanced should take up these will be continued during the current craze for material of this kind has swept pearls and one large Baroque pearl. M. Paloverde very valuable and illuminating. This key in the form of a march. Then again, TWO PRIZES Preludes and Fugues and keep at them month. Our new edition has been spe¬ the country for some years. Public volume can be purchased while it is in the Pendant measures 1 inch. indefinitely. One may play them for 5 Good Friends..M. Paloverde schools have been introducing the lives of it reappears as a four part harmony, mak¬ cially translated from the original 6 At the Party.M. Paloverde course of printing for 15 cents, postpaid. A Subscriptions—Solid gold Neck Chain, years and still gain benefit, and con¬ 7 Hearty Laughter, ^ Washington, Franklin, Lincoln, etc., in ing a most delightful and interesting little $25.00 for an Idea. French, and has been carefully prepared. for use with LaValliere, Pendant or tinue discovering new beauties. Our spe¬ This is one of the most melodious piano dramatic form, because they have found volume for children. The special intro¬ cial introductory price for the volume is Jolly Letter. .M.’ 1 Locket. Very fine links, length 16 inches, ductory price for this volume is 25 cents, instructors that we have ever seen. It The Pin Wheel..P. Law that when the pupil participates in a Elijah $100.00 for a Finished 30 cents, postpaid. strong ring clasp. postpaid. is full of the very best sort of educational 14094 The Blacksmith and His little play of this kind his interest is so and Messiah 5 Subscriptions—Beautiful Vanity Case Song.Geo. Spenser 2 enhanced that he never forgets. These We have been advertising an edition* Cover Design. material, but at the same time all the of warranted German silver, heavily silver- Stainer’s studies and pieces are of the most attrac¬ plays are by a writer who has had much of Handel’s Messiah and Mendelssohn's plated, finished in French grey with high Songs and Games for 8 Man in the Moon. ..Slat experience as a teacher and as a dramatic Elijah. In our edition the plates are to Organ tive character, and all are original. 9 The Bine-Bird.D. D. Slat grade beveled mirror, compartments for Children. By M. Greenwald mt ANY valuable criticisms are Sehmoll’s Instructor is one of the most 0 Pied Piper.. .D. D. Slat author. They are practical and may be come from England, but owing to the war holding small coins, memo tablet, powder r new edition of this standard in¬ 1 Bunty.D. D. Slat the Government of Great Britain will not 1 received from subscribers popular European music books of the used by the teacher with the same ease and puff, also compartment for holding This will be the last month for this structor will soon be ready. Without doing 2 Bogey-Man.. .D. D. Slat allow metal of any kind to go out of the violence to the original work all necessary present day. Our special advance price .4123 Narcis-- -. - that any ordinary class in history is con¬ cards and biUs. Case is hung on a beauti¬ volume at a special offer price. This 1 for and against our Etude country without special permission. Per¬ material has been added in order to cover for this volume is 30 cents, postpaid. 14124 Tinker BeU...D. D. Slater ducted, or they may be elaborated into ful Boston soldered link chain. book will be equally valuable for action Title Pages. By presenting this -May-Day. . ” " — real stage performances. The advance of mission has been applied for to allow these songs as well as piano pieces. The intro¬ .. Slat. plates to go out, but as yet no word has Send a post-card to-day for FREE Contest we hope to stimulate publication price for the book containing copy of our 32-page Catalogue of a duction will set forth the games that go The Soldier and His Song, been received one way or the other, and with the numbers. There are some of the this interest into something sub¬ all the plays is 40 cents. Thousand Rare Premium Offers. G. Spenser 2 it looks very much at the present time as games that are at the present time obso¬ A Musical Dispensary 14184 Patriotic Austria, stantial and likewise assist our¬ G. Spenser 2 if this permit to have the plates leave the lete, and these will be new to a great Four Indian Songs country will be postponed until after the selves in what is a difficult 14186 The Sailor and His Song, Special Magazine many of our present-day teachers. They By James Frederick Rogers G. Spenser 2 By Thurlow Lieurance war. It is therefore thought advisable to are all very characteristic compositions, problem. 14187 The Traveller and His Song, withdraw temporarily our special offer on Club Bargains G. Spenser 2 In this volume Mr. Lieurance has taken arranged in a very simple manner by a these two important oratorios. Our special We have selected, and list below, a few The first requisite of any mag¬ make good practitioners of the healing 14194 Dance of the Clowns.Blied 2 the thematic material from four of his practical and thorough musician. You 13766 Daffodils. ..A. T. Granfield 2% advance price was 30 cents each, or 60 exceptional Magazine Club Bargains and art. Many of them need themselves to 13767 On the Porch. . . .Granfleld 2 M> most successful songs and worked them will make no mistake in ordering a sample azine cover is attractiveness, on “I think sometimes could I only up as violin solos with piano accompani¬ cents for both, and only one sample copy in addition list on page 73 of this issue of be treated. There are those who delight 14185 Patriotic Wales.G. Spenser 214 copy of these if you are at all desirous of have music . . . could I know 14193 Procession of Toys. Blied 2% ment. These pieces will afford material of each was to be allowed at this price. The Etude, Clubs of America’s best the piano, on the newsstands— presenting to your class new material of where I could go whenever I wished in constantly bathing their fancied in¬ 14025 Ada.G. Spenser 2$$ of entirely different character for the use For the time being this offer will lie over Magazines. what might be called poster 14207 The Training Camp, an interesting kind. Our special advance the ablution and inundation of mu¬ juries in a sea of musical melancholy, P. Brounoff 234 of violinists, something entirely out of until a decision is made by the British Our selections enable you to send for Government. However, in case anyone of price is but 30 cents, postpaid. effect, something to hold the at¬ sical waves, that were a bath and a who keep themselves dosed with musical 14225 Advance Guard. . .Granfleld 234 the usual run, yet most interesting to all periodicals desired, in a single order, our patrons who have sent in their advance tention of the public and please medicine.”—Emerson. opium and bromide. On the other hand, 14236 Lullaby .T. Dutton 234 play. The melodies are taken direct from direct to this office—saving you time, . Young Soldiers..T. Dutton 2 34 orders for a copy of these works desires A spring of such healing waves there are those whose lives have followed Valse SerieuBe. . . C. Fradel 3 native sources, and the arrangements are money and worry. The prices we quote are them. to have the money returned we shall be 10 Melodious Studies for the is open every Tuesday evening at such even pathways that they know noth¬ A Propos.M. Saroni 3 genuine transcriptions, not paraphrases. very glad indeed to do so. WC can assure for yearly subscriptions and are positively The Trout Stream..G. Wolf 3 The special introductory price on this equally as low as can be offered by any Pianoforte. By A. Sartorio, Secondly; The Etude Cover Number 25 --— Street, in ing of the deeper experiences of life Facing the Foe. .Morrison 3 our patrons, however, that these works which come with suffering. They are H_ Pastoral Beverie. Morrison 3 volume, during the current month, is 25 will be published, but there will be some reliable Publisher or Agent. Op. 1090 must be musical, original and which all who are susceptible to the 14089 By the Fountain, influence are free to bathe. too robust, too virile, their sympathies cents, postpaid. delay on account of the war conditions. Reg. Price Our Price The special offer on this new book of characteristic. studies will be continued one month longer, too scant, to make them worthy ministers THE ETUDE .*1.50 1*1.60 after which it will be withdrawn, as the Prize I—$25.00 will be given to others. 14097 The Perfume of Violets, Operetta—Mother Goose Album of Sacred McCall’s Magazine.60 Js.ve40ct». A card with the above notice has been G. L. Spaulding Island. By Geo. L. Spaulding Piano Music studies will then be off the press. These for the best Idea, a rough sketch, :nt out by two enthusiastic musicians Music is begot of human feeling. Body 14112 A Morning in the Woods, studies are of intermediate grade, espe¬ and mind meet in the feelings. The G. Spenser This new Operetta for young folks is This is a new and very useful volume of or a word explanation. Examine i physicians and to other friends, with 14113 Birds in the Forest, THE ETUDE .$1.60 1*1.75 cially adapted for hands of limited span, body affects the mind through the feel¬ one of the best that we have seen. It music of quiet and refined or contem¬ Every Week . 1-00 J Save 75cU. the covers of The Etudes that the purpose of offering the healing abounds in bright and sparkling melody, plative character, music suitable to be and covering a wide range of technical “waves of music’s golden sea” to those ings which accompany bodily welfare oi you have and you will get a very in interesting situations, and in snappy used on Sunday in the home and also at THE ETUDE .*1.50 1$] or devices, with special attention to scale and who cannot afford often to pay for the injuries, and the mind influences the body 11 Dancing Villagers.U. Seifer dialogue. It is a worthy addition to the religious services and gatherings where McCall's Magazine.50 arpeggio work in either hand or in the good idea of just what is re¬ _12 Kermesse.U. Seifer privilege of hearing good music. While through the feelings which arise from 14143 Festival Polonaise, successful series by Mr. Spaulding, in organs .are not available. The volume will Housewife or To-day’s.60 ) Sa»e65cU. hands combined. This will be a good book quired. You may have some the rise of music for definite purposes elevated or depressed mental states. which are included “Day in Flowerdom’ contain some of the gems of the great to use with any third grade student. The masters as well as suitable selections by THE ETUDE .*1.50 design or a picture or some clip¬ of healing is not at all new, it is possible While bodily disease cannot be cured by and “The Isle of Jewels.” It is suitable Ladies’ World . 1.00 special introductory price in advance of for young people of eight to fourteen modern and contemporary writers. All People’s T-’ ping, etc., which would answer that the opening of a free dispensary of nfusic, the mental suffering aroused by McCall’sjyic Page 138 THE ETUDE SchoolsandColleges « NEW YORK CITY^ L^k^S^ApgUed Music (METROPOLITAN COLLEGE OF MUSIC, thfse teachers advertising granberry piano school Sn OTHER PAGES OF THIS ISSUE 212 West 59th Street *ew York C ty VOCAL TEACHERS Teachers’ Training Courses EASTERN FAELTEN SYSTEM. Booklet compiete« r? S. CHITTENDEN^ HENRYWALTER MUNRO. L BOOERT, Carnegie 114 W. Hall, 12 nd New Yorn city ™ CARNEGIE HALL - - NEW YORK FRANCIS ROGERS, 115 E. 53d Bt„ New York City ORGAN SCHOOLS GOETSCHIUS’ BURROWESCOURSE of music sjudv EASTERN SYSTEM OF HARMONY COUNTERPOINT E. KILENYI, M.A. " iKSSaSastlSiBSrtBsSsls New York City S'i■hdescr\otive literature sent on application to „„„„ nfTV n leg FIFTH AVE., NEW YORK CITY, c DETROIT, MICH. DePt. D. Z4S HIGHLAND AVE.. HIGHLANDLir.HI.AND PARK, INTERNATIONAL National agency MRS. BABCOCK /OFFERS Teaching Positions, Col- yj leges, Conservatories, Schools. Also Church and Concert Engagements of Improved Music Study CARNEGIE HALL, NEW YORK DUNNING SYSTEM for Beginners OF THE CITY OF NEW YORK institute of musical art Frank Damrosch, Director an endowed school of music The opportunities of the In.tit.te «» withanearnestpurposetodosenois wor ,20 Claremont Avenue, New York, and full information address SECKL1AM, iao l-i - Addre”78 w-103d st’ THE NEW VIRGIL z (STJ^iiS'zi a, Mr^HaSJetXBacon MacDonald, Norma. Class, Austin, Texas, June 11th. Address Bush Temple, PRACTICE CLAVIER Fu^nt’iionld booklet of Foreign and American endorsers. B West 40th St„ New York City Far superior in its latest construction to any other instrument for teaching and practice. VIRGIL SCHOOL OF MUSIC VIRGIL PIANO CONSERVATORY For Particulars address Secretary The most efficient school in America A* \/lRGIL Executive Office, 567 Third Ave., New York City K. V OR A. K. VIRGIL, ST. PETERSBURG, FLA. Results tell 19 reasons why the “Tek” excels the ARTHUR FRIEDHE1M piano for practice. The Noted Pujpil and Conservatory, 1 Catalogs “Tek” and }■ on Greatest Interpreter of LISZT Music ) request A. M. VIRGIL, President Scholarships will be given to pupils without means. All application, ar 11 West 68th Street NEW YORK PAUL SYDOW, Manager 61 East 53rd Street, NEW YORK CITY Your Name Should Appear i TEACHERS PROFESSIONAL THE von ENDE SCHOOL of MUSIC PIANISTS DIRECTORY ORGANISTS (Stepan HO) “The Foremost Musical Institution of America” CIMPCDC The cost IS Sma • ui NEW YORK CITY MINULKo advantage is inestimabl NEW YORK SCHOOL OF MUSIC AND ARTS JjZf »" W.„. 95,h S,.. N.w York C,„ RALFE LEECH STERNER, DlwU- Gfa C.u,r.l P.rk W«,t, «. 95th S,„ N.» Yo,k C.t, Un,.,P,„rf b»u,y of hring C,n,„l P« Special Winter Teachers Courses »h»au»«»..k»iu»»NwY«kc. MANY EUROPEAN CELEBRITIES AND EMINENT AMERICAN TEACHERS, including , , „ . ,. . , ^„ vSrtunw,- T ;„ieyt’st>s Greatest Pupil. Voice—Ralfe Leech Sterner, Celebrated Vocal Teacher. Violin—Clarence DeVaux Royer, the Fd:II,-'t Please mention THE ETUDE when addressing our advertissrs. THE ETUDE Page HI FEBRUARY 1917 FEBRUARY 1917 Page HO THE ETUDE The Great Grove Dictionary Special Notices Schools and CoUeges'SBS ^ ANNOUNCEMENTS SSrirSchools and Go\\e&<2'&4LjBB. SOUTHERN The Keystone of Every ENGLAND AND MIDDLE ATLANTIC Atlanta Conservatory ot Music Musical Library MR. and MRS. CROSBY ADAMS The foremost school pf fine arts I WANTED AND FOR SALE Lnnual Summer Classes lor Teacher, of Piano in the South. Advantages equal |_R.t« 10c per word_| to those anywhere. PIANIST wants to buy out the teaching lusinpss of some established piano teacher. Fall Term begins September 4th. Grove’s Address Pianist, care The Etude. COMBS 1N JUNE o^ltoeMd strong Shenandoah Dictionary C0N8Bl*,'a£r0RY0P Ml>8lC Hahn Music School Collegiate Institute PHILADELPHIA of Music and ...Mrns^mmxs A SCHOOL OF INDIVIDUAL INSTRUCTION^ Musicians See these splendid musical PEABODY “i’S' books in your own home. What HAROLD RANDOLPH, Director the Encyclopedia Britannica is HfifiT to General Information the Grove Dictionary is to Music. s£®2SSS2rSr®5fi^*;^:'w There is no better Musical Refer¬ ence Library at any price in any LOUISVILLE CONSERVATORY OF MUSIC Unabridged in any RAYNOLDS THE SCHOOL WHICH CON- AEiS£ unless "“sisr This is the latest revised and Y FOR GIRLS. Write f« Catalog. LOUISVILLE, KENTUCKY enlarged edition of Sir George PITTSBURGH MUSICAL Grove’s masterpiece of musical INSTITUTE, Inc. scholarship. There are 4,000 pages and over 5,000,000 words from great authorities upon all phases of musical learning. The books are liberally illustrated with cuts, half-tones and notation C H E P A R D examples. Thousands of subjects kJ PIANO SYSTEM ^ are discussed: Biography, His- Industries, Instrumei tion, .Esthetics, Musical Ter etc., etc. The work is the n: Now issued in America exclu¬ sively by Theo. Presser Co. The Purchase of These books are of such high THE COURTRIGHT SYSTEM OF MUSICAL KINDERGARTEN character, of such vast scope, and are so substantially bound that they will last a “lifetime.” icant in comparison with the con¬ THE FLETCHER MUSIC METHOD NEW YORK tinuous service you will get from the books. The early editions HORMAL cost 325.00. GROFF-BRYANTfes This greatly enlarged latest edition costs VIOLIN The Business Manual only $15.00 for Music Teachers MRS. EVELYN FLETCHER-COPP szjrjsr&tt 31 YORK TERRACE_BROOKLINE, MASS. KRIENSJ^'—MfSk- THEORY AND NORMAL COURSES the first attempts of composers who after- years old betore he enjoyed such an op- to collect o ward achieved fame. One of the best- portunity, through the thoughtfulness and known of these humorous stories is that generosity of a friend. Even yet he did bring if p of Dvorak’s first orchestration for rass nof own a p;ano. But he composed just to pay for Theo. Presser Co. band. before.h^^tfaVheamLX. in ‘he same, and before he was the happy THE< Sole Agents ■ of a piano he had < DUNNING PHILADELPHIA, PENNA. FLETCHErSaSSS'l THE ETUDE Page US FEBRUARY 1917 FEBRUARY 1917 TI1E ETUDE How Musical Examinations Help Pupil and Teacher Rage W Thousands Purchase These ETUDE Premiums Help the Newspapers The Most Successful By Alice M. Steede At only the Cost of their Spare Minutes By E. H. Pierce of all Histories When examinations in music were formance, than with one who works well Waste minutes all have a money value if one knows musical instruments, various kinds of first suggested as a possible factor in and carefully, because his own nature de¬ how to cash them. Five minutes a day spent in It is part of the policy of every pro¬ voices, and the standard repertoire of of Music musical education a distinguished musi¬ mands accuracy. In the latter case the | getting Etude subscriptions should enable anyone to gressive newspaper to encourage all cian gave it as his opinion that examina¬ examination sets the stamp of approval worthy local enterprises, those of a musi¬ UlSh'One must have at hand, or available Tho Standard History of Music tions were like pulling up a flower by upon the work done while to the careless OBTAIN A FINE MUSICAL LIBRARY cal nature forming no exception, it is in some library, at least a few musical its roots to see if it grows. And although, pupil it acts as a spur to better efforts. also the custom of concert givers, both Here is a splendid list of musical works that may be secured by merely obtaining works of reference, preferably recent and A First History for Students like many other people, he sacrificed a Another good point in favor of an ex¬ amateur and professional, not only to pay Etude subscriptions, and sending them to us with a remittance of 31.50 each. Simply up to date, and be in the habit of con¬ _ at all ages grain of truth for a forcible simile yet amination schedule is the strong induce¬ for the necessary advertising, but to send say what premium is wanted by number. No red tape. sulting them on every occasion. something can be said for his point of ment it offers the ambitious pupil to con¬ each local paper a few complimentary ■**5™ By JAMES FRANCIS COOKE Price $1.25 ^ GRIEG 6. One must have the judgment to dis¬ view. It is manifestly absurd to try to tinue his musical education much further , For ONE Subscription (NotYourOwn) No. For TWO Subscriptions tickets for the use of the reporters, m tinguish nicely between such information 300 famous musician, diacua.ud from Tcrpander and Pylhagora. Debussy and S* measure the divine art by the foot rule than would otherwise be considered in 101 Album for the Young. Robert Schumann. 1223 Chaminade Album. , , _. order that they may attend and write 206 Chopin. Lighter Compositions for the Piano. as will be of real interest to the general of an examination { to put a de Pach- any way necessary. In country districts, 103 Album of Favorite Pieces. Engelmann. 207 Church and Home. 18 Sacred Songs. . an account of the concert. Several of the 104 Album of Lyric Pieces. 26 piano pieces. reader, and such as (too obviously), Can Your Pupils answer the folding questions ? rnann or a Paderewski in the balance and especially in the far west, where op¬ 109 Anthems of Prayer and Praise. 21 Anthems. 212 Concert Album. 25 pieces. Popular or Classical. large metropolitan dailies employ as 110 Bach’s Two and Three-Part Inventions. 213 Concert Duets. 150 page., 24 pieces. . only serve to show off the erudition of (All taken from the Standard Hsstorvl and try to bear down the empty scale portunities of hearing music are few and 112 Beginners’ Book for the Pianoforte.Theo.Presser 216 Czerny School of Velocity. ' special musical critics, men who are What is a stroplnc soni 218 Dictionary ol Musical Terms. Dr. H. A.Clarke. Who was Heinrich Schulz ? Who was Hugo Wolf? with marks! far between, the standard set before the 116 Dictionary of MusicalTerms. Stainer * Barrett. deeply versed in music and all that per¬ the writer. 117 Duet Hour. 222 First Recital Pieces. 37 pieces for the piano. 6. One must write always in a kindly What is a requiem ? r_Pm.n Ooera 7 What did Liszt call Wi This may be true, of a Paderewski or player is very low, and his friends and 225 Four Hand Miscellany . tains to that art, and who are at the same What work is called the first German Upera . 122 First Dance Album. 26 Selections. 229 Handel Album. 16 pieces for the piano. spirit, to avoid giving needless pain and de Pachmann, but the ordinary music relations are usually entirely satisfied, 5 First Steps in Pianoforte Study. Theo. Px time clever and witty as writers, often 8 Four-Hand Parlor Piece.. 17 Di " 231 Harmony. A Text-Book. Dr. H. A. Clarke. making enemies. This does not imply, RsJKEsaarii..--— teacher has nothing to do with fully and indeed convinced that he has reached 235 Loeschhorn Studies^ Op. 65^ 66 or 67; paying them very liberal salaries, but as 3 ar andTe hnic.In4vols.Any however, that one should smear unde¬ If they need iM. °£ fledged concert pianists, and the only the topmost rung of the musical ladder 132 Ti e Duet Playera. 16 Dueti. 17 Mast this arrangement is a luxury beyond the iano. 25 best known 1 served flattery over everything. question with which we are concerned when lie can play, more or less correctly, iraded Courae of St means of papers in the smaller cities, the ^a^CoLVo'sSf.^ 7. Avoid the superlative. None but is whether a well designed system of the latest sheet music and popular songs. Vo!. VII, Grade 7. Any one vc task often falls to the lot of some re¬ Let us help you form a musical History Class 140 Mathews’ Stand’a' ’ Graded Cour : of Studiel P. T. Barnum ever had the “ONLY examinations would not aid the teachers Nor do I desire to belittle such ability. porter who has but little qualification for Nocturnes. Chopin. greatest show on earth.” Avoid flowery in their work, and make it easier to lay It undoubtedly fills a want and contributes 142 Modern Dance Album. 18 p the role of music critic, and sometimes 1214 Standard Vocal Album. 30soi __ Preparatory Sch language and wordiness. that foundation of careful and artistic to the pleasures of the neighborhood. 1215 Operatic Four Hand Album. 261 Songs Without \ rather a distaste for it. Knowing his send me your History Class Plan. D 265 Standard If the spirit moves you to try your playing without which no great heights However, the examination program whiph 149 Operatic Selections. Violin : own ignorance of the subject, he gen¬ 151 Piano “ Mathe hand at being a musical critic, the best THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. can he attained. After an experience of will probably cover five or six or more 1217 Popul. 266 Standarc erally manages to “get by” by writing a way will be for you to write up a good several years both with and without ex¬ years’ work will convince such people 1218 Populi_ few words about some of the outward 159 School and Home Ma 274 Two Pianists. 26 Brilliant Concert Duets readable account of some performance aminations, my own opinion is that in more quickly than anything else that 1218 Selected Classics. Vi d Piano. 19 piecei 275 Waltzes. Complete. F. Chopin. circumstances of the occasion, and a few •Liebling. 4 voli 276 Young Virtuoso, The you are just attending, (Note the “pres- spite of some drawbacks, examinations there is more in music than is dreamt of 160 Selected Studies. ( pointless generalities in regard to the per¬ For THREE Subscriptions ent tense”—if you wish to do it really in their philosophy, and the teacher has 18 Staniard Opera Aibu formance. This is not said to blame the The Most Popular Piano Instructor are an invaluable aid in the teaching of 305 Chats with Music Students. Thos. T.ppt well, you must jot down memoranda on the gratification of finding that the pupil’s Standard Orgai ’ 1210 Great Pianist, on Piano Playing- J- F. Cooke- hard-worked reporter, but merely to em¬ music. 170 Students’ Popular Par Albumf 'violin an 313 History of Music. W. J. Baltzell. the margin of your program while the It is taken for granted that the studies ambition is aroused, and will not be satis¬ Piano. phasize the opportunity here offered for 177 Well Known Fables Set to Music. Spauldi performance is going on.) As soon as and pieces required be carefully selected fied until his talent has been developed lln F. Cooke the music teacher who can write, to make For TWO Subscriptions 328 Organ Player. Pipe Organ Collection. PW. Orem possible after the close of the concert, to the greatest possible extent. 1229 New Organist. Pipe Organ Collection. Whitney. himself popular with the newspaper and and that a full course of technique— 203 Album of Piano Compositions. Edw. Grieg. finish your article, and take it to the BEGINNER’S BOOK The public at large should welcome ex¬ 339 Standard History of Music. J. F. Cooke. at the same time to help educate the finger exercises and scales in the earlier, 341 Stories of Standard Teachingrieces. E. B. Perry editor of the paper. It should be legibly scales and arpeggios in the later grades, aminations on other grounds. It is very 1222 Brahms’H. C. L. Han public taste. written, on one side of the paper, but School of the Pianoforte difficult for the average parent to judge To begin with, I would breathe the with accuracy of fingering throughout respond with oj waste no effort over making a handsome of the work of the teacher whom he If the tubjecl tire or the book you war caution that it is not every good music will be required by the examiner. Here s supplied am a premium, Send for pamphlet givi dl list copy, at it is much more important to By THEODORE PRESSER Price Cents employs, but the results of the examina¬ of premiums, both rr teacher who is quite qualified to under 75 we have directly a powerful argument have it there in ample time to go to press. tion of a large number of pupils by a take this, although I am positive that to draw upon to aid us in teaching. We THE ETUDE, Theo. Presser Co., Publishers, Philadelphia, Pa. Sign it with your own name, and offer HE latest work along lines of elementary instruction. competent examiner tells a tale the truth there are very many who are well quali¬ T can say to the refractory pupil, “Well, it with the proviso that your signature ap¬ of which cannot be denied. Occasionally fied who hold back merely from timidity The material used is entirely fresh and is presented in you know that unless you practice your pears. In this way vou will be giving we are fortunate enough to bring to or from not knowing just how to make a an attractive manner. It is intended for the veriest scales carefully every day you cannot ex¬ yourself excellent advertising at no cost light a great talent, but taken all in start. The chief requirements are these: beginner; little tots just out of kindergarten. A very large pect to get a good mark when the exam¬ save a little trouble, while if your article all, the raw material is very much the 1. One must know hong to write good note is used in the early part of the book. Questions and ination comes.” Or “If you don’t use the A Tribute to American Pedagogy is well written, the editor will feel that same the world over, but we invariably answers are given to clinch every subject. Writing exercises correct fingering in that measure, the ex¬ English. you have really done him a favor rather find that careful conscientious teaching 2. One must have heard a reasonable are introduced at the very start. aminer will certainly take off marks. number of good concerts of various sorts than sought one. Such reminders as these have a most means successful pupils, while the teacher After you have done this three or four who does poor work must be content 1,000,000 and in various places, in order to be able This volume, the first in Mr. Presser’s School of Piano¬ salutatory influence on the careless pupil, times, then suggest to the editor that you with poor results. Thus the public, other¬ to form a basis of correct judgment. and here it may be said that the benefit Copies Sold of These Works will write up some coming concert or se¬ forte, carries the pupil by easy stages up to the scales. When 3. One must be familiar with musical derived from the strict discipline of an wise too often the prey of the braggart ries of concerts if he will supply you followed by the Student’s Book, it creates a complete course, teacher, can safely discriminate between history and the various schools of com¬ examination course is much more marked with complimentary tickets. Nine times through the more familiar scales up to Third Grade Study. TOUCH AND TECHNIC position, of different countries and in the case of the careless pupil, who is the good, bad and indifferent teachers, By DR. WM. MASON out of ten, he will be most ready to too easily satisfied with his own per¬ and make their choice accordingly. epochs. . ' agree to this, and every one concerned 4. One must have a smattering, at THEO. PRESSER CO. In four books. Price 31.00 each. least, of knowledge concerning various will be satisfied. A complete technic from the beginning to the finished artist. Two-finger Exercises; The Scales; The Arpeggio; Octave and Bravura Playing. 1712-14 Chestnut St. Philadelphia, Pa A Successful Musical Day THE STANDARD GRADED COURSE OF STUDIES By Dorothy M. Latchem A Musical Hunt A Complete Vocal Course By W. S. B. MATHEWS . twelve little girls who helped make In 10 grades, 10 books. 31-00 each. By Grace Busenbark One day, the writer suddenly had a ! hour pleasant are all earnest workers, A compilation of standard studies progressively arranged, edited, fingered, Root’s Technic and Art of Singing vision of a "musical day.” The more she dpful technical studies were played at annotated, for the cultivation of Technic, Taste and Sight Reading. be learned by heart. Just what kind of A SYSTEM OF EDUCATION IN SINGING ON SCIENTIFIC thought about it, the more definitely she I WANTED my pupils to acquire the s time, and as one little child said "hunt” it was to be was kept a mystery. METHODS FOR USE IN PRIVATE, CLASS decided to try out her dream. Always a habit of noticing the marks of expression terward, “I never thought so much Universally used by the leading educators of America. Accordingly, at the “hunt meeting”—as AND SELF INSTRUCTION firm believer in recitals and musical clubs, and dynamics on the pages of their music out my studies before, and I shafi al- Roland called it—I had thirty small cards, it was not hard for her to look upon the American works for American teachers. and to read and understand them as read¬ By FREDERIC W. ROOT iys practice them better after this. on which were written all the different management of the whole affair as a Thousands of unsolicited testimonials are being constantly received. ily as English words. One day I told At 10.30 some of the older girls gath- musical terms of the children’s lists. Each I. Methodical Sight Singing. Op. 21. V. Twelve Analytical Studies. genuine pleasure, because she firmly re¬ Recommended by the world’s greatest musicians. them that our music club was “going on -d together for an enthusiastic and in¬ card was numbered. While they were Part 2. The first time through the keys. .50 Op. 20 $1.0 solved that the day should benefit her a hunt.” This appealed especially to the Part 3. Progressive musicianship. .50 vesting study hour. Many beautiful distributed around the room in various pupils, and should also be a needed help Every teacher should examine a set of these works. Sent on inspection by the boys, bift aroused the curiosity of all. jdjes were played by twenty willing hiding places, the children—full of eager II. Introductory Lessons in Voice VI. Sixty-eight Exercises in the in her work. Accordingly she planned publisher to any responsible person. The preparation for the “hunt”—going irkers, and this session was not closed anticipation—waited in an adjoining room. Culture. Op. 22 1.00 Synthetic Method. Op. 28. to publish a little booklet which would til nearly noon. over the field to get it ready -consisted When all was ready John played the (The General Principle of Vocalization) give the plans and schedules for the day. THEO. PRESSER CO. III. Thirty-two Short Song Studies .50 At 1.30 P. M. the boys came to „ in their finding all the musical terms and opening bars of a hunting song and all By the time five hundred booklets For high compass. Op. 24. urch, bringing some other boys and 1712 CHESTNUT STREET PHILADELPHIA, PA. signs of expression in their studies and hurried into the hunting-field, where the For medium compass. Op. 25. VII. Guide for the Male Voice. For lower compass. Op. 26. were distributed to pupils and friends, eir parents with them. Everybody was pieces and making a list of them in the thirty cards were hidden. Each eager everyone was keenly interested in the day IV. Scales and Various Exercises. Op. 23 1-® rprised to see how well the hoys could The history of instrumental music forms of the sonata order, which are ever-useful practice-books which they hunter brought pencil and paper, on which and the writer was reasonably sure of was a list of numbers from 1 to 30. Op. 27. .60 iy, and how interested the most of them divides naturally into three well-defined shown in their highest perfection in the were to bring to the next club meeting. VIII. Studies in Florid Song 1-® success. As soon as the players found a card >re in their music. periods. The first extends from the sonatas and symphonies of Beethoven; The pupil with the longest list received High ai The day dawned bright and fair and they wrote its meaning opposite the cor¬ At 2 30 P. M. the regular recitals be- and the third by a striving after greater an honor-mark. Then each in turn read the writer motored (yes, country teachers early experiments in the fifteenth and responding number on their papers. The -SPECIAL OFFER — n and we were busy all the afternoon, aloud a word from the “music-language can own cars) down to the homelike sixteenth centuries up to the time of J. S. freedom than the pure sonata form seems time limit was ten minutes. Then the ost of the pupils played well and the and all wrote its meaning opposite the church where all the sessions were to be Bach, the second up to Beethoven, and to allow, or an extension of its scheme correct list was read, and the hunter with ,elforTosenVtreVo’S’p?e°ePc se ON INSPECTION (that is returnable) riter was not unjustly proud of the pro- term in their books. As the words or g only the postage in case an; held, feeling that all her work was not in the third till the present day. They are by intellectual devices, and new kinds the longest list received a tiny hunting signs were given the more advanced s of ten works in anv one voice (when pul vain. At 9.30 A. M. the little pupils be¬ each marked by consistent distinguishing of contrapuntal methods, and by more horn to be worn as a badge of honor. accompanies the order, for #3.40, postpaid In'the evening the best work was dis- pupils illustrated them on the piano with gan to come in, and many of the little traits. The first by contrapuntal methods decisive adoption than formerly of ideas This contest was repeated at some of the ayed, and the program was listened to some short phrase from their music. „ girls brought lovely flowers to help make akin to those of choral music; the second and programs as the basis of art.—C. H. succeeding meetings by unanimous re¬ . . i.,,™ =,nd verv appreciative audience. As a further preparation for the “hunt THEO. PRESSER CO., Philadelphia, Pa. the church bright and beautiful. This by the development of pure harmonic H. Parry. quest. these terms, with their meanings, were to was the study hour for beginners, and Please mention THE ETUDE when addressing our advertisers. FEBRUARY 1917 V Page 1U TFIE ETUDE Musical Questions Answered low Triced magazine combinations Canadian EXTRAORDINARY COMBINATION . ; Subscriptions are f< hostage additional. Tur FTITHF . . . . \ SPECIAL! Always send your full name and address. No questions will be answered Mother’s Magazine . ^must go when this has been neglected. . . “ 1 Great Offer to Teachers Only your initials or a chosen nom de plume will be printed. McCall’s (free pattern) to same 2 Make your Questions short and to the point. Save $2.00 Questions regarding particular pieces, metronomic markings, etc., not Ladies’ World . . . (address ) and Musicians likely to be of interest to the greater number of Etude readers, will not be $ J 60 THE ETUDE ...... -I McCall’s (free pattern) . . • •) Save 40 cts. 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