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

8-1-1916 Volume 34, Number 08 (August 1916) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 34, Number 08 (August 1916)." , (1916). https://digitalcommons.gardner-webb.edu/etude/627

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CONTENTS FOR AUGUST Emerson Electric 1916 PLAYER PIANO The World-of Music. 549 Editorial .554 Music in School Histories.c. Xearing 552 Musical Instruments of Mythology. 552 What Time Means to the Musician. 552 Some Facts About Rubinstein.552 for their instrument Was Liszt the Paganini of the Piano?. .H. T. Finck 553 More About American Musical Atmosphere. 555 Dr. Rtlbner on American Musical Atmosphere.... 556 The Training of the Thumb.c. A. Harris 557 Three Helpful Devices . 553 Music in Revolutionary America_G. F. Schwartz 559 How One Mother Kept the Home Together, lna B. Hudson 560 Two Kinds of Pieces.W. F. Unger 560 A Necessary Instrument.Carl W. Grimm 560 Habit Formation ./>. y Jervis 561 The Philadelphia Movement in Music . 562 The Notation of Silence.Dr. O. A. Mansfield 563 Systematize Children's Practice.S. W. Mcrwin 564 Curious Facts About Music. 594 Real Help for the Pupil. .//. Smith 564 Musical Memorizing To-day.F. B. Thomas 564 A Chopin Technic.//. m. Brower 565 Practical Tests In Memorizing... Robert W. Wilkes 506 I fg £§§sS;EZ» I

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AUGUST, 1916 vol. XXXIV No. 8

and Debussy. The names of many much-vaunted American composers are conspicuous by their absence, but there is a most encouraging representation of the works of other American composers. Indeed, out The worlds greatest bands of a total of 2,012 compositions recorded there were 901 from Amer¬ Twenty-five years ago the average piano student in America ican composers, the majority of them being those who must remain could not consider his repertoire complete unless it included Leybach’s content to be called lesser lights until they can raise themselves parade before you on the Victrola Fifth Nocturne. Never a composition of more than mediocre merit, to immortality. it was nevertheless the musical forge upon which was hammered out many and many a primitive musical career. We played it, we sang One famous band after another entertains you with its it, we whistled it, we pounded it, we tortured our neighbors with it, we inspiring music. i did everything we possibly could to it and with it, and in the end Sleep and Nerves Sousa’s Band, Pryor’s Band, Vessella’s Band, Conway s Band, stood unashamed before the world. When it was put into the shade by the greater lights of the real masters we still went back to the old U. S. Marine Band, Banda de Alabarderos of Madrid, Black “There are more ways of opening a door than kicking it Fifth Nocturne to find out why it was that it charmed us so, why it Diamonds Band of London, Band of H. M. Coldstream Guards, open,” said a dear old lady. We hear in these days of all sorts was on thousands of recital programs. of wonderful treatment for disordered nerves. Medicines, baths, Garde Republicaine Band of France, German Cavalry Band, The Etude has recently been conducting a careful audit of exercises, psychoanalysis, tonics, and dozens of other things have Kryl’s Bohemian Band, Police Band of Mexico City—the 150 recital programs given by teachers in all parts of the United been prescribed. For most nervous conditions, however, there is a States. These were taken just as they have come to us. Some are greatest bands and orchestras of all the world. splendid remedy, and that is sleep. It is certainly the simplest and from the leading conservatories in large Eastern and Middle Western With a Victrola you can sit back in your easy chair and possibly the best. cities. Others come from towns and villages “everywhere.” The hear these celebrated musical organizations. Music students and music teachers have to consider their nerves examination was as fair as anything could possibly be. Out of two quite seriously, especially in the matter of public performance. If You can have them play for you any music you wish to hear. And you thousand compositions recorded Leybach’s Fifth Nocturne appears the player will only look ahead just a little much of the suffering hear it as only these great bands can play it—as only the Victrola brings only once. Yet, in certain districts where musical culture may not that comes before performance can be avoided. See to it that you as yet have reached as high a standard as in some others, the Fifth it into your home. get plenty of sound sleep for a week before the event. Sound sleep Nocturne would still make a very successful recital piece. Many Any Victor dealer will gladly show you the complete is not possible unless you have plenty of fresh air and unless you teachers would do well to consider the capacity of their audiences at line of Victors and Victrolas—$10 to $400—and play the have been careful of your diet. recitals. music you know and like best. The literature of sleep is surprisingly great. German savants The audit was a revelation in more ways than one. According have given great attention to it. Dr. Freud’s investigations in the Victor Talking Machine Co., Camden, N. J., U. S. A. to these programs (which, by the way, covered a period of two years) sphere of dreams have, for instance, revolutionized the treatment of the most used composers are: Important warning. Victor Records can be safely and satis¬ certain forms of insanity. There is no need, however, for our readers factorily played only with Victor Needles or Tungs-tonc Stylus on Victors Chopin 63 to investigate sleep scientifically. The main trouhle with most or Victrolas. Victor Records cannot be safely played on machines Mendelssohn 61 musicians is that they don’t begin to get enough of it. Listen to the with jeweled or other reproducing points. Beethoven 55 wisdom and humor of Cervantes in Don Quixote. New Victor Records demonstrated at Bach 44 all dealers on the 28th of each month “Now blessings light on him that first invented this same sleep! Schubert 40 It covers a man all over, thoughts and all, like a cloak; it is meat for Grieg 38 the hungry, drink for the thirsty, Jheat for the cold, and cold for the Schumann 37 hot. It is the current coin that purchases all the pleasures of the MacDowell 34 world cheap, and the balance that sets the king and the shepherd, Mozart 28 the fool and the wise man even.” Liszt 26 Victrola The numbers after the names state the times which compositions of these composers appeared on the programs. While this cannot Musical Poppycock ba said to be wholly conclusive in estimating the musical taste of our country, the great number and variety of districts represented and the period of time covered certainly make these figures straws which Art, religion and music seem to have suffered dreadfully from show how the wind blows. a kind of jargon purporting to represent ideas, but in reality That the first ten in popularity are admitted great masters, and nothing more than the outlandish gibberish of charlatans inventing that an American composer is among them, must be very gratifying words to substitute for their ignorance of real learning. - to American readers. It shows what excellent work the teachers of In music there are kinds of poppycock methods which are noth¬ the country are actually doing. If it were desirable to publish the ing more than the tools of fraud. A score of silly touches, and remainder of the list our readers would find some very surprising fancy flourishes under new names, are offered for sale by as many things. For instance, Handel is represented by only seven composi¬ impostors. The Etude looks forward with pleasure to the pres¬ tions, Gottschalk by five (more’s the pity), Henselt by three, Gluck entation of a fine corrective article by the noted composer-pianist, by one, and Sir Arthur Sullivan by one. Brahms stands much higher Mrs. H. H. A. Beach, on Common Seme in Music Study in the in the list than Tchaikovsky, Scharwenka, Leschetizky, Rachmaninoff October Issue of The Etude. Victrola XVI, $200 : Victrola XVI, electric, $250 Mahogany or oak THE ETUDE 552 553 What Time Means to the Musician THE ETUDE Let Us Recognize Music in Our School “Keeping-time” for most people is merely a question Histories Can You Pass This Musical of counting two, three or four to the measure, as ,he case may be If a mistake is made, it is regretted, but By C. Nearing Examination? no particular notice is taken of it. Yet, as a matter of fact a mistake in time should be regarded as heinous e has long been Interested In The Etude Day .Page will be resumed In September. m DUbllc recognition for music, Meanwhile Etude Readers will be given Monthly lests an offense as scratching a painter s landscape with an lias urged its readers to lose no opportunity to induce of Musical Efficiency. umbrella. Time is the musician s canvas. He says in :rs to jive it that recognition. We have recently written i number of publishers of school histories requesting The answers to these examination effect to his auditors: “Give me five minutes of your time and I will stir your soul with emotions. There questions in musical information will shall be melodies and counter-melodies woven together History is a record of progress. The writer has carefully perused a number of the more important be published in THE ETUDE next as are the lines of a picture; and if you follow me Was Liszt the Paganini of the Piano? school histories now in use, and music, if one has month. They are simple questions closely I will build you up a great climax out of these melodies just as the painter gathers his lines together only these to refer to, has been of no importance to which every well-trained American By HENRY T. FINCK the development of modern civilization. Painting, leading them to one central point on his canvas.’ Sculpture, and Architecture occupy from fifteen to music student should be able to answer If you listen to a great virtuoso, you will find that twenty-five pages in each volume, but no mention what¬ with comparative ease. the value of every note in the piece is carefully rt. garded. Nay, more, time becomes one of his chief ever is made of the art of music. When we consider No answers to these questions will the very important place music has at all times held mediums, and though he may leave a note or two out in the social and religious life of all nations, this be sent privately under any consider¬ here and there, he guards jealously every pulse and neglect seems not only needless but culpable. It may ation whatsoever. The reader must every beat, making every ritard, every stnngendo, a perfectly balanced factor in the interpretation of the well be believed that the absolute ignorance concern¬ wait until the next issue of THE ing musicians and the growth of music so prevalent piece. Thus it is that he holds your interest from be¬ among many otherwise cultured persons, is due to this ETUDE for the answers. ginning to end, so that you listen entranced until the carelessness or stupidity on the part of our historians. very last note of the final arpeggio sounds precisely on 1. What famous teacher had the It is almost generally conceded that music not only its own infinitesimal division of time. Franz Liszt reached the ripe age of seventy-five. public which was slow in appreciating the sublime and exact opposite of Paganini in everything except his following among his pupils: occupies a place nearer the hearts of the people, but Every piano student longs at some period to play He lived a life crowded, as few lives have been, with beautiful, I did not scruple to change the pace and dazzling technical skill as a player. exerts a more subtle influence over them than does Liszt, Thalberg, Leschetizky? like Paderewski or some other hero of the keyboard. hard work, romantic episodes, splendid triumphs, deep the ideas of the compositions; nay, I went so far in In 1841, shortly after Paganini’s death, Liszt wrote any of the sister arts. In the ancient world music was 2. What two great masters were Here are some of the reasons having to do with time disappointments. It is not strange that he repeatedly my frivolity as to interpolate runs and cadenzas a remarkable essay in which he declared that the death a matter of grave deliberation and legislation, and in born in the same year in the why he falls short of his ambition: alluded in the letters of his last years to the ttedium which, to be sure, brought me the applause of the of that Italian violinist signified the end of virtuosity vitae. He had become tired of life, having exhausted our present day it would seem that its economic, if same country? He neglects to observe the time signature. musically uneducated, but led me into paths which I that is, of the display of skill for its own sake and not its intellectual and spiritual importance, should give He disregards rests. its joys as well as its sorrows. What is strange is fortunately soon abandoned. I cannot tell you how 3. What Spanish teacher of sing¬ the glorification of the player. “May the artist of the it a place on the pages of the world’s history. Pauses, ritard signs and "hurry-up” signs go un¬ that he had an attack of this ttedium vitte when he deeply I regret having thus made concessions to bad future,” he added, “cheerfully drop the vain, egotistic ing lived to be over one hundred Teachers everywhere are making efforts to further an noticed. was a mere youth—an attack so severe that he de¬ taste, which violated the spirit as well as the letter of part which, we hope, found in Paganini its last brilliant interest in the history of music by influencing their years of age? He lays emphasis on the wrong beat. cided to say farewell to the musical world and enter the music. Since that time absolute reverence for the representative; may he place his goal within and not Students-, and by organizing clubs. Let us hope, how¬ 4. What does the term ‘ ‘Nocturne’ ’ If the melody stops for a measure or two, he hurries the Church. From his early years his mind had been masterworks of our great men of genius has com¬ without himself; and may virtuosity be a means to ever, that the time is not far distant when the writers mean? over the ensuing accompaniment measures as though of inclined toward religion; but there were other reasons pletely replaced that craving for originality and per¬ him, never an end in itself.” of school histories will see things with a broader vision which affected him at this time, 5. How many symphonies did no importance. Fetis, the famous Belgian scholar and will give to music the share of attention that it so When he comes to an exceptionally difficult place, among them a disappointment in Beethoven write ? and historian, who wrote a book obviously deserves. love, a long illness, an inborn aver¬ he slows up. on Paganini which is filled with en¬ 6. What does the word “bis” over When an unusually easy passage occurs, he hurries sion to the career of a public per¬ thusiasm for his virtuosity, was a measure mean ? over it. former, and the necessity of giving obliged to admit that he was not a 7. Who was the composer of the If he indulges in rubato at all, he either overdoes it, lessons to support himself and his Musical Instruments of Mythology great interpreter, but was really The antiquity of certain musical instruments is so “Pathetic” Symphony? or uses it in the wrong place. mother in Paris, because his recitals He neglects the infinitesimal break between phrases. were not well-attended. At one quite second-rate when it came to great that their origin is lost in the wilderness of 8. What is the meaning of the He chops off the end of a composition as though he time he was so short of funds that playing anything except bis own mythology. Thus, for instance, the flute, according word “Opus” ? show-pieces. “In his concerts in to Ovid, is the invention of Minerva, daughter of Zeus thought his auditors would be glad to know he had he sold his piano to buy bread. 9. What is a Capellmeister ? Paris f.e thought it necessary to (Jupiter) and goddess of arts and crafts. She seems finished and they could go on talking free from inter¬ When we consider the many ways flatter the national feeling by play¬ to have had the novice’s usual difficulty in controlling 10. What is the main distinction ruption. in which Liszt, during his long ing a concerto by Kreutzer and one the lips, much to the amusement of Juno. As Long¬ between an acciaccatura and an He fails to realize that the five or ten minutes taken career, helped along music and mu¬ by Rode—but he scarcely rose above fellow tells us in his poem, she in playing the piece is a painter’s canvas, on which sicians, we realize that it would appogiatura ? mediocrity in their performance.” there must be no blemish. have been nothing short of a ca¬ “Flung it aside, when she her face surveyed There was a certain “fulness and lamity if, at the age of twenty-one, Distorted in a fountain as she played.” Answers to Examination Questions grandeur in his phrasing, but there he had followed this inclination to was no tenderness in his accents;” The instrument was afterwards discovered by Mar¬ Asked in July ETUDE become a priest. no true expression. He ndver Some Facts About Rubinstein What averted the calamity was syas, who quickly learned to play it. He subsequently 1. A quaver is an eighth note. This term is still reached the pinnacle of those artists Paganini’s violin playing. became so enamored of his skill that he entered into used in England. A footnote in Rubinstein’s autobiography says: “It who are interpreters as well as vir¬ 2. Mendelssohn wrote music to Shakespeare’s Niccolo Paganini arrived in Paris a contest with Apollo, the god of music. Apollo won has been ascertained that during the twenty-eight years tuosi—artists who make the public A Midsummer Night's Dream at the age of in March, 1831, on a tour which set because he accompanied his voice with a lyre. Marsyas that have elapsed since the foundation of the (Moscow) forget the player because he makes eighteen. all Europe aflame with wonder at complained that this was not’ a fair test of instruments, Conservatory, Rubinstein devoted the proceeds of his the music itself so interesting; just 3. The themes from Brahms’ Hungarian Dances the amazing brilliancy of his play¬ whereupon Apollo pointed out that Marsyas also used are not original with Brahms. charity concerts, amounting to more than three hundred as the greatest actors make the ing. He performed tricks with har¬ both his fingers and his mouth. This puzzled the 4. Haydn’s Surprise Symphouy is so-called be¬ rubles, to the benefit of the poor, and to other good spectators forget them in the char¬ monics, double stopping and treble judges and another trial was ordered. Marsyas was cause of a sudden fortissimo chord following a works. His brother, Nicholas, also gave generously to acters they personify. again defeated, and Apollo, irritated with the mortal’s pianissimo passage. The chord occurs in the the cause of charity. During the winter of 1877-78 his stopping, arpeggios, springing bow, presumption, flayed him alive with his own hands. sixteenth measure of the Andante movement. Saturday and Sunday concerts in Moscow netted the together with “guitar effects,” piz¬ Liszt Admired by the Greatest This “surprise” was introduced by Haydn as The harp is another instrument whose origin ante¬ sum of 52,000 rubles for the benefit of the Red Cross zicato and arco simultaneously, and Composers a humorous protest against the tendency of other things that astonished not only dates history. Its invention is ascribed in mythology to Society.” That Liszt, unlike Paganini, was certain people in his London audiences to sleep “the natives” but rival violinists, Hermes (Mercury), the son of Apollo. He is sup¬ during the slow movements of his symphonies. When Rubinstein was a young man returning to who could not understand how he ™s Picture Is w. a genuine interpreter was attested posed to have discovered it through coming across an 5. A “leit motiv” is a “leading theme.” “A typi¬ Russia after a stay in Berlin he was once stopped at did them. Liszt heard him, and „ v,UUp.u. to the §reat composers of his old tortoise shell with a dried membrane stretched cal theme, figure or motive, recurring repeat¬ the border and had much difficulty in getting past the time who heard ‘ him play their like a flash the thought came to across it. The Hebrews ascribed the invention of the edly throughout a work, and representative of officials at the border. It was not until he had con¬ works. Even Mendelssohn, who some person, action, mood or sentiment” him: "What wonderful things might be done with the harp to Jubal, mentioned in the fourth chapter of vinced them that he really was a musician by playing sonal success which I had in the days too near my could not be expected to have much sympathy with Genesis as “the father of all such as handle the harp (Dunstan). It may be brief or lengthy, and piano if its technical possibilities were developed as childhood.” on a broken-down piano that he was admitted. Even him, declared, after hearing him perform his (Mendels¬ and the organ.” Incidentally, it may be remarked that is subject to to any variation or development those of the violin have been by Paganini.” the composer desires. as it was he was deprived of a number of manuscripts Note the date of this confession—1837. Liszt was sohn’s) G minor concerto, that “it could not be played Jubal was the great-great-great-great-grandson of Cain. He made up his mind to do this himself. Thence¬ 6. Four woodwind instruments in the modern of musical compositions. These were never’retumed to then only twenty-six years old, and for the remaining more beautifully—it was wonderful.” If the harp was originated by Jubal, and for that forth he shunned appearing in public or in society, de¬ forty-nine years of his life he preserved that “absolute orchestra: Bassoon, clarinet, oboe, flute. him. Some years later in a St. Petersburg music store Schumann wrote to Clara Wieck in 1840: “I wish reason is regarded as mythological, then the organ also (Other instruments that might be included: voting most of his time to experimenting on the piano; reverence” for masterpieces which he had already ac¬ he was shown some of these manuscripts. They had you could have heard Liszt this morning. He is most is a mythological instrument, for it is mentioned in the contra-bassoon, base clarinet, cor anglais, and when, after three years of assiduous practice, he quired when he wrote that letter to the famous French been sold by the government for a small sum of money extraordinary. He played some of my own compo¬ same verse, though modern Biblical scholars assure us piccolo.) as “waste paper.” gave another recital, the Parisians applauded him as novelist. Yet to this day writers who ought to be 7. A pentatonic scale is a scale of five tones. The frantically as they had applauded Paganini. He had sitions—the Novelettes, the Fantasia, the Sonata—in a that “pipe” should be substituted for “organ” in this While Rubinstein was in good grace with the high ashamed not to know better speak of Liszt as one who, verse. More exact historical researches ascribe its one in general use is the ordinary diatonic major become the Paganini of the piano, performing feats way that moved me deeply. Many of the details were scale with the fourth and seventh degrees omit¬ authorities, he nevertheless had much difficulty in get¬ like Paganini, continued all his life to make the per¬ origin to Ctesibius, a barber, who lived at Alexandria of virtuosity which no other player could ’equal. quite different from the way .1 conceived them, but ted, sounding as when you play the black keys ting his operas produced, and this in spite of the fact sonal display of technical skill the one object of his about B. C. 284 to 246. Ctesibius noticed that the of the piano ascending from the lowest tone of that his operatic works were well received by the activity. A flagrant offender is Mr. Fuller-Maitland, always inspired by genius.” In the third volume of weight of a movable mirror used in his trade produced A Frank Confession a group of three. Other pentatonic scales, public. When after much delay his opera Maccabees who was for some years the musical critic of the Schumann’s collected critical writings nine pages are a musical sound by the force with which it displaced consisting of other arrangements of five tones, While the public applauded, the critics jumped on was accepted for production. Count Adelberg. the di¬ London Times and was chosen as editor of the second devoted to a eulogy of Liszt, in which he dwells among the air in the tube in which it moved. Experimenting have existed from time immemorial. Liszt with both feet, on the ground that he took rector, wrote the following order : “It may be given edition of Grove’s monumental Dictionary of Music other things on his incomparable way of playing along this line, he invented the first known musical 8. The Italian musical terms for the words given liberties with classical works, playing them arbitrarily providing that nothing is spent either for costumes or and Musicians. In the preface to the Correspondence Chopin’s pieces. All this is the more remarkable, be¬ wind instrument not blown by human lungs. It con¬ are: soft—piano; loud—forte; very fast— and introducing inappropriate ornaments. That they decorations.” of Joachim, he classes Liszt with those musicians who cause Schumann did not naturally sympathize with sisted of a hollow vase inverted with an opening at presto; very slow—largo; lively—allegro; sweet were justified in censuring him he admitted four years worked “for their own glorification rather than in the Liszt’s aims any more than he did with Wagner’s, and the top. To this was attached a trumpet, and when 9. Henri Vieuxtemps played the violin. later, in a letter to George Sand, in which he confessed cause of legitimate music.” water was pumped into the vase the displaced air his guilt in these contrite words: “In concert halls as there was at that time a remnant of Paganinism in 10. The greatest composer of Denmark was Niels Experience has shown us that the consensus of This verdict applies only to the first decade of Liszt’s rushed through the trumpet producing a very powerful W. Gade. well as in private drawing rooms I often played works Liszt which did not escape his censure. opinion of the public is almost always right.—G M. activity as a musician. Concerning the remaining Chopin, in one of his letters, says, “I write to you sound. von Weber. of Beethoven, Weber, and Hummel, and I am ashamed years—nearly half a century—it is an unpardonable without knowing what my pen is scribbling, for Liszt to say that for the sake of winning the applause of a misstatement. During that half-century Liszt was the is at this moment playing my etudes and he trans- THE ETUDE THE ETUDE 555 began to play his Lieder in public. By the singers Parisians what astonishing sounds and combinations they had been neglected till the delight given by Liszt can be evoked from the piano. Beethoven s comp to his audiences showed them their folly. tions gave him no opportunity to exploit these n These were some of the ways in which Liszt worked 0 pianistic discoveries. Therefore we must no e for his own glorification rather than in the cause of hard on the Parisian audience for clamoring for a legitimate music”! But there is much more to come, specimen of the latest pianistic improvements. all of which will read like a sarcastic commentary on In Italy, even Liszt could have given no recitals at Fuller-Maitland’s sagacious criticism. More About American Musical Atmosphere all had he not played his brilliant operatic fantasias. Are folk tunes “legitimate music? Ask the great Replies to Dr. Heinrich Pfitzner’s Article in the January Etude He tried the Chopin etudes, but was informed that masters. Nearly all of them, from Bach and Haydn “studies” belonged in the studio, not in the concert to Grieg and Tchaikovsky, have been inspired by these EDITORIAL hall. Let me cite one more historic fact by way of tunes and have woven them into their compositions. In January The Etude printed a lengthy article ments, because in no other country have the working showing how difficult it was for Liszt, at that time, to have in this country a cosmopolitan democracy in which None of these masters, however, used them on such a from Dr. Heinrich Pfitzner, a German-born pianist, classes, on the whole, sufficient money to afford luxuries we rejoice in the equality of man. There are no be an angel 'or a model of good taste. In 1837 a large scale, and with such varied artistry as Liszt did composer and teacher, who during twenty years’ resi¬ in such abundance. He contended, however, that the recognized class distinctions, and with this, naturally, charity concert was given in Paris at which six of the when he gathered the delightful Magyar tunes of dence in many parts of America has had excellent reason why Germany is generally accredited with being comes no overt recognition of what in other countries greatest pianists of the day appeared: Chopin, Czerny, Hungary, with their spicy Gipsy ornaments, and shaped opportunities to observe our musical life in both large the country with the highest degree of musical culture is termed “authority.” We have here practically no Pixis, Herz, Thalberg and Liszt. Each had his own them into his wonderful rhapsodies. It was a deed cities and small towns. is that “music is generally considered and respected for Bauern or peasant class. Our farmers are men of in¬ piano—and what do you suppose each one played? A comparable to that of Homer in giving coherence to the In the same issue we offered to publish the best what it is—not a mere pastime—not a mere luxury— telligence and position and means. Thousands are set of his own variations on the march from Bellini s scattered tales of the Greeks in his Iliad and Odyssey. 500-word reply coming from our readers. A great nor even a mere profession by means of which certain college graduates. This also applies to other classes. opera, I Puritani! Liszt, who came last, looked on the There are many marvels of appropriate harmoniza¬ many very excellent answers to Dr. Pfitzner’s article people can make a more or less profitable livelihood, They may not have the attitude of bowing down to thing as a joke, amusing himself and the audience by tion and coloring in these rhapsodies; when they are have been received and the judges have selected four but as an art of the greatest ideal significance, a music, precisely as they have never bowed down to giving a sort of “review” of the style and mannerisms anything but the soil from which they have dug their played by Paderewski one can hear the very sounds of from the lot. We also reprint part of an interview medium for mental and ethical refinement and ennoble¬ of his colleagues. success, and to God Almighty. Nevertheless they have the gipsy instruments More than once I have read from Dr. Cornelius Riibner, Professor of Music at ment, and therefore one of the most important factors an innate respect for that which is good. In the last the statement that Liszt, Paganini-like, wrote these Columbia University. The interview originally appeared of civilization which must accordingly be treated as one The Piano as Miniature Orchestra ten years they have seen that men of education and dazzling rhapsodies to show off his brilliant pianism. in the New York Times and is reprinted at Dr. of the great and necessary elements in life.” Then, One of the results of Liszt’s temporary craze over Riibner’s suggestion. accomplishment in America have realized that music Paganini was that he made a transcription for piano of As a matter of fact he wrote all of them after he had after relating some interesting incidents of the respect is one of the great things of life. Taking the popula¬ In judging the replies the judges have not taken the shown to music by Bismarck and the old Emperor LISZT AT THE AGE OF SEVENTY-FOUR. that violinist’s Twenty-four Caprices. Not long after¬ ceased to play in public. He wrote them for the tion, whole and large, country for country, and man stand that a reply implies a contradiction to Dr. Pfitz¬ William, he concludes, “Therefore among the better wards he made an arrangement for the piano of glorification of his native country In them, and in for man, as well as taking into consideration the differ¬ ner’s article. Two of the replies virtually agree with situated classes in Germany it is considered the decent Berlioz’s Symphonie Fantastique—a significant act, for those of his compositions (including the symphonic ence in temperament and conditions and training any him. In order that readers of this issue may become thing to join some musical organization, to contribute it calls attention to the trend of Liszt’s treatment of the poem Hungarian, which are tinged with national colors, just investigator will find that the enthusiasm for music familiar with Dr. Pfitzner’s contentions and under¬ to worthy musical enterprises, to give one’s time and piano. He could not write more idiomatically—that is he gave Hungarian music artistic rank, as Chopin did stand his argument in comparing American musical in America will compare very favorably with that of money to the development of musical education, and any European musical country. The immense circula¬ pianistically—for the piano than Chopin was writing at to Polish, Grieg to Norwegian, Dvor&k to Bohemian atmosphere with German musical atmosphere we reprint music. Liszt’s rhapsodies are as important art works to help needy and talented artists and music students.” tion of The Etude, easily greater than that of all ports me out of my proper senses. I should like to that very moment; but he could transfer orchestral the following sentences. In justice to Dr. Pfitzner, Dr. Pfitzner rests his point thus: “Let us hope that as Beethoven’s sonatas. Personally I enjoy them more. other European musical magazines combined, is an steal from him his way of playing my pieces.” scores to the piano and make them sound as idiomatic however, the reader should peruse the excellent article those of us who love music will do all that must be For interesting details regarding them see the intro¬ in the January issue. The whole discussion will lead unquestionable testimony of the respect and deeper When Grieg took the manuscript of one of his as Chopin’s pieces for piano or Paganini’s for violin. done (in America) to establish the proper respect for interest of the music-loving public in America. violin sonatas to Liszt in Rome the great pianist played Therein lies one of the great achievements of Liszt, duction by August Spanuth to an edition of Liszt’s Etude subscribers to some interesting trains of thought music as a National tradition, because then, and only and, we hope, useful convictions. Here follow four articles accepted by our judges in it at sight—both piano and violin parts. “He was with which he influenced all the pianists and composers best Rhapsodies. then, will we have a real musical atmosphere.” reply to Dr. Pfitzner. They come respectively from How far away we are traveling from Paganini! Hi In general Dr. Pfitzner admitted that in no other literally over the whole piano at once, without missing that came after him. His own words on this point are Without attempting a reply we may note that there Laura Remick Copp (Illinois), George Dudley Martin country is there such a large number of houses pro¬ a note,” Grieg relates in a letter, “and how he did interesting: “We make broken chords like the harp, cared nothing for the art of his country or of any is a pronounced difference between Germany and the vided with pianos, organs and other musical instru- (Pennsylvania), Edwin H. Pierce (New York), F. W. play! With grandeur, beauty, genius, unique compre¬ long-drawn tones like the wind instruments, staccati composer, his only object being to' arouse astonishment United States in many more ways than in music. We Wodell (Massachusetts). hension. I think I laughed—laughed like an idiot.” and a thousand kinds of passages which formerly it by his feats and accumulate a fortune. While Liszt was the noblest, most generous of mortals, Paganini was Mendelssohn, Schumann, Chopin, Grieg, represent appeared possible to bring forth only from this or that Laura Remick Copp sufficient diversity of style to indicate Liszt’s versatil¬ particular instrument.” As one of his pupils exclaimed, ignoble and a miser. The one generous act credited to musical life in this country; numberless musical activi¬ When a musician deplores the lack of atmosphere, ity as an interpreter. He had, as Germany’s chief his¬ “He orchestrates with his fingers.” him has been proven a myth. He earned millions of I am an American by birth and by family (since ties that exert a daily influence on a great part of our frequently he means merely that he has failed to find about 1630), an American in sentiment and almost torian of music, Professor Hugo Riemann, has pointed Although no one could play more tenderly than he, francs. Liszt might have done the same during the population. There are reasons why we have no great the sort congenial to him. It seems to me that the entirely in musical training, but I had some European out, “a previously unknown capacity for entering into his was the orchestral way—grand, impetuous, sublime. last thirty-nine years of his life, when everybody was national movement in the musical affairs of the United “plenty of musical life” Dr. Pfitzner concedes us must education, enough to know whereof I speak, and I Among the works he translated for pianists are imploring him to return to the concert halls; but not States; why there is not, and cannot be, the unanimity have the effect of creating something very like the peculiarities of the most widely separated epochs, want to say “Amen” to Dr. Pfitzner’s article. Beethoven’s symphonies. He played them in public, one cent did he thus earn. Occasionally, during those of popular thought and purpose here that characterizes musical atmosphere. It may be, like our country, still styles, and individualities.” Without doubt Bach, Beet¬ America has not the musical atmosphere that too! To us this seems absurd—Paderewski would years, he did play in public, but always for charity. musical effort in European countries. in infancy, but it is strong and lusty and will grow. hoven, 9fchubert, and all the other masters who wrote Germany and Austria have and this is due to the never dream of doing such a thing. But it must be Nor did he accept payment from any of the hundreds Since Dr. Pfitzner cites conditions in Germany at some Let us be patient and work. pianro pieces would have been as delighted with Liszt’s psychology of the nation, which is too material, but remembered that in those days good orchestras were of pupils from all parts of the world who came to him length, I might be permitted to say that the musical interpretation of them as were those just named. of necessity so. This vast land carved out of virgin during those years, at Weimar, Budapest or Rome. atmosphere of Germany is German atmosphere. Imagine Edwin H. Pierce Berlioz confessed that Beethoven’s Sonata, Opus 106, very scarce, and good interpreters of Beethoven’s forests and frontier prairies, under conditions too symphonies scarcer. Wagner attests that there were And while he refused to play in public for money, he the Germans living in an Italian atmosphere, musical was a riddle to him till Liszt solved it. “He is the arduous for us now to realize, made us think materially Looking back at my experiences and observations places in these orchestral scores that were not made freely played for his pupils, because he knew, as well or otherwise, or Russia crying the necessity for French pianist of the future.’ at first, and now it has become a national habit. But during a two-year residence as a student in Germany, clear till Liszt translated them into the language of the as Wagner, that “revelation teaches more than study.” or English music! Concerning the same sonata, and Beethoven’s Opus the tide is turning, art in its most ideal forms is from whence I returned just about the time that Dr. piano. 111, Wagner declared that Liszt first enabled him to loved here, and nowhere can more cultured audiences Music may be a world art, but we must not forget Pfitzner came to America, I realize that every word What Liszt did for the piano was infinitely more (A second section of this article will appear in the understand them. Concerning his playing of Bach’s now be found, but the vast majority have not yet that each nation, however small and insignificant, has he has written in regard to musical atmosphere and than what Paganini had done for the violin. The September issue of The Etude.) been reached. a very fair opinion of its own music, its own musicians the general respect paid to music in his native country C sharp minor prelude and fugue Wagner wrote, “I greatest pianists—such men as Paderewski, Joseffy, More brain-power is demanded to be a fine musi¬ and musical institutions. Each country contributes is true. Indeed, it would be possible for me even to knew, of course, very well what was" to be expected of Hofmann, D’Albert, Gabrilowitsch, Busoni, Pachmann, cian than our public understands, and when it knows steadily, and in some cases largely, to our population, add some little corroborative evidence—for instance, Liszt at the piano, but what I heard when he played Friedheim, Schelling—are the most ardent admirers of this, music will be more highly respected profession¬ and the more completely saturated these newcomers I recall with pleasure how on one occasion happening this piece I had not anticipated, although I had studied his achievements for the piano, simply because they ally. When it is admitted that a conductor or com¬ are in the musical atmosphere of their native lands to jot down a few notes on music-paper as I sat at a Bach thoroughly. This experience showed me how know most about them—just as those conductors who poser has to have as great an intellect as a stock restaurant table, a group of business men, total slight is the value of study as compared with reve¬ knew or know most about his orchestral works were the less help they are to us in our endeavor to create broker or railroad magnate, then music as a profession one of our own. Each thinks that musical atmosphere strangers to me, seated at neighboring table, observed lation.” and are their most enthusiastic champions: Seidl, will appeal to American men. what I was doing, and hushed their conversation until Obviously, if Liszt was the Paganini of the piano, Richter, Weingartner, Nikisch, Muck, Stransky, and is a fine thing—if it be his kind. He privately doubts A lack of taste for good music due to too much rag¬ the value of any other. This condition exists in all I had finished writing. Imagine such a thing happen¬ he was at the same time infinitely more than that—so all the others who, during the last half century, have time accounts for the attitudes of the "majority.” ing in New York! risen above mediocrity. our large cities and in many smaller communities and much so that in the minds of those who knew the Rag-time is also a result of the psychology of the But the mistake Dr. Pfitzner makes is in judging of The greatest violinist of our time, Fritz Kreisler, will continue until we accept music as the universal real Liszt, Lisztism soon came to mean the exact op¬ nation. No wonder, after the toil and travail of this language we so often call it. America by the facts of the present moment, rather very seldom plays Paganini, but I know of no great posite of Paganini sm—the art of an interpreter versus immense country it is overcome with its success, ex¬ than in the light of growth and tendency. pianist who does not often play Liszt. One could be Germany has a German musical atmosphere because that of a mere virtuoso. uberant with its prosperity and wants to “double¬ If the good doctor will pardon a good-natured per¬ an up-to-date violinist without knowing anything about it is inhabited almost wholly by Germans and is ruled Wagner’s judgment is particularly interesting. He shuffle” a little, but you must pardon it; it will have sonality, I would like to ask him why he came to Paganini’s achievements, but no one could be a first- by Germans. Having a natural love for music, especially first heard Liszt play in Paris in 1841—the very year dignity and express itself with more reserve and America. Ten to one, an honest answer would reveal class pianist without knowing of Liszt’s innovations, German music, they develop it as a national asset and of Liszt’s essay on Paganini; and to his horror, he seriousness a little later on. It is too soon to expect that better pay for his work was the leading motive, which influenced even Chopin, and which have helped make the most of it; other European countries do heard him play a fantasia on Meyerbeer’s Robert the real “musical atmosphere” such as Europe enjoys, the and the fact that he has remained here twenty years is all pianists and composers for the piano since that time. likewise. Devil, as an encore at a concert devoted to Beethoven! country is yet too new, but it is coming and America sufficient to indicate that in this respect at least he was Saint-Saens declared, without exaggeration, that Our cities swarm with those who have a strong lean¬ But he realized, too, that Liszt was not to blame. The will not be so long getting it as.Europe was! When not wholly disappointed. Now a people that are willing Liszt’s influence on the piano was so great that he ing toward the institutions of other lands and these public simply yelled and clamored for that show piece due credit for music-study is given in schools, when to pay well for music or for musical instruction cannot knew of nothing comparable to it except the revolution same cities are our only musical centers. This till he sat down, visibly annoyed, and muttering, “I civic centers are free to all, when artists’ concerts be wholly without appreciation of its worth, even in the mechanism of the French language brought diversity of thought makes it difficult to gain for any am the servant of the public, as a matter of course,” penetrate into the rural districts, when unqualified though their attainments may be slight and thei- taste about by Victor Hugo. In his Portraits et Souvenirs musical movement the undivided support of any one played the piece called for. musicians are eliminated from the profession, when unformed. When this is the case, it is the worthy he gives illuminating glimpses of what this pianistic city, to say nothing of the nation-wide cooperation so “Thus,” Wagner adds humorously, “all guilt has to good music shall flood the land, when the American task of the musician to develop the people’s taste, not revolution consisted in. essential in creating anything so vague and elusive as be atoned for in this wcrld. Some day Liszt will be public is “shown” and better educated, then they will only by means of the instruction given to his imme¬ obliged in heaven to play before the assembled angels not be perverse in their attitude toward music as an a national musical atmosphere. German Songs and Hungarian Rhapsodies diate pupils, but through concerts, lectures and the like, his fantasia on the devil! But that will probably be the art, then the profession, better understood, will be Our country is fifteen hundred miles Wide and three as well as by one’s own dignified and upright manner last time!” Liszt also translated into the language of the piano more highly respected, will appeal to real American thousand miles long, with a population drawn from of life. many of the best songs of Beethoven, Schubert, Schu¬ Poor Liszt! The world made it very hard for him the four corners of the globe; so, instead of an all- It has been my own good-fortune to meet with mann, Franz, Chopin and other masters, making them to be good, artistically and otherwise. enveloping musical atmosphere'covering the whole land, several cities and towns, where, owing to the faithful as idiomatic as if they had been composed for his in¬ George Dudley Martin And yet—there is a point of view from which even we have, because of present conditions, a multitude of labors of one or more excellent musicians for a long strument. The recognition of Schubert as the greatest Dr. Pfitzner says we have “plenty of musical life” the playing of that fantasia on a Meyerbeer opera may local atmospheres, each reflecting the musical thought period of years, the public taste in music, and the be justified. Liszt had previously revealed to the of all song writers dates from the time when Liszt but “no musical atmosphere.” There is plenty of and feeling of the community living in it estimation in which music was held, was little if at all THE ETUDE 557 556 THE ETUDE , . the school boards are providing for the inferior to the conditions described in regard to regard to America as a whole, and her Musical Germany. The first such place I met with was Wooster, Atmosphere—indeed, it is already in progress, an is a fine thing to be having an active part in bringing Ohio, and the thanks due to Karl Merz, whom I do not hesitate to name here, as he has long since passed introduced in a number of comrnun.t.es and ls bcing on to his reward. In the same class I would name F. W. Wodell oushed by organizations and individuals that several Northampton, Mass., Reading, Pa., Toronto, Canada, The American music student can find musical heading universities are giving credits for graduation and Lunenberg, Nova Scotia. My own experience atmosphere” in some American cities to-day. He ca being but limited, of necessity, it is likely that for miss it there, just as he can live in Berlin, or Munich, on account of music study, both ,n appreciation and every place here named there are a dozen or a hundred and miss it. Dr. Pfitzner is behind the times. There for applied music. The European idea is that good others equally or better worthy of mention as places is now in America a wide-spread “respect” for music things must come down to the common people from where the public is largely musical. as a part of education and life, as shown by the fact "above ” to be accepted with becoming humility and The older ones among us will recall the day when that there are more than six thousand Supervisors ot gratitude. The American idea is that the "common the city of Chicago was considered a type of all that Music teaching in our public schools; nearly three people” are the nation, and must work out their own was crude, uncultured and grossly commercial, but thousand sound-reproducing machines of one make salvation. Hence we look for our musical develop- its citizens, counting rightly on its latent civic pride alone now used in American public schools in edu¬ ment, not through a special class of men in the un:- and boundless energy were fond of predicting that cating children to know and “appreciate” good music versities who shall make music respectable because as soon as Chicago found time for culture she would and its proper relation to life; that the number of they have adopted it as a profession, but chiefly “make culture hum” as they quaintly expressed it. public school choruses, orchestras and bands is large through the efforts of the men and women of the This prediction has been well verified, and Chicago is and steadily growing, the hard-headed men on our people who are working with the people in the pub¬ boards of education making provision for them as now a great literary, artistic and musical center. Some¬ lic schools of the country. thing very similar to this will happen in due time in part of our educational scheme; that in some cities

While each of the five fingers has its characteristics, and expert educationalist of European fame—the late and the other light accompanying chords, the number Dr. Cornelius Rubner on American Musical Atmosphere the thumb is the most individual of all: it is less like Sir Charles Halle. And these four classics have been of notes in the former being more than double that in the others than they are like each other. And it is so chosen as representing the chief types into which, from the latter. chiefly through being of greater power and usefulness. tra to hear it and build on his theoretical knowledge an executant’s point of view, pianoforte music divides select the German City of Sondershausen, since that An old nursery rhyme detailing the peculiarities of itself. Namely, Weber’s Rondo Brillante, representing When the Thumb Was Ignored In the New York Times for November 14, 1915, Dr. by practical experience. place, among many others, typifies the small town of the fingers declares that scale passages; the Funeral March in A Flat Minor, Cornelius Riibner, Professor of Music at Columbia “That is the great need of the American composer In view of the preponderating utility of the thumb University, New York, notes some of the conditions about 20,000, which has its own complete musical Thumbkin he can dance alone. from Beethoven’s Sonata Op. 26, representing chord one would have expected it to be the first finger to be organization. In this place the conductor of the opera to-day, the opportunity to have practical orchestral which make progress difficult for American compos¬ Albinus goes so far as to call the thumb “a lesser passages; Taubert’s Campanella in F Sharp, which used, or at least one of the first. But it was not so. and the symphony orchestra, practically the same or¬ contact. In Germany, if lie has any talent at all, he ers who aspire to write in larger forms. Dr. Rubner hand.” Unfortunately the extraordinary usefulness of consists chiefly of octave passages and a shake figure, The course of human progress has often been from ganization, is the Director of the conservatory, and his will not find it extremely difficult to get this experi¬ is by birth a Dane. He is a pupil of Gade, Hartmann, the first finger has not escaped the tyrant’s eye. Adoni- and Handel’s Fugue in F Major, as representing contra¬ the obscure to the obvious: from complexity, to best players are the teachers. Hence the student- ence, either as player or'as guest at rehearsals, for Reinecke, and Ferdinand David. He was also brought puntal music. Repeated notes have been counted simplicity. And the history of clavier playing is a composers, according to their ability, can assist in orchestras are very plentiful there. .The talented com¬ bezek, who cut off the thumbs and great toes of three in active professional association with Liszt and separately, but not, of course, tied notes. case in point. The thumb was the last finger to be conducting opera, can hear their own works performed, poser, even if an American, docs not have such great score and ten kings, and with a highly poetic justice Brahms. Dr. Rubner says, in part:— had his own similarly treated, has had many imitators See table on following page. used. A small volume of virginal music in the British “There has been a tendency to discuss the Ameri¬ and can get the best kind of practical experience by difficulty in getting his work performed in Germany among mediaeval rulers and experts in the art of Museum (Additional MS. 30, 486), date about 1600, can composer as if he were an abstract proposition, playing in or constantly attending rehearsals of the either, if it is promising, for the very reason that then- Some extremely interesting and useful facts emerge and mostly by William Byrd, has occasional fingering torture. Witness the thumb-screw. Nor has the essen¬ far removed from the ordinary things of everyday opera and symphony drchestra. A school of this sort arc so many orchestras. If. on performance, his work from this table. In chord passages the little finger is which shows a free use of the thumb; so to a less tial character of the thumb escaped the observation of life and not formed and influenced by them. Peo¬ produces good men in composing and conducting, as does not measure up to requirements, he has no one used in the left hand as frequently as the thumb— degree has a private manuscript book of lessons those who wished to unfit themselves for military ple have said, ‘Here are men trained to write music; Sondershausen as a matter of fact has done. to blame but himself. slightly more frequently in the given instance. In all (Additional MS. 29, 485) dated 1599. The titles to tbe they have studied for years and devoted their talents “What is the condition here? A man is graduated “When we finally have an American school of com¬ service. Johnson derives the word “poltroon” from other cases the thumb is used in both hands more, pieces in this latter book are in Dutch, but the music is to their task, yet we do not find their works very from a conservatory equipped to be a composer. Of position, I cannot imagine that it will be notable for “pollice truncata,” a man who had deprived himself of generally much more, than any other finger. The pre¬ mainly by English composers, and a table of proportion often in the symphony halls or opera houses.’ course there is no such thing as earning a living as any such thing as bcing based on Negro music, or his first finger with a view to avoiding the con¬ dominance of the thumb is more marked in the right it contains is in English. Thomas Wood, or Wodde, “There are in this country, roughly, half a dozen a composer, so he looks about. It is almost certain Indian music, or ragtime, or anything of that sort. script law. hand than the left. This is because of the very im¬ of St. Andrews, a Scottish composer, writing about large orchestras and at the present moment, half that he cannot find a position in a symphony orches¬ “What makes a composer is not a model, but his It was probably on account of its wide range of portant and constant function of the left hand little 1566, mentions that Sir (i. e., in modern phrase “The that number of regular opera houses. There are more tra or an opera house, if he happens to be an instru¬ own individuality. Is it not more reasonable to think movement and conspicuous position that the spectators finger in playing the bass notes. As compared with Revd.”) John Furthv had in 1544 been appointed to choral’ societies, but their membership is largely ama¬ mentalist. Perhaps he will go abroad. If he stays that we will at last develop a man who is a great in a Roman amphitheatre were called upon to show other fingers the predominance of the thumb is more teach organ-playing and singing at Aberdeen. He here he may be able to secure a position as organist teur or semi-professional, and we shall not consider individuality in music, scorning such a thing as self- whether a gladiator was to die or be allowed to live marked in the left hand than the right. Reckoning had returned to Scotland in 1530 after apparently or something of the kind somewhere, or he may be them nor the smaller musical organizations of vari¬ conscious basing on some formula? by the position in which they held their thumbs. both hands together, the frequency with which the studying the art in England, and he was “the first new- driven into playing at a hotel or a theatre. All this ous sorts for, after all, the symphony orchestra and “If we can get to creating music the same energiz¬ Such is the position of the thumb in the ordinary thumb is used is nearly double the average of that of fingerit organist that ever was in Scotland.” As at is on the assumption that he stays in music. Some the opera house are the units by which the musical ing genius that has pushed the American frontier avocations of life, in many of which the hand is used the other fingers. In each hand the least used finger this period experts very often kept their systems of of the most talented pupils look conditions over and activity of a country is to be reckoned. across a great continent, that has built great rail¬ is the fourth, the occurrence of which in the right fingering a secret, rather than advertise them, it is then go into business or professional life. That settles as a whole rather than each finger individually. It “There is your problem. How can we get a great roads, that has evolved the skyscraper, that has created hand is less than half, and in the left hand less than a probable that the newness of Furthy’s system con¬ them as serious musicians. will therefore readily be understood that in the playing number of professional musicians into active practice ‘big business,’ that has built the Panama Canal when third, that of the thumb. The next least used finger in sisted in the use of the thumb. Practice might easily “But let us be optimistic and assume the intending of a keyboard instrument, in which the individuality when we have only the positions to fill that are rep¬ others failed, and made the world’s greatest republic both hands is the third, the average use of which is precede publication by more than fifty years, even if composer has been able to secure a position in music of each finger is drawn upon to its maximum, the resented by our present number of drchestra and opera out of a British colony, we will have a genius that half that of the thumb. The hands differ markedly it had been the custom at this period to give the finger¬ somehow. He becomes industrious and begins to com¬ importance of the thumb, possessed as it is of peculiar¬ houses? will devise its own methods and will force the in the usage of the second finger, which in the right ing as well as the notes. There is evidence that a pose. Then he is up against the next difficulty. It ities which differentiate it from each and all of the “A country’s musical feeling cannot be built up over musical world to recognize it and approve it, as the hand is three-quarters, and in the left little more than century later the thumb was freely used in Italy. may afford him good exercise to ‘fill white paper with other digits, is absolutely paramount. This will be night. We shall get more and more active musically world has been forced to recognize American genius a sixth, that of the thumb. The fingers have a much black notes,’ but that is about all he will get, because seen at a glance from the following table showing the With these exceptions—another notable evidence of all the time, and when at last the proper stage is in the directions I have named. That will be a real more equal share of work in contrapuntal music than English preeminence in clavier-playing—keyboard music he will have no opportunity to hear his work played, frequency with which the thumb is used compared with reached the scene will be set for the successful advent American composer and a real American school of in other types. The greatest difference between the prior to the mid-eighteenth century was mainly played whether it is good or not. the other fingers. It is based upon an examination of of the composer, who comes last in the chronological music.” amount of work assigned to each hand occurs when with three fingers in each hand. The thumb and little order of development always. “The art of instrumentation is as much an art in one page each of four classics as fingered by a virtuoso one hand—generally the right—has scales and arpeggi, itself as that of inventing melodies, imagining har¬ [Editor's Note.—Dr. Rtibner mentions six orchestras of finger were hardly used at all except for the extreme “All the* small German cities, for instance, have their symplionv .lim.-nslons anil . Im. nct.-i- in America. We think orchestras and opera houses. When we have reached monies or devising effective rhythms. It cannot he of at least thirteen or fourteen : The Boston Symphony learned as a master should know it from books. We Orchestra, the New York Svmpbonv Orchestra, the New York this stage, or something near it, we may expect large Philharmonic Orchestra, the Philadelphia Symphony Or results in the way of producing native music. Then teachers, by the use of the piano and the textbooks, ehestra, and those of Chicago. St. t.ouls. Cincinnati. Min there will be thousands of Americans actively engaged coupled with our own experience, can give a pupil neapolls. St. Pan], San Francisco, Seattle, Bnltlmore

Tick-Tock, Tick-Tock, Tick-Tock That is the song of the busy little metronome as it beats off the moments of eternity that are deciding whether you are “going ahead,” “standing still” or “falling behind.” Whether you are teacher or nuDil the first of September will soon be here and your metronome will begin ticking again. Are you all readv to keep pace with it? Have you made all your plans? Have you selected and ordered your music for next season? Have you bought all needed supplies? Have you attended to your advertising? If not everv dav SPECIAL EXERCISES FOR THE THUMB. of August should be a golden day of opportunity for you. “Each moment is a day; The race a life * '■_DISRAELI The cuts marked I and II represent exercises to be done without a keyboard. The thumb is moved from the position shown In I to that shown In II at least twenty times in succession. The cuts marked III. IV and V represent the jointed action of the thumb. Ill shows the thumb extended over (wo white notes; IV shows the thumb contracted over two white notes ; V shows the thumb extended over a white and a black note. THE ETUDE 559 558 THE ETUDE Exercises without keyboard. Much has been made lately and quite rightly, of finger-gymnast,cs or ex- ercises beneficial to the pianist which may be done Table Showing Relative Usage of the Five Fingers away from the keyboard. One great advantage ,s that T .F.FT/HAND RIGHT HAND they enable the player to redeem * great many odd Music in America During Revolutionary Times *- 3d totals moments of which no other use can be made. For the 3d 1st finger By G. F. SCHWARTZ TOTALS finger/ finger flit finger fi1^ finger finger practice of the lever-act,on of the thumb not even a table is necessary: simply hold the hand in a position Chord Passages: 17 41 180 135. 56 / 10 9 51 51 39 32 approximating to that required in play.ng, and pass the Funeral March, Beethoven thumb from the outward to the inward position, as in 108 the two illustrations here given: Octaves: Shake: 54 27 0 0 27 The development of American music may be divided with the harpsichord as principal, and of but ten or known tongue. 2. It would not be so melodious. 3. 85 23 12 7 18 25 See illustrations I and II on previous page. Campanula, Taubert into three periods: the early, the middle and recent. fifteen minutes’ length. There would be too many tunes—should never have — The first, extending from the settlement of New Eng¬ Act I. done learning. 4. It gives disturbance, rails and exas¬ Scales: Arpeggi: 19 216 The Thumb as a Jointed-Lever 104 27 3 22 22 30 55 61 44 37 land till the beginning of the nineteenth century, may 1. Symphony, perates men’s spirits and grieves sundry people. 5. It Rondo Brillante, Weber But the thumb can do more than move horizontally, be again divided into two distinct sub-periods: the first 2. Sonata for Guitar and Violiiy is Quakerish and Popish and induces to intrumental lever-wise, under the other fingers. Being divided into or Colonial and the second or Revolutionary. 3. Symphony, music. 6. The names of the notes are blasphemous. Contrapuntal: 31 27 22 28 23 131 87 / 12 13 15 20 27 sectors with hinges, it can hold one note with the first During the first of these there was an obvious willing¬ 4. Duetto for Mandolino and Violin, 7. It is needless since the good fathers got to heaven Fugue, Handel joint and bend the other joint, the nail end, over the ness to borrow from the mother country, England, such 5. March. without it. The first four of these contentions refer in next note either above or below. And it can do this music as was not inconsistent with the severe religious Act II. 98 82 110 635 all probability to the practice of “fuging” (in the 411 118 57 54 69 133 Totals 191 154 1. Symphony, irrespective of whether any or all of the notes are ideals of the Puritan fathers; original talent was rarely fashion of a round) which was beginning to appear, 2. Caprice on the Guitar, white or black, and of whether the lower or higher tolerated and usually discouraged. The colonists were and also to attempts to set to the words music in four _ , , „ J Right Hand, 1, 2, 5, 3, 4 3. Symphony Solo on the Psaltry with Minuetto Order of Frequency Hand> 1; Sj 2, 3, 4 note comes first. This no other finger can do except not unmusical, but their definition of godliness excluded part counterpoint, instead of the simple folk-song or in so clumsy a manner as to be useless for practical choirs and organs along with stoves as a matter of re¬ imitating an Echo, 5. March. choral style which employed but a single voice-part. purposes. Some passages are, of course, more difficult ligious principle. Though many of their contentions Then follows: The early church was content with about six or eight, than others: thus in proceeding from a white note to were doubtless extreme, some at least were by no 1. Loure and Minuet, or at the rnost ten or a dozen tunes; these were passed means without a foundation of reason; they contended a black one it is necessary to hold the hand very far 2. Cotillion, along by ear (seldom being written down). A system 4e table shown above records the number of tlmea the thumb Is used In the pieces given and Indicates how Important against the metrical versions of the psalms because the the thumb Is to the pianist. on the keys. of notation whereby these tunes could he recorded was See illustrations III, IV and V on previous page. original meaning as well as the inherent dignity of proposed; it involved the use of the note names: Faw, those poems might be lost in reducing them to rhyme; (A second part of Mr. Harris’s article will appear in Soh, Law, Me; derived obviously from the do-re-mi the direction taken by the hands when respectively if the “doggerel” hymn of a latter day is a result of notes of chords, and chiefly in the left hand. Even so a later issue. This, together with other articles upon system, these were the “blasphemous names” to which parting from and approaching each other. The little this practice we may perhaps pardon them in a measure modern a player as Handel astonished his con¬ the use of the thumb, which The Etude will publish reference has already been made. finger is therefore on the “outward” and the thumb on for their stubborn opposition. Their aversion to the temporaries by the frequency with which he used his during the coming year, should enable the reader to de¬ In 1713 Mr. Thomas Brattle imported a one manual the “inward” side of the hand. In reference to the ritualistic forms of the English Church is of course thumb. The earliest known system of fingering, that velop a very complete technic in that direction.) organ from London. The instrument could be pumped published by Amerbach in 1571, is based on this plan relation of the hands to each other these terms have easily understood. either by the feet of the performer or by an assistant. of rarely using the thumb; indeed in some scales he proved unmistakable and exceedingly useful, and will The middle of the century, however, witnessed a rapid Its introduction into King’s Chapel in Boston caused uses only two fingers! Franqois Couperin, born at be adopted in this article. (In reference to the rela¬ Three Helpful Devices with Which Piano transition toward new ideals—politically, socially, re¬ a veritable commotion among the Puritans. The Paris in 1668, described by Chrysander as “the first tion of the thumb to its own hand, to turn it inward Students Should Be Familiar ligiously and aesthetically; the spirit of the Revolution musical advance at the time was of course very slow great composer for the harpsichord,” published in 1717 would generally be understood as meaning to turn it was awakening, and this awakening was being mani¬ indeed, but by the time of the Revolutionary War the under the palm, and therefore towards the outer end the first known method for stringed-clavier instruments, By John Van Z Crolleman fested in many ways. The attitude toward England’s change had become quite significant and organs were and in it greatly extended the use of the thumb. of the keyboard. This must be borne in mind. The unjust Colonial policy and the growing demand for not so uncommon. The Brattle organ was the first same contradiction does not occur in regard to the J. S. Bach, who, it is admitted, owed much to Couperin, In writing a new composition the composer knows independence are well enough known to us. With the instrument of its kind brought to America. It is now fingers on the outer side of the middle one—the fourth passing of the strenuous conditions under which the still further extended it. An exposition of his prin¬ that there are many devices which he can employ with m St. John’s Church at Portsmouth, New Hampshire. and fifth). early colonists existed, and the gradual growth of ciples was published by his son, Carl Philipp Emanuel, certain success in bringing out his ideas. Among which power and prosperity, it is only natural that there in two volumes in 1780, and forms the first treatise, there are devices with which the student should un¬ When the Deacon Raised the Tune should be an expansion of the possibilities of social though not “Method,” on the subject. But it was Functions of the Thumb derstand and seek for in his work. Three instances The struggle for and against modifications in church intercourse, and that the barriers against pleasant and Johann L. Dussek, a Bohemian (1761-1812) who. in The extreme utility of the thumb is due to its being are the devices known as Thesis and Antithesis (or music approached a climax shortly after the middle of profitable amusement should disappear. Entertainments his Book of Instructions, published about 1798, first capable of a number of actions impossible, or nearly plainly speaking Question and Answer.); Repetition the century. In Ipswich a stubborn conflict was waged of a secular or at least semi-secular character did be¬ carried the new principle to its logical consequence, so, to every other finger, in addition to the movements which covered a period of exactly two decades; the and Imitation. gin to appear, and the singing of “moral” songs, as and employed the thumb as pivot twice in each octave it possesses in common with them. Chief of these is following records give us the story very graphically: A good example of the question and answer form of distinct from psalms or hymns, were gradually per¬ of a scale-passage. its capability of passing under the other fingers. 1765—the parish voted that those who had learned the composition is represented in the following old song, mitted. The performance of the polyphonic music—always The thumb as lever. If more than five notes in art of singing may have the liberty of sitting in the Robin Adair: Early Musical Centers difficult to play—which characterized the 16th and 17th succession are to be played legato too rapidly to allow fron. gallery (they did not do so since they objected centuries, is easier to reconcile with the contemporary of changing fingers on one note, it is necessary that one The musical centers during the period of the Revo¬ to having the clerk “line out” and the vote did not clumsy system of fingering, if it be remembered that of the fingers should pass under or over the others. lution were: New England, including the towns of abolish or restrict that practice) ; 1780—the parish re¬ |« , 1 ’gyT- . Salem arid Boston, New York and Philadelphia; in the on instruments played by a plectrum a perfect legato, The only finger which can do either with ease is the -I i quested Jonathan Chaplin, Jr., and Lieutenant Spafford or smoothness, as we understand it, was impossible. | j. M south were also Charleston and New Orleans, but as thumb, which can pass under any finger but the fifth - "-y-td to assist Deacon Spafford in “raising the tune” in the In regard to the notation of fingering England and without difficulty. Much attention should be given to these latter seem to have left little permanent influence, meeting house; 1785—the parish desire the singers, both we may pass them over. Germany have undergone a curious interchange of the development of this function, the importance of The first part of the melody (a) is the question male and female, to sit in the gallery, and will allow The musical growth of the cities with which we are usage. In the earliest known system, that of the which it would be impossible to exaggerate. Exercises Note how it has all the characteristics of an interroga¬ them “o sing once upon each Lord’s day without read¬ concerned, Boston, New York and Philadelphia, parallels German, Amerbach, 1571, a cypher is used for the should take every form in which this action is found tion with the rising inflection at the end. ing (lining out) by the deacons. In the city of Wor¬ in a way, or is consistent at least, with social and thumb and the numerals 1, 2, 3, 4 for the fingers. Con¬ to take place in the playing of compositions. Thus in Following is the answer (b). It is determinative cester practically the same action was taken in 1779; the temporary English composers, as shown by the manu¬ political history of these cities. Boston, the center of some cases the intervening notes, between one thumb- and completes the musical inquiry1 expressed in the order was not executed, however, without a scene:’ the script in the British Museum already alluded to, used American independence, was and long remained the 3. Rigadoon and Minuet, note and another, should be played, while in others first part of the melody. Now play the melody as a deacon persisted in lining out until his voice, raised to the numerals 1 to 5, “1” indicating the thumb in the center of native musical effort; the Quaker City, back¬ 4. Cotillion, they should be held down, and in others some should whole and note the completeness of the whole. There its utmost power and pitch was overpowered by the right hand and the little finger in the left. This system ward in its early musical development, was made con¬ 5. Allemande, be held and some played. The following exercises are are thousands of such instances in music and it is superior numbers of the choir and the poor man took was used up to the time of Purcell (1658-1695). The spicuous largely through its temporary political pre¬ 6- Jigg, not to be regarded as in any way exhaustive, but simply interesting to find them and point them out. Much his hat and left the meeting house in tears. use of the five numerals is also believed to have been dominance; its musical activities soon waned with the 7. Hornpipe. as models on which others may be constructed. These music is biological—that is, like a flower it has two The possible absu-dity of lining out is well illustrated common in Italy, an English book of harpsichord removal of the cause. New York gave early promise These are special dances, for the most part by one should be in various keys, and of course there should parts, both of which are balanced in their beauty al¬ in the following example: the deacon reads—“The Lord lessons published about 1740 referring to it as “The be an exercise for the left hand corresponding to each of rapid advancement; the freer social life of that city, ir two professional dancers; after all of which came will come and He will not.” This the congregation sings, Italian manner of fingering.” But Bach and his con¬ though they may not have the symmetrical balance of however, seems to have led to a less serious attitude Grand Ball for the Company. for the right hand. In each case the whole-note should butterflies’ wings. after which the second line is given out by the deacon temporaries abandoned Amerbach’s notation for the toward musical entertainment; we find that concert- be put down silently and held down as long as the ex¬ Repetition is another device which gives character as follows: “keep silence but speak out,” whereupon five-numeral system, while English composers abandoned ercise is being played. goers were frequently bribed with the promise of a “The Cradle of Music” the congregation again sings; and so on. The raising their five-numeral system for that of Amerbach (they to musical ideas; it is easily identified and gives the ball at the close of the program. Christianity has sometimes been called “The Cradle student the keynote to its proper interpretation. Though of the tune also seems to have been a very difficult used, however, a cross for the thumb in place of a It appears that the German element in Philadelphia of Music;” in like manner the Puritan Church of New matter; once started the pitch r. cypher). In Great Britain this system is only now the notes may be repeated, the interpretation maybe was largely responsible for the more pretentious musical England may be called the Cradle of American Music, and woe to the deacon who started it too hiirh nr^nn varied so that an entirely new meaning is introduced being abandoned in favor of that universal on the af‘v*'les of that city- We read that in 1786 a chorus The infant contained in this cradle seems to have been low. The following excerpts from the diarv of Continent and in America, and of which England was Hear a great pianist play the first part of Chopin's of 230 voices and 50 instrumentalists appeared before a extremely vigorous for its size. The most formidable certain Judge Samuel Sewall tell us somethin? of these apparently the cooriginator with Italy. Funeral March with its many repetitions and note the numerous and polite audience” in the German Re- problems which demanded consideration about the difficulties; he wrote: “I was asked to set the tun I variety possible. formed Church. As early as the middle of the century m!ddle of the century were: 1, the metrical versions of intended Windsor but fell into Canterbury and "then Terminology of Fingering Imitation differs from repetition in that the theme is however, English Glees and Ballads were frequently the Psalms; 2, “lining out;” 3, congregational singing, essaying to set another tune went into a key much imitated on a different degree on the scale as in the heard, and the famous English Ballad Operas, which Before leaving the subject of notation it will be con¬ r the choir as an independent organization; 4, instru- too highagain at a later time he writes: “I tried to following illustration from Bach’s first Invention. The had displaced Handel’s operas in England, made their venient to explain an important point in regard to the mental music. set Canterbury and failed, tried again and fell into difference in the arrangements of the half steps gives way to Philadelphia; the most famous of these, the allied question of terminology. What applies to the I 4 *»»»• ,,,,, For Arpeggio Leaders of the two opposed parties were plentiful, the tune of the 119th psalm.” One might wonder why a different character to the work. The sonatas and right hand ascending applies to the left hand descend¬ Beggars’ Opera, was given in 1759. General Washing¬ Among the liberals there was first John Cotton, who the organ was not used to overcome thw . symphonies of the masters are riddled with examples ing, and vice versa. To avoid redundancy it is there¬ I uTu j fi fl ton wass a not infrequent patron of these mmusical en- during the latter part of the seventeenth century main- the answer is found in the fact that as late I7t- of imitation and the student’s work cannot fail to he fore necessary to have terms descriptive of conditions tertainments,nents, as is,s indicated by the entries iin his ex- tained that “the singing of psalms v'th a lively voice is an organ offered to a New England parish was promptly better by recognizing these instances and giving each pense account book. The programs given v common to the hands when in contrary motion. The h° y,d“ty of G°ds worshlP- and he adds- nor do refused because “it is an instrument of the devil de- term “contrary motion” is not itself sufficient, for it the individual treatment which they demand. rule of a very miscellaneous character; the following I forbid the use of an instrument therewithal^ so that signed to entrap men’s souls.” The real secret of this s a specimen program of a “Grand Concert and Ball” does not indicate whether the hands are parting from • 1774 .r -- attention to the instrument does not divert the heart prejudice is probably to be found in the fact that the jiven in 1774. The program, according to the then prev- _ _.. or approaching each other. It is also needful that the gwen in 1774. The program, according to the then prev- from attention to the matter of the song.” Referring Roman Catholic Church had made universale o he alent custom, was divided into Acts: and the “sym- to the : nomenclature used should be applicable to either hand alent custom, was divided into Acts: and the sym- to the so-called “new way” of singing even Rev. organ in its cathedrals The violin ii j phonies were usually nothing more than little over- Thomas Symmes is credited with the following state- the “devil’s tune-box’ . 'meS Ca ed when used separately. For some time past I have s if possible e i more ob- used the words “Outward” and “Inward” to designate tures or concerted pieces for several instruments, often ments: 1. It would bring about a new way, an un- jectionable. L I

561 560 THE ETUDE THE ETUDE Two Kinds of Pieces Early American Leaders oratorio concerts. The following paraphrase is charac teristic of Billings as an American patriot the original Generally speaking' from 1760 or 70 onward men of By Wilbur Follett Unger talent were reasonably free to offer to the church such reads (and was sung before the war) O pra e music as their fancy might dictate. Florid counterpoint, Lord with one consent, and in this grand design, or what passed as such, and “fuging tunes” gradually Britain and her Colonies unanimously join! Uu”nS Teaching-pieces might be classed broadly into two crept into the music of the church. A group of per¬ the war he transformed the lines as follows. e kinds: brilliant, or effective and poet,cal or^emotional haps half a dozen men maybe regarded as the leaders tyrants shake their iron rod, and slavery clank er Generally speaking, the brilliant kind is fast and loud, in the new movement which was to become the founda¬ galling chains; we’ll fear them not, we trust 'n Goa, and makes more demand on a mechanical technic; Habit Formation in Relation to Pianoforte Playing tion of American music: these are Wm. Billings, Oliver New England’s God forever reigns.” Living till the whereas, the other kind, the poetical or emot.onal, i, Holden, Andrew Law, Jacob Kimball, Samuel Holyoke close of the century, he is credited with having done rarely so difficult from a technical standpoint, but re¬ and two lesser lights, Daniel Read and Timothy Swan. much toward the introduction of instrumental music quires a certain breadth of character, matunty and ex¬ in the churches; his greatest contribution, however, to By PERLEE V. JERVIS Most of these men, like the mastersingers of mediaeval perience to do it justice. . . Germany, were tradesmen by necessity and musicians the development of early American music, was his Therefore a teacher should use considerable care and by choice: Bollings was a tanner, Holden a carpenter. zealous, persistant and unselfish participation' in musical A large part of our daily waking life is made up of [Editor’s Note.—Mr. Jervis was invited to make an address says: “A half hour daily kept up for a year is enough judgment in the selection of pieces for young pupils, before the Philadelphia Music Teachers’ Association and chose Kimball a lawyer and Read a comb-maker. Law was activities of his day. • inasmuch as the child will find the emotional piece hard habit. Everything that we do easily and perfectly is the following subject. The teachers assembled were immensely for any one to learn to play one’s exercises. And if perhaps the most talented and best trained of the group; The introduction of opera in Boston involved a to comprehend—impossible to “feel; whereas, on the done sub-consciously, or, in other words, as a matter of interested in what Mr. Jervis had to say. The Etude, how¬ one can play them why should one keep everlastingly ever, has a strong feeling that, excellent as is Mr. Jervis’ gen¬ he was primarily a teacher, however, and his influence severe and an extended struggle which took place, as other hand, the child will fairly “eat up a piece con¬ habit. Until we have brought any act to the automatic on playing them? might be expected, during the latter part of the century. eral scheme to utilize the wonderful force of habit in piano¬ was therefore rather indirect and temporary. Holden taining mechanical difficulties that many an older pupil or sub-conscious stage, it is performed with more or forte playing, the average teacher would make a serious mistake “Can anybody explain without reflecting on one’s The anti-theater Blue-laws, passed in 1750, forbade the to throw aside valuable technical material and attempt to teach has left what will doubtless remain for a iong time a would stand in awe of. Hence. I am convinced that less difficulty. Even our theology, politics and medical sanity why one should persist in playing them? Play presentation of anything that savored of the stage; and without it. Only the teacher of vast experience, tine judg¬ valuable contribution to church hymnology: the hymn a thorough development of technic should come at an beliefs are more or less matters of habit. If our par¬ ment, and superior insight, could do that. That there is too good compositions and construe out of them your own it was only after a persistant series of attempts to much dry technic and too little musical work accomplished known as Coronation (All hail the power of Jesus’ early age, for the poetical side will surely develop itself ents are Methodists, Baptists, Episcopalians or technical excerses.” overrule or circumvent the law that it eventually became The Etude gladly concedes, but this does not mean that all name). William Billings must nevertheless be con¬ jater_jf it is intended to be developed in that individual what not, we are apt to be of like faith and order. If technical w i.l • Many years ago I determined to avoid dry technical sidered the leader of the group; his enthusiasm, perse¬ possible to give musico-dramatic performances without fear of legal intervention. It was as late as 1793 that at all. our forbears are Democrats, Republicans or Pro¬ forms and let my pupils study music, developing technic verance and patriotism was exactly what was needed at I have given my own pupils of ten or twelve years and a facility in doing it, the result of a determined the law, though not actually repealed, became a dead gressives, the chances are that we will vote the same by means of technical patterns constructed from pass¬ the time in which he lived. As a tapper’s apprentice of age pieces like MacDowell’s IVitches’ Dance, Godard’s methodical repetition of the action. Every muscular letter; and in the same year funds were raised to erect ticket. Are our parents Allopaths, Homeopaths, Osteo¬ ages in the pie?e studied. As there is nothing so nearly he would chalk down his musical efforts on hides and Valse Cromatique, Leschetizky’s Two Larks, and others paths or Eclectics? We generally embrace the same movement that we make carries with it a tendency to on the tannery walls; he was almost entirely self-taught a theater. As a matter of courtesy, if not necessity, the like a thing as the thing itself, so there is no etude or of similar difficulty, and have been astonished at the school of medicine. repetition. With each successive repetition this tendency (instruction books in his day were not only rare but theater remained closed on meeting nights! That all technical form that will overcome the difficulties in a did not run smoothly may be gathered from an appeal ease with which they mastered them (mechanically, of Habit even enters into a great deal of our thinking. becomes stronger, till, after a sufficient number of per¬ passage as quickly as practice on the passage itself. usually worthless) ; he probably became acquainted with course), but I have held off for a long time before con¬ made by the authorities of the old Federal Street theater Stuart Rowe, in his book on Habit Formation and the formances, the movement takes on the character of This presupposes that the teacher understands the vital music somewhat better than that of his environment senting to let them try a Beethoven Sonata, or anything in 1794 asking that patrons refrain from throwing Science of Teaching, claims that “We see what we are automatic or reflex action. Every movement tends by principles of technic and applies them to the piece in and endeavored more or less consciously to imitate it. by Schumann or Chopin (unless it be the s-uipler forms In 1770, at the age of twenty-four, his first collection apples and stones at the orchestra. Most of the per¬ in the habit of seeing, that we remember what we are repeated performance thus to grow easier, involving hand. like the Chopin waltzes), until they reached the age appeared; it was known as the New England Psalm formances were English Ballad Operas or imitations in the habit of remembering, imagine, judge and reason less of close attention and conscious effort.” When any In order to solve an arithmetical problem we are not when their matured nature demanded the more emo- Singer. In the preface he wrote: “out of the mouths of these; and occasionally for variety a musico-dramatic very much as we are in the habit of imagining, judg¬ action or movement reaches the automatic stage we obliged to recite the multiplication table daily. We of 'babes and sucklings hast Thou perfected praise,” pageant usually representing some stirring historical ing and reasoning.” Take a few instances of habit have formed a habit, and the movement is carried on simply apply its principles. In a like manner we may notwithstanding this brave assertion the work abounded episode. from our daily life. We awake through habit at a cer¬ without conscious thought. We shall discover further solve a technical problem by applying to it the prin¬ French and German were not unknown to these audi¬ in imperfections; these Billings frankly and with good tain hour every morning. We arise and walk to our that we become confused or stumble the moment vve ciples of technic. These may be learned as quickly ences, but the time was not ripe for the acceptance of A Necessary Little Instrument for humor acknowledged ten years later when, after a bath without a thought of the complicated series, of begin to consciously order the different steps in a from a piece as from an etude. As there are short the best that Europe had to offer in the production of period of self-criticism and further labor, his second Every Piano movements necessary to prevent us from toppling over. movement that has become automatic. cuts in arithmetic, so .there are many in technic, for collection appeared; this latter became very popular, opera. These movements, through long habit, have become An author, whose name is unknown to me, must have However amusing these beginnings may appear in the teacher who understands them. In addition to this and was commonly known as “Billings’ Best.” Some automatic. We go through our ablutions automatically, had this fact in mind when he wrote the following many of their details, a foundation was nevertheless By Carl W. Grimm method of study, the pupil should be given pieces that of the tunes were sung about the camp-fires of the our mind, perhaps, busily planning our work fqr the laid. With the Revolution America commenced a cereer make a strong appeal to him. Rarely if ever do I give Revolutionary soldiers, and one, known as Chester, day. We dress in a certain order from habit, and until not only in politics, industry and commerce but in music Some things seem so self-evident, that we wonder a pupil a piece that he does not like after hearing it probably the best of all his writing, was frequently our attention is called to it, do not realize how. fixed The centipede was happy quite also; that the foundation was well laid has been amply why any one should even mention them. It is certainly played. made use of. by the Continental fifers. Still later he certain habits are. For instance: I always put on the Until the toad in fun proved by the results of the century which followed. not more than right to expect that the owner of a Accuracy Right from the Start published four other collections, the last appearing in left shoe first. Why? I do not know, except that I Said, "Pray, which leg comes after which 1794. In addition to these he wrote numerous anthems, piano keep his instrument in good tunc, it is a duty he Sources of information : Sonneck, Early Concert Life in started the habit when a child. But I always draw on When you begin to run?" This treatment I have found singularly successful in some of which appeared on the programs of the sacred America; Early Opera in America; Merz, Music and Culture: owes to his piano as well as to his own and other Matthews, A Hundred Years of Music in America; Elson, the right glove first, a curious inconsistency. Now ob¬ This wrought her mind to such a pitch evoking a strong initiative, in fact it is the only one concerts which were the prototype of our festivals and people’s ears. To keep any piano in good tunc re¬ History of American Music; The National Music of America. serve a very peculiar phenomenon, when I attempt to She lay distracted in a ditch to my knowledge, that develops intensively of interest. quires its tuning several times a year, even if not used put on the right shoe or the left glove first, I am aware Considering how to run. Having by any means in our power evoked a strong much. The strings naturally lose their tension, and of a certain feeling of strangeness, almost of awkward¬ initiative, the next step in habit formation is to secure the change of temperature will affect the instrument. ness. Why? It should be as easily done in one way There is sound psychology in this nonsense verse. accuracy. I think ydu will agree with me in the state¬ What enjoyment can be had from music on a piano as another. The explanation lies in the fact that I Having defined habit, let us now consider for a moment ment, that one of our most difficult tasks as teachers, is How One Mother Kept the Home Together out of tune? Good ears can be spoiled, for some get am acting contrary to habit. Having dressed, I de¬ the essentials which enter into its formation. Broadly to get a pupil to put the right finger on the right note the so accustomed to their badly tuned instruments that scend the stairs to breakfast. Now, through long habit, speaking, these are initiative, accuracy and repetition. first time he plays a passage, and to continue to do so they really prefer them to those in tunc. my muscles have acquired a sense of distance measure¬ The importance of a strong initiative can hardly be each successive time. Now failure to secure accuracy in The international pitch A-435 has been adopted by the initial performance is due entirely to lack of thought. By Ina B. Hudson ment. I can step from one tread to the next with per¬ overstated. The wise teacher will aim to secure it at the best piano manufacturers of this country, conse¬ fect accuracy, in the dark. Let me try another flight any cost. The most potent factor in a strong initiative Nine pupils out of ten will play first and think,—if they quently every new and good piano will have this pitch. of unfamiliar stairs; and unless I feel my way I am is intensity of interest. This is a fact that seems to he think at all,—afterwards. Think first, play afterward, is the rule of all successful practice, a rule which I The sellers of poor instruments often have the pitch likely to stumble and fall. When, at the table, I take overlooked by many teachers. How often the . major “ ‘Shall we continue to educate our daughter in busy she might be, no day had ever passed that she need not tell you is often “more honored in the breach, of their instruments high, in order to make them sound up a knife with my right hand, a fork with my left, part of the practice hour is filled up with exercises and music?’ is a perplexing family problem,” said a had not conscientiously practiced. On certain.even- than in the observance.” The pupil who plays with¬ more brilliant. Unsuspecting people, not knowing that the act, through habit, has become automatic, and is dry technical work. Is it natural or reasonable in such mother to me not long ago. ings when her husband rested in his lounging chair, out thinking, strikes a note only to find that it is this brilliancy is due to the high pitch, are deceived a case to expect much interest on the part of the pupil? “Does she stand a chance of earning a living if while she played his favorite selections, he told her done without thought. These are only a few examples wrong; the next attempt may result in the right note, and attribute it to the “extra good quality of tone. From time immemorial the practice of exercises and need be by teaching music, is what I want to know?” that her touch, as she brought forth each melody, of habit and the day has only commenced. If we but the wrong finger; the third attempt gets the note Let these instruments be lowered to the normal pitch other technical forms has been considered obligatory in “Yes. Let her learn all she can, while she can, soothed him as nothing else could. analyze our actions from morning till night we shall and finger right but the touch wrong. On the fourth and’ they will have no musical tone at all. piano study. Is it necessary or indispensable? Let me then no matter how she is placpPhiladelphia Orchestra, Miss Katherine need scarcely add, is an oblong block placed under¬ parts have to be written on the same staff. Then the to establish playing habits, we may ask how can these The benefits that accrue from this method of work¬ Meisle, contralto, and Mr. Piotr Wizla, baritone, were neath a line of the staff, usually the fourth line, as rests have to be inserted proportionately higher or habits be formed most quickly? The usual method is ing may be enumerated. First, high rates of speed enthusiastically greeted after their performances. at (a). When placed across a space (b) it denotes lower; and, in some cases, have to be placed off the to learn a piece through slowly and then from day may be attained with comparative ease, and in a frac¬ Bishop Rhinelander and Monsignor Henry made able silence for either the value of two whole notes or of staff altogether, as in the following example from the to day increase the speed till the proper tempo is tion of the time required by the usual method of prac¬ The incorrect versions would produce what an Irish reached. This is a perfectly rational procedure, slow addresses. Mr. David Bispham related, by request, two measures. To denote silence of two or more Fugue in G minor from the first book of Bach’s im¬ tice. Second, it contributes to loose muscles; the short friend once termed “syncopated silence.” As a corol¬ but sure. Is there any quicker way? some very interesting facts pertaining to his own measures we now write a whole rest and place above mortal Forty-eight: groups lend themselves easily to this condition, as will lary to our last rule we may assert that no rest can career. He startled the audience by telling them how it a figure denoting the number of silent measures be manifest after a few trials. Third, it conduces to his career had been influenced by some revelations be allowed to overlap an accent. Thus, in 6-8 time, A Rapid Method of Progress required (c) : rapid memorization and mnemonic certainty. brought to him through a member of the London So¬ quarter rests could not be placed on the third 8th note For a number of years I have been -using a method Musical memory is usually considered as being a ciety for Psychical Research, who operated a plan- beat, nor on the second or fourth 8th note heats in a which rapidly brings a piece to the automatic stage, union of three elements—the visual, the aural, and the chette. The gentleman was not a musician and unfa¬ (a) (b) (o) 6 measure of 3-4 time: contributes to dash and freedom in the performance, muscular. In visual memory the player remembers the miliar with what the device was prognosticating for Mr. and does this in a fraction of the time required by succession of notes, harmonic progressions, modula¬ Bispham, when it spelled the names of four famous incorrect. correct. traditional methods of practice. The average pupil tions, phrasing, and what not, as they appear to the roles in which Mr. Bispham made notable successes in his effort to attain speed, thinks a passage—whether eye on the printed page. This kind of memory is use¬ in opera and Wagnerian music. consciously or unconsciously—note by note. Now we ful as a starting point, but in actual performance I What Philadelphia has accomplished in this work- The completion of portions of measures with rests can no more play rapidly in this way than we can have found it unreliable. Aural memory retains the may be accomplished in any city. It is not difficult in is, however, a much more complex matter. Broadly In completing a given measure with rests, a test read a book rapidly and spell each word letter by letter. succession of sounds as they are heard when the this day to induce public men to come forward in the speaking, the rule is that the rests must be inserted in often set in theoretical examinations, a good working Our previously stated rule that long rests must fall In reading the mind takes no cognizance of letters at composition is played. This form of memory while enthusiastic support of music. By means of organi¬ such a manner as to occupy, and not overlap, the divi¬ method is mentally or visibly to plan a model measure all. A word is the unit of thought, and in reading on accented beats would prevent the student from com¬ useful is also unreliable. In muscular memory, the zation teachers in different communities may arouse a sions denoted by the time signature. As a first with accents duly inserted. From this each beat could rapidly we often are unconscious even of words, as pleting the 6-8 example, thus: fingers, hands, and arms carry on automatically a com¬ dignified and forceful interest in music as a public principle we may say that rests less than a beat or the mind grasps the phrase in its entirety. In a like plicated series of muscular movements, which, by be ^clearly completed. Thus, if we have #"| and need through just such public tributes as that de¬ division should only be employed to complete a divi¬ manner, in fast playing the mind groups a series of manifold repetition have been built up into a habit. scribed. It was at one of these dinners, four years ago. sion already incomplete. Thus in completing with 4J* to complete with rests, we would suggest tones as a unit and loses consciousness of the single This muscular memory, if not interfered with by con¬ that Mr. John C. Freund, Editor of Musical America rests we should insert a 16th and an 8th rest; because, the following method of procedure: constituent tones composing a passage. Building on scious thought, I have found can be relied upon, even started his famous campaign for increased interest in this psychological principle, we may develop subcon¬ when the player is very, nervous. That this memory American music and musicians. The result was an scious or automatic playing from the very start, by does not depend upon the aural or visual, can be enormous amount of advantageous publicity for all Here the first of the two quarter rests falls on an taking a piece, passage by passage, and grouping the proved by closing the eyes and playing upon the prac¬ who are concerned in American musical progress. tl7~J ^77;l and tones into larger and larger unities, till, in response unaccented beat; which is incorrect, although it does tice keyboard any rapid passage that is thoroughly in Nothing could be more effective in combating * *?11 x 1*1 * ii x iVl- to an initial impulse, these are played through auto¬ not overlap the accent. For this reason a half rest the fingers. In group practice, the hand positions are the idea still held by some people, that musicians matically and without conscious thought. Thus a speed is never used on the second and third beats of a 3-4 quickly worked into the fingers and the muscular move¬ and music teachers are highly trained specialists (if. alas, A wise and diligent student will construct other ex¬ is at once attained, which, by the old method, is ar¬ although both rests are less than a beat or a division, measure. ments made automatic. The mind also grasps with they do not rank them with long-haired freakO whose amples of similar character for himself, taking great rived at only after weeks or months of practice. Take, equal ease and quickness the few notes that make up a chief function in life is to earn mono- by promoting the last quarter beat is already incomplete. Here it Dotted rests are somewhat restricted in their em¬ care to see that his practice accords with the theory for example, the passage work in the Chopin Im¬ hand position. Finally, there results from this method an inconsequential accomplishment. may be asked, should the 16th rest be placed before ployment, being generally confined to the commence¬ here demonstrated. He will then be in good company promptu in F sharp. The first phrase would be treated of practice, an ease, accuracy, dash and freedom in the The Etude will be glad to furnish information to or after the 8th rest? This brings us to another use¬ ment of incomplete beats in simple times or to half —the company of the classical writers from whose in the following manner: First divide the passage into ful rule: In using rests less than a beat each sub¬ performance that I have not found it possible to those desiring to start a similar movement in other measures in compound times. Thus the following practice all the foregoing rules and recommendations hand positions, or as many notes as can be played secure as rapidly in any other way. division of the beat should be completed before pro¬ measures may be filled up as indicated: have been derived. 565 564 THE ETUDE THE ETUDE Real Help for the Pupil Systematize Children’s Practice By Samuel W. Merwin By Hannah Smith 0 n Nearly every child has some duty to perform about the house. Some mothers make lists of little things for place of a discouraging failure. For more serious them to do and as each duty is done that item is crossed Everybody knows that the teacher can not learn or cases, some light gymnastic exercises to start the off. This, I am told, is a most satisfactory plan and if the pupil. Only the learner’s own efforts can bring blood coursing freely through the veins, and nervous it works well with household tasks why can it not be about success. But the ideal teacher can do more force tingling to the ends of the fingers, have been How to Develop a Chopin Technic worked out in the music? Practice time often goes than prescribe carefully thought-out courses o found to be an almost infallible remedy. begging because other things crowd it off until night study, give explanations of methods of working, It is not wise to be too ready to point out mis¬ By HARRIETTE M. BROWER and often until “to-morrow.” For instance, if you have offer for imitation impeccable models of style and takes—unless they are the result of carelessness or execution, and patiently point out and correct mis¬ two little daughters who are studying the piano, get two idleness; and it will not do to let one’s nerves be takes and shortcomings. The ideal teacher must m little slates and hang them in a convenient and con¬ rasped by false notes—at least not so that the rasp¬ Chopin was not only a wonderful and unique com¬ In order to establish a Chopin technic, we cannot Scales in double thirds and sixths are the foundation addition to all this develop in the pupil capacities of spicuous place. On the slates note down the scale, or ing becomes apparent to the pupil. If made by a poser for the piano, he was also a great pianist of the do better than make a thorough study of the etudes, of two etudes in Op. 25. How fascinating are their which he had no previous conception and enable him study, or piece you wish practiced or reviewed. You consciencious student, whose very effort for per¬ highest attainments. He not only knew how his com¬ with some preliminary work on the Preludes. The interweavings, and what command the player must have to accomplish what seemed to him impossibilities. need not bother about a full schedule each day. If you fection tends, possibly, to prevent its attainment, positions ought to be played, but was able to make them understanding of the etudes is a liberal education in over these forms. Such scales must be studied for If the pupil does not readily comprehend a mental wish Rosalie to practice the scale of B major, write it say, rather—as a well-known European teacher once sound as he mentally conceived and dreamed they ought piano technic as well as in the art of interpretation. their own sake, quite apart from pieces or even Studes; problem, it must be presented in various aspects, down in the morning and tell her, “five times,” or said to a pupil of this kind, “Never mind the false to sound. Few composers are able to interpret their In the etudes are exemplified all possible technical they should be played in all keys, with variety of with every aid of illustration and comparison. If “seven times.” When it is done it can be marked off at notes. I do not listen to what you play, but to what you own works on the piano, or if they attempt to do so, points. Here we have scales in single and double notes, touches and dynamics. Only after such preparation it is a physical difficulty which he is slow in over¬ night. If Kate is neglecting her minor scales, write intend to play.” To the pupil whose intentions are all it is apt to be said of them that they play like a com¬ arpeggios, chords, octaves and passage figuration. should the compositions in question be attempted. coming, the exercises designed to develop the down “C minor” or “C sharp minor five times.” right, this attitude of the teacher will, very likely, poser, not as a trained pianist. This criticism could And what shall we say of octaves, a most difficult needed force, control or facility must be presented not have been made of Chopin’s playing; his technic Each girl will be anxious to finish her work; there is be just the help needed to make possible their per¬ Chopin’s Exquisite Scales point in technical equipment. There are many octave in such manifold variety of form as to keep the and finesse were equal to every demand put upon them. passages sea:tered through Chopin’s compositions^ He also an element of surprise in it and the slate saves dis¬ fect expression. mind constantly on the alert, and prevent the dull¬ In his interesting book on Chopin, Mr. Huneker says Chopin possessed “scales that were pearls.” The himself could play rapid octaves, but did not use much pute. When “mother” says so and so on the slate it is Sometimes, too, a pupil will quite honestly see a ness and discouragement which are sure to result this: “A world-great pianist was this Frederic Fran¬ general piano student seems to have an inherent dis¬ power. The octave passages in the A flat Polonaise far more impressive than saying to one’s self “I ought thing differently from the teacher. Even in such a to practice my scales.” With such a slate recording the from long and persistent hammering away at the cois Chopin. He played as he composed, uniquely. like for scales, and avoids practicing them when he he played pianissimo. The great Octave Etude in Op, case—nay, doubly in such a case—is it necessary to itemized list of daily practice duties, practice is seldom same thing. Scales that were pearls, a touch rich, sweet, supple and 25 requires much power; it can be made a tremendous put oneself in his place. Why insist that his view¬ left until “to-morrow.” It is possible to “ring” so many changes on a singing and a technique that knew no difficulties, these tour de force in the hands of a virtuoso. The studenV point shall absolutely agree with yours? He has single exercise, that the pupil, while really working were part of Chopin’s equipment as a pianist. His should devote a certain amount of time each day to' many years in which to grow and change—and then, Curious Facts About Music for weeks at the same difficulty, will think that he pianissimos was an enchanting whisper, his forte seemed octave practice in order to be prepared for such a \ has had each week a new exercise. A difficult too, it may be not impossible that your own ideas Those who fondly yearn for the “good old days” of powerful by contrast, so numberless were the grada¬ strenuous task as this Octave Etude. He must be able passage in a piece may be turned into a study, and would be bettered by modification. As long as it music would probably be very disappointed if ever we tions, so widely varied were his dynamics—his liquid to play both legato and staccato touches if he would presented in so many and such varied forms as to does not interfere with real progress, leave his tone, his pedaling, all were the work of a genius and perform the work. went back to them. Music is treated with much more heterodoxy to time and the gradual development of respect to-day than it was in former times. When hold the pupil’s interest through .a long period of a lifetime.” taste and mentality. Beethoven’s great violin concerto was performed in work; and, finally, still in the form of an exercise, In playing and teaching the music of this master, Chopin and Irregular Rhythm the difficulties may be gradually so increased that, it would be well to consider what are the most impor¬ public by the violinist to whom it was dedicated, Franz The Best Teacher We have briefly enumerated some of the technical Clement, one would have thought that this event was when that exercise is at last mastered, the dreaded tant requirements for its rendition, and in what degree passage in the piece surprises the pupil by its ap¬ The best teacher is, unquestionably, the one who we understand and come up to them. requirements necessary to the rendering of Chopin’s enough of a novelty for any concert. Not so, however, music. There is another side to the question, and that for the program (still extant) goes to show that on the parent lack of difficulty. best helps the pupil to do the utmost of which he Touch and Tone is the rhythmical side. Have you noticed how fond same evening Clement performed a set of variations If the obstacle to success is psychical rather than is capable, but whether that utmost is intrinsically Chopin is of irregular rhythms, two notes against “mit umgekehrter Violine”—with the violin upside down. physical, then the teacher must deal with it as a much or little depcrfds, of course, upon the pupil’s Among the first points to be thought of are: Touch three, or three against fdur? Think of the Impromptu One of the first opera librettists was intelligence and a decade ago. Quite young children in the most as¬ should indeed be able to hear with both ears; you pagne. It was said that he could drink six bottles of whole—“exactly as must be the case in acting.” Chopin made frequent use of arpeggios; several industry, and a Chopin technical equipment be built up. sured and tranquil manner, may be seen going through ought to be able to make a beautiful quality of tone, this sparkling beverage before the effects began to inter¬ Strangely enough in speaking of acting, Mary An¬ etudes are built of arpeggios and broken chords. The When this is secure the player can give free rein to their suites, concerto numbers, even sonatas, alone or from loud to very soft, and as many kinds of touch arpeggio needs as careful preparation as the scale, per¬ fere with his performance. derson referred in similar terms to music. "As in his fancy, temperament and imagination. His touch with a second player, entirely without notes. Not so as possible, from clinging legato to the lightest leggiero haps even more, in order to pass the thumb under the can take on all shades of color and meaning, his scales Mendelssohn’s great work in reviving an interest in music” she said, “there must be a complete sinking of Bach’s choral music in Germany was done for England many years ago, one who could remember some dance and staccato. These things are not difficult to under¬ hand and the hand over the thumb with smoothness can be pearls, his pianissimos ravishing, his passages the self and personality—an absorption of self into the by William Sterndale Bennett. He, with his pupil, tunes and songs was a musical hero. Great credit is stand nor acquire, if you once know what to do and and accuracy. We are told Chopin played such figures delicate as a gossamer web shining in the sunlight, character or creation.” “I might risk perhaps two Charles Steggall, formed the Bach Society in London, reflected upon piano teachers who have so skillfully led how to go about doing it. and forms with superlative fluency and ease. This his bravura powerful and convincing. He can make evenings or three,” she remarked, “without this pecul¬ but for a while they traveled an uphill road, as the up to this desired result. Chopin had a finely differentiated touch, which he smoothness and command over arpeggios is another these effects because he has the technical control of the singers found Bach’s music extremely difficult. “Its Marmontel, a noted French pianist and teacher, urged iar absorption of part, but I should leave the stage at acquired, in the main, by practicing Bach, always Bach. point for the student to gain before he attempts the keyboard and of himself. once on finding that this power had permanantly left introduction,” Bennett wrote, “was effected bit by bit, the necessity for “tremendous musical memory” born Before giving a concert he shut himself up to practice special studies of this form found in Op. 10, No. 1, Let us not overlook the finest points of all, the very Bach. In this the ambitious student may emulate him, one portion rehearsed over and over again until the or trained, in pianists destined for professional con¬ and Op. 25, No. 12, or the great Revolutionary Etude soul of the piano—the pedal. “The piano,” says Busoni, cert work. He further insisted that this must be backed and reap a constant benefit therefrom. Op. 10, No. 12. performers and the listeners began to find their way Moszkowski is insistent upon memorizing. “What “has one possession wholly peculiar to itself, an inimi¬ by the sense of absolute pitch, to make secure the sense is there, he asks, “in keeping the eyes and nose In the matter- of touch, we need to cultivate two Then there are the chord forms: what a variety in it, and then some other portion was ventured upon.” table device, a photograph of the sky—a ray of moon¬ holding of one’s own in orchestra cues, pauses, brilliant distinct divisions of it, to interpret Chopin’s music we have. Even in the Preludes there are some splendid Nor was that the only difficulty. Music at that time glued to the same pages month after month, without light—the pedal!” Many beautiful tonal effects can be was not as cheap and abundant as it is to-day, and flights, possible changes, and even accidents. In study¬ gathering either notation or idea into the mind?” “This rightly; namely, the expressive, clinging “melody” examples; No. 20, with its stately, solemn march of made with the correct use of the pedals, either singly, little of Bach’s music was available. Accordingly one ing a concerto for instance, he first divided the work touch and the “passage” touch. For the former the four voiced, groups, starting so ponderously and closing is all bad habit,” he adds, “a habit to be overcome or together, or with a vibrating damper pedal. He who of the members of the Society, Helen Johnston, studied into thoughts and phrases by reading, and then mem¬ prevented by logical persistent and intelligent direction.” fingers are somewhat flattened, with clinging weight so softly and questioningly. What gradations of touch, and pressure. The latter is made with hand well would render the soulful, poetic music of Chopin ought the art of lithography and actually set up a press in orized them in actual sequence. He then memorized To test the difference in mental attitude towards a tone and feeling are here. There is the wonderful No. arched, and clear, articulate finger action. Chopin is 17, entirely formed of chords with melodies hidden in thoroughly to understand the mechanism and use of the her own home so as to print the music. To this end the finger work without pedal or expression, a feature thought when read and when memorized, one has but essentially lyric, though there are many intricate in¬ them. The student must surely be able to play chords piano pedals. Then with constant listening and testing she studied German so as to write an English version “relieved of drudgery by the hope that lies behind it.” to read a paragraph in any book or paper, and then volved passages. The player must be able to deliver with variety of touch and tone before attempting an the effects, he will be able to color the tones of the of the words. She also studied organ and musical He was a great stickler for mechanical perfection. “No memorizing the same, tell it to the walls or windows theory under Bennett and Steggall. Through her ef¬ one can express what one cannot perform uncon¬ a lovely melody with soulful expressiveness, and also interpretation of these pieces. Among the etudes there piano till they can picture the quality of softness or of his chamber free of the interfering signs and symbols forts and those of her co-workers, an English version to compass the delicate fioriture which everywhere is No. 11, entirely composed of appogiated chords, the brilliancy—the atmosphere of ethereal delicacy with sciously,” he said, “no matter how true and clear the of print. It is as the difference between wallpaper of the Matthew Passion was finally given complete. abound, with delicate articulateness. etude in A flat, and the chords in the twelfth etude. which this music should be invested. conception may be.” Then followed what he called trees and those which grow in the woods. 567 566 THE ETUDE THE ETUDE Practical Tests in Memorizing

Etude Betterment Bv Robert W. Wilkes Memorize by Keys Believing that .the cooperation of our It has been the writer’s experience that the only sure It is important that we should memorize by thinking readers will assist us immensely in caring way of memorizing a piece is to memorize practically of the keys—not the notes. For if the imagination for their musical tastes and needs The every note of it. Some players may object that they pictures for us the printed page, the notes have then Etude herewith ;6ffers really do memorize every note of their pieces and still to be translated into keys before the tones can be they can not depend upon their memory when playing A Prize bf a Complete Set of played. But if we know the next key or keys that before the public. To these I would say: Immediately should be played, all that is necessary is to place the Grove’s Dictionary of Music after reading this paragraph go to the piano, select a hand in the right position on the piano and play. and Musicians passage with which you have had trouble and play that part, of course without looking at the music, with / (Valued at 315.00) Concentration Essential the other hand; that is, if the passage is written for the for the best letter of not more than 200 right hand, play it with the left hand, and vice versa. It is also important to see that the mind is concen¬ ' words Containing the most original, the Do not try it with the regular hand first, try it with the trated on the keys being played; for the ability to re¬ Making a Career most practical, the most useful and the best other hand, for if you have really memorized the notes call seems to depend upon the intensity of the impres¬ “At sixteen I had acquired the ability t of good playing by their teachers, and in the smaller best guide, if you feel that you have the talent to sion produced upon the mind; thus if the notes are read fourth-grade music In a manner to *“—-■* pursue your aims. expressed ideas for new Etude features you can play the passage with either hand. Don’t attention, but ill health compelled m cities can hear little else besides, which may be classed that will make The Etude more valuable say that such a test is needless in your case; try it, at and played more or less mechanically, as in the ordi¬ until I was twenty-one. My touch _ .. .. of the highest order. These virtuosi, through their As a corollary to the foregoing, the following rather pathetic that I frequently cause people to cry, and similar experience has been received: to its great body of readers, ideas that will least on one difficult passage. nary manner of reading music, the impression that the it Is said that I am wonderfully temperamental. Is leadership, often acquire a wide reputation in the make our journal even brighter and more I presume that you have made the test as directed. succession of keys makes upon the mind will be slight this . ___-J' ---_ „ _,_t** my... age may IT profession, especially through the State Music Teach¬ a young man nope to attain the virtuoso stage? ers’ Associations, although they do not become known _- ---.o begin piano hripful to the greatest number. If you have, you will probably be as astonished as I and the ability to recall the keys will be correspond¬ “I have every reasonable advantage and time, as lessons, and until twenty-three before I could work well as flexible hands. People tell me there is no to the populace at large. It is no small merit, how¬ in earnest. At twenty-five I have made good was some years ago when I started to learn again a ingly weak. / In addition to the letter itself we shall reason why I should not be successful, and as my ever, to become one of these local virtuosi, who are progress. As I work for my living, I study two Valse by Moszkowski which I had some time previously As each note or chord is played the eye should gaze heart is in it, I feel that it would be almost an hours each evening, and five hours on Saturdays / expect each contestant to answer the fol¬ unbearable disappointment to be told it would be in reality the backbone of the profession. Many dwell¬ and Sundays. I have the best of teachers, who intently upon the key or keys; comparison should be impossible. Will you kindly advise me in the encourage me, but many of my friends discourage lowing questions frankly, tersely and in been playing without the music. ers in the cities are provincial and hidebound, and made between the new key or keys and the preceding matter?”—1). R. me. Do you think I am too old? Will my dally such a manner that we may get a more vainly - imagine that merit and ability is found only work, which is not hard labor, affect my progress?” A Personal Experience keys and the fingering and time should be noted. From the description in your letter, there is no pos¬ within the borders of large cities, but they are sadly definite idea of what phase of The Etude Resemblances, however slight, between the notes of a sible question but that you have talent, and a great at fault in this regard. Some of the Presidents of There is a great deal in the foregoing article which seems to be the most needed. I had never felt secure in the piece, so I decided that deal of it. As to whether you could reach the virtu¬ measure already learned and a new measure should be the United States Have come from small towns. will prove sufficient answer to this second letter. Al¬ I would learn it anew and this time memorize every oso stage, this would depend upon the rapidity of your Etude Friends can help immensely in The second class of virtuosi are mostly found in though S. A. does not state what his purpose may note. I took about four measures at a time and, in carefully noted. progress under intelligent training and practice, and large centers, where they congregate because of in¬ be in studying the piano, whether for personal grati¬ improving the magazine by joining whole¬ order to be sure that the force of habit would not help It often happens in a piece of music that a certain as to this you have given no data. I doubt if it creased opportunities. They have brilliant ability, fication, or to make of it a profession, yet I would heartedly in the following: section is repeated but that the repetition in the second would be possible to give a definite opinion without me, I tried to play the right hand part with the left and many of them secure engagements oyer a wide assume the latter, for the remonstrances of friends case is followed by new matter. In such cases, the personal experience. Indications, however, would de¬ Please answer the questions in the hand and the left hand part with the right hand. I extent, largely through clubs and organizations. They do not seriously trouble us in matters of pleasure. student should be warned to pay particular attention cide that you should have every possible encourage¬ found to my surprise and chagrin that I really knew in fall short of attaining the top round of the ladder. He apparently does not aspire to the virtuoso stage, order given. ment in the pursuit of the art for which you have so most parts about one note in every three or four, to the first note that changes—the place where the Many of them could have reached the top by a more which is wise, for a start from practically the very strong a love. Devotion of the sort you mention in 1. To which department or page do you although I had fondly imagined that I had nearly all music switches off, as it were. Sometimes the first concentrated and longer continued effort. They all beginning at the age of twenty-five would undoubt¬ habitually turn first when you open a change will be a difference in fingering; if so, it is your letter, which I regret cannot be printed in full, sincerely believe they could have accomplished this, the notes memorized and that there were only a few is bound to reach success, even though there might edly preclude this. new issue? very necessary to see that the proper finger is used in and that the honor is rightfully theirs. Just what more to be learned. be modifications of that success along lines slightly Meanwhile, with conditions so favorable as S. A. that little something is, however, that marks the bound¬ outlines, he ought to attain a reasonable degree of 2. Which ten Etude articles during the I have had pupils who confidently stated that they each instance. If such details are not carefully attended different from those you originally had in mind. aries of supreme attainment has never been decided ability upon the piano, and there is no limit to which past year have interested or helped you knew every note in a certain passage which had been to the player will often fail to “switch off” at the Your age is something of a drawback, as usual with complete unanimity of opinion. There is un¬ he may carry his musicianship. What he may lack most? giving them trouble. Upon being asked to play each proper place and will keep on going round in a circle. experience shovys that absolutely supple flexibility, doubtedly a factor that makes for leadership, which in digital facility he can offset with unusual theoretical 3. Name twenty pieces from The Etude part separately and to change hands on each part they To memorize well, the few notes that are taken at which permits of the very highest achievements, must also has varying degrees, and is susceptible of devel¬ be acquired during the years of youth, in other words, and psychological knowledge of his work, thus becom¬ of last year of the type you prefer to would look surprised, and a little indignant perhaps, one time should be played at least three times without opment. Hence there is even a supremacy among ing an excellent teacher. Many excellent players are while the muscles are growing, because Nature then use in your own work as a performer or but of course would play it as requested. It has usually looking at the music. Do not look up after each repe¬ leaders. Such matters you will find considered in provides every possible assistance. This assistance poor teachers because they are not thinkers along happened that there were at least two or three notes tition. If you do so the fipst two or three notes would psychological studies oh personality. as a teacher. becomes less marked after the muscles have reached the line of that particular department. There has that they did not know—much to their surprise—and not be memorized at all and difficulty would be experi¬ The third class you will find represented by such 4. Are there any things about The Etude maturity, and much more arduous labor is required been a prevailing opinion that brilliant pianistic abil¬ enced in trying to connect one measure with another. players as Paderewski, Harold Bauer, Godowski, which do not meet with your entire after learning these notes the passage would frequently to bring them into subjection to the will. With a ity was all that is necessary in making a teacher, which not give any more trouble. Samaroff, Goodson and others. In them is found the has only too often been shown to be a fatal mistake. approval, anything you would like to see After learning each hand separately carefully note beginner, advanced work is rare if begun after matur¬ supreme achievement of pianistic art. Moszkowski the time when playing both hands together. Playing ity. But with the supple conditions you have main¬ There are many exceptional facile players who know changed ? has stated that in order to reach this high level of Method of Memorizing the passage once or twice with the music should be tained, and notions well established, and earnest deter¬ less about music than the average amateur. Some of 5. Which do you look for most ? Articles attainment not less than fifteen years of close and sufficient to impress the time upon the mind and then mination, you have everything in your favor. If you the best teachers are by no means exceptional players. Now, how should a piece be learned so that prac¬ unremitting study is necessary. This, of course, in¬ on Technic, Articles on Interpretation, have not informed yourself, your first disappointment They must have made a special and thorough study tically every note can be memorized? It must be the passage should be played a few times from cludes theoretical study, composition, orchestration, Articles on Biography, Articles on will be in a knowledge of the time required to accom¬ of the theoretical side of piano training, even to its learned a few notes at a time. memory. and all kindred branches of musicianship. Beginning Criticism, or what ? Self Help Articles, plish your aims. Even with the most rapid progress, most advanced stages, for no one can teach that con¬ It is not possible to memorize a piece well if a whole It is also very necessary to connect each new part at the age of ten, the candidate would be twenty-five “How to Teach” Articles, Musical or great patience is necessary, as muscular development cerning which he has no knowledge or experience. page or even a whole line be attempted at a time—in memorized with the preceding measure or measures. before ready to launch upon a career. I have read Fiction. can never be forced. Nature objects to the slow proc¬ Others in the position of S. A. acquire a knowledge one gulp, so to speak. The reason for this can be easily Otherwise we would have a lot of little pieces which that De Pachmann, after having made his debut as a sufficient for any demands they may meet in a small 6. Would you like to see more illustrations esses decreed by her being hurried. Nature is also seen. In a line of music, counting both right and left could not be fitted together. Therefore if one measure very uneven in the distribution of her favors, that virtuoso with success, not being himself satisfied, community. Some of the best elementary and medium in The Etude or fewer illustrations ? hand, there are usually from twenty-five to a hundred be memorized at a time, always play from the preceding which one person does but slowly being accomplished retired for ten years more of practice before taking grade teachers make no effort to train pupils in the his place as one of the great virtuosi of the world. 7. For what feature principally do you notes and trying to learn so many notes at once is measure or measures to connect the new measure with by another with great celerity. If you are one of virtuoso stages. By concentrating their attention along the previous ones. Not alT the great players have devoted themselves to these special lines they acquire a reputation for unusual take The Etude ? What is your most too great a strain. But a few notes may be well learned, Nature’s favored ones, your chances of success will severe criticism? be greatly increased. practice in private for so many years, although they work. S. A. is, of course, working under a handi¬ then a few more, and thus step by step the whole piece all keep up their practice just as assiduously through¬ cap, hut handicaps are often a valuable incentive. may be memorized. Mechanical Practice Must Be Always Avoided There are three classes of virtuosi. You may choose Suggestions which you wish to attempt, or accept gratefully the out their careers. Paderewski has made the remark Many famous musicians have become such after fin¬ The number of notes to be memorized at a time must After the piece has been practiced for some time it one in which your ability and age may place you after that keeping one’s self in condition for public perform¬ ishing an education that intended them for other This is not any easy way in which to earn a fif¬ be adapted to the capacity of the player. A beginner will be found that the habits that the fingers have ac¬ ance was purgatory. In his case, however, it has teen dollar set of books. The letters will require a patient effort towards accomplishment. The first pursuits. Their greatest fame, however, has come can learn about four to a half dozen at one time, quired will enable the player to play fairly well with¬ been worth the trouble, for he has made more money along the line of composition rather than piano virtu¬ thought, time and care. Do not sit down and dash out much thought of the notes. The greatest care is class may be termed local virtuosi. There are many off a few words and expect them to receive serious at¬ while an advanced player may learn a dozen or more. than any other artist with the exception of Adelina osity. The object lesson is. good, however, and should necessary at this stage. Even if the piece had been pianists, even in cities of small size, who are pos¬ tention. The study of harmony and composition is a help to Patti. afford encouragement to all such as S. A., who feels well memorized at first, some of the notes will soon sessed of exceptional ability and attainment. They play Beethoven’s later sonatas, and compositions such In making up your mind in regard to your career, that he has unusual endowment for the accomplish¬ Our sole purpose is to invite honest, constructive correct memorizing and one who has studied these sub¬ be forgotten unless the mind is continually directed on criticism. By helping The Etude in this way our as Liszt’s Hungarian Rhapsodies in fine style, and it will do ho harm for you to count the cost, and ment of his aspirations. jects may often take as many as two or three dozen them. And as soon as the mind is found to be not readers are really helping themselves and others to a have at command a wide range of piano literature. know something of the time and labor to be expended. His daily work need not affect his progress seri¬ at a time. In the majority of cases each hand should fully awake or active, the practice should be deferred brighter, better, more useful paper. Beyond occasional appearances within easy reach of I should think your best plan would be to follow ously, except that it will have to be made much more be memorized separately at first and this rule applies to some more suitable time; on no account should Write on one side of a sheet of paper and make their home towns, however, they possess only a local the advice of the.great essayist, “hitch your wagon to slowly. At the age of twenty-five it is unfortunate both to beginners and to advanced pupils. If both mechanical practice be indulged in. your letter as brief and to the point as possible. fame. They possess high musicianship and are in a star,” and make for the highest point you can attain. if a student cannot have his entire time at his dis¬ hands are learned together there is a tendency to If you reach the first class of virtuosi you will be posal for accomplishment. He needs to exercise care, No letter will be returned and the only notifica¬ every sense worthy colleagues with their competitors tion of the winning of the prize will be that published neglect the notes played by the left hand and a sense The Quickness of Thought of more extended reputations living in the large cen¬ worthy of all praise. Through it you may make your¬ also, in regard to overworking, or he may find his in The Etude. of insecurity will nearly always be felt when playing Some may object that the mind cannot think as ters; indeed, they are often much finer players and self a leader in whatever community you decide to energy and capacity prematurely exhausted. Meanwhile the piece. settle in. Then it will do no harm for you to try the best authorities say that a change of employment Do not write about other matters in your letter. quickly as the notes must be played in a fast passage. musicians than many who have the business ability to When I say that only a few notes should be memor¬ It is, however, simply a matter of training. Of course, make reputations for themselves, but with compara¬ and push on to the next. As for the third class, I is a rest, and sometimes even a recuperative force. Do not fail to give your full name and address. ized at one time I do not mean that only about a dozen a dull pupil at school will never make a great success tively little upon which to found them. They are fear lest the cost be too great at your age. The higher Hence, if the daily work is not too exhausting in Contest Closes October 30th notes should be learned at one setting. On the con¬ at memorizing any more than he would make a success honored among their associates and fellow-citizens, your endeavor, however, the greater will be your influ¬ character, and S. A.’s interest in his work is so great trary, by this method an advanced player who pos¬ at playing from notes. Such a pupil will naturally and as leaders in their respective communities, are ence and success. So far as your many friends are that it merely becomes a pleasure to him, and he is sesses an active mind should be able to memorize a depend a great deal upon habit in both cases and he among the very best representatives in the profession. concerned, who are so free with their advice, I would blessed with good health and a strong physique, he Address ETUDE Betterment Contest page of music in an hour or half hour. I mean only will consequently be uncertain when playing in public To become a member of this class is no small attain¬ counsel that you follow the Persian proverb which may find himself accomplishing all that he desires that the whole page should not be attempted at once, But it is surprising how fast the mind can work when ment. It is true, they earn their living by teaching,, says, “If you are going to engage in any undertaking, without undue strain. These are things that one has 1714 Chestnut St., Philadelphia, Pa. but that it should be divided into several seetions ac¬ it is well trained; there is indeed much truth in the but pupils need teachers of high technical attainment* ask ten men’s advice; then do as you think best.” to decide for one’s self, and cannot he decided at a cording to the capacity of the pupil. phrase, “as quick as thought.” and musicianly training. They need the inspiration In other words, your own conviction will be your distance without a full knowledge of all details. 568 THE ETUDE THE ETUDE 569 THE VIOLIN NUMBERS. IN A GRECIAN GARDEN—A. J. PEABODY, JR. The famous Prelude in A by Chopin as arranged A fanciful 'drawing-room piece employing two well- by Mr. Lieurance will make a splendid encore piecc contrasted diatonic themes. These themes anil the for violin, and it will also serve as a valuable study j„ WAYSIDE FLOWERS quaint harmonies used to accompany them give the “double stops.” Moderato m.m.J = 108 __FREDERICK A. WILLI AMS,Op. 93 desired old-fashioned flavor to the entire composition. Charles Lindsay’s Approach of Spring has already An expressive style of playing is demanded :n this appeared in The Etude as a four-hand number. As piece. Grade 4. arranged for violin by Mr. F. A. Franklin, in response to numerous demands, it should prove equally accept¬ POLONAISE—L. VAN BEETHOVEN. able. This Polonaise is taken from the celebrated Serenade TWILIGHT REVERIE, PIPE ORGAN-G. N or Trio for stringed instruments, Op. 8. It has been ROCKWELL. published in various pianoforte arrangements, but the A very pleasing opening Voluntary or Offertory, new transcription by Dr. Hans Harthan will be found affording splendid opportunities for the display of much more playable than many of the others. . This is tasteful and contrasting effects in registration. This one of the best numbers to add to a series of the number will prove effective on an organ of any size. lighter classics to be studied in preparation for the larger works of Beethoven and the other masters. THE VOCAL NUMBERS. Grade 3. C. S. Morrison’s Jesus. Lover of My Soul, is a well- written sacred solo, which should prove very accept¬ THE DREAMER—R. G. GRADI. able for church use. Mr. Morrison’s melodic gifts An attractive drawing-room piece with considerable are well known. variety of content. The principal theme is treated in Admirers of Mr. Tod B. Galloway’s compositions several ways, and the rather unusual middle section will welcome his new song. With Muted Strings. This adds a pleasing contrast. Grade 3. is an artistic setting of a translation of some verses by the modern French poet, Paul Verlaine. WAYSIDE FLOWERS—F. A. WILLIAMS. Mr. W. E. von Kalinowskv’s Desire is a brief but An excellent intermediate grade teaching piece. very appealing love song suitable for encore use. Pieces of this type are very useful in inculcating agility and accuracy of finger work. When well played they sound extremely well. Passage work of the Chopin’s G Minor Nocturne character found in this and similar pieces should have A Short Analysis of Opus 37, No. 1. the effect of the proverbial '“String of Pearls.” Grade 3. By Edward Baxter Perry DAWN—A. FRANZ. (The following analysis is from Mr. F.dward Baxter A good illustration of the combination of a melody Perry’s Descriptive Analyses.) and a portion of its accompaniment in the same hand. Opus 37, No. 1, in G minor, was written during Aside from its musical interest this number will make Chopin’s winter sojourn on the island of Majorca al¬ a good study piece. When the melody and accompani¬ ready described. On this occasion also the composer ment are combined in this manner it requires consid¬ had been left alone to occupy himself with his piano, erable independence of finger action in order to make while his more active friends went for a sail on the the melody tone stand out above the accompanying bay. The sun had disappeared behind a western bank tones. Grade 3. of cloud. The evening shadows were fast closing around him, filling with gloom and mystery the distant CHARLES SUMNER MORRISON. PASTORAL REVERIE—R. S. MORRISON. recesses of the vast, irregular apartment where he sat, This very successful composer was born at Seneca- This number may be played either on the piano or and the columned cloister beyond, which led from the ville, Ohio, March 8, 1860. He began the study of the organ, although it is originally intended as a piano ruined refectory of the monastery to the chapel where music at the age of six, under his father, who was a piece. In playing it the studenf should strive for con¬ the priests and abbots of ten centuries lay entombed. thorough musician and teacher. When fifteen years trasts in coloring, causing the principal melodies to The ruins of a dead past were on every side. The of age the younger Morrison joined his father in the sound as though played by a solo instrument. silent presence of Death seemed all about him. He work of conducting music at conventions, the younger felt that, like the day, his life was swiftly declining, man playing the piano at all entertainments given. He THE FOX GLOVE—J. R. GILLETTE. and the mood of the place and the hour was strong worked diligently at harmony, counterpoint, musical This little song without words is taken from a set upon him. It found utterance in the sorrowfully beau¬ history, and furthered the work that his father had of three short pieces entitled Three Songs Without tiful, passionately pathetic first melody of this noc¬ so ably commenced. Words. It should be played in an expressive manner turne, with its falling minor phrases, like the cry of a His ability soon brought him offers of positions in with the harmonies well divided. Grade 3. deep but suppressed despair, and its somber, sobbing schools and in public school work, and his good work accompaniment, like the muffled moan of the surf on in this connection has been shown in Illinois, Ohio, IN HUNGARIAN STYLE—L. RENK. the adjacent beach. A precisely similar mood is Michigan. He has also done useful work in Music A miniature Czardas, having the usual slow move¬ powerfully expressed in Tennyson’s poem “Break, Teachers’ Organizations, and was at one time vice- ment or lassan, followed by the friska or quick move¬ break, break,” especially in the closing lines, president of the Illinois Music Teachers’ Association. ment. Play the first part rather lazily and in free “But the tender grace of a day that is dead He has also had considerable business experience with time, with the second part very crisp and precise. Will never come back to me/’ music publishing houses as a traveling representative. Grade 2]/2. Many of his compositions have been exceptionally successful. MAYTIME—A. L. NORRIS. Chopin was seized by one of those deceptive visions For more than forty years Mr. Morrison has been An easy-teaching piece by a well-known writer and so frequent at that time. The shadowv forms of ; connected with schools and colleges in educational educator. It should be played in a bright and cheer¬ procession of dead monks seemed to 'emerge fron work. He has also conducted numerous bands. In ful manner, with a crisp and even finger action beneath the obscure arches of the refectory in a slov Grade 2%. funeral march along the cloister behind 'him to tin 1908 he became conductor of the Adrian. Michigan, chapel, where their evening services were former! “Imperial Band,” which achieved an excellent reputa- THE TIN SOLDIER—D. D. SLATER. hdd, solemnly chanting as they passed their Santi David Dick Slater is a well-known English song Dio Hus impressive chant, as if sung by a chorus a, writer who has had many successes. Recently he has subdued male voice, is realistically- reproduced in th. middle movement of the nocturne. The verv word: NOCTURNE, OP. 37, NO. 1—F. CHOPIN. written a set of very tuneful, easy-teaoKing pieces. The Tin Soldier is taken from this set. In this num¬ Santo Dio are distinctly suggested by each little phras, After reading the subjoined Analysis by Edward ber. as well as in the remainder of the set, Mr. Slater ot four consecutive chords. Baxter Perry, the player will approach this celebrated displays the same excellence of musicianship and flu¬ When the monks have vanished, and their voice! Nocturne with a clearer appreciation of its inner ency of melodic invention which are to be found in his have died away in the distance beneath the echoint meaning and poetic content. Mr. Perry’s remarks ren¬ songs. Grade 2. l !L°f th<; chapel- Chopin recovers himself with ; der further editorial comment superfluous. Grade S. shudder and resumes his sad dreaming, symbolized bi THE SCOUfS ON PARADE-G. L. SPAULDING. a return of the first melody. But just at'its close th< UNE FRAGMENT DE MENDELSSOHN—C. A. sun sinks below the western bank, its last rays glean CASPAR. A timely easv-teaching piece in the military style which will be sure to prove acceptable to young stu¬ for a moment on the white sail of the boat just round A graceful drawing-room piece of the higher class. dents. Grade 1. The greater part of this composition seems to be the broodingbroodLl 0’,s 1echeerfullyt interrupted.• HIS fHends Hisrcturn mood‘ Hi brighten!* ,onel-' original work of C. A. Caspar, one of the lesser GIPSY MARCH, 4 HANDS—C. WOLFF. and the nocturne ends with an exquisite transition tc known German composers, although possibly the orig¬ the major key. One of the best duet numbers that we have seen inal Motif may have been obtained from Mendelssohn. in some time, full of fire and animation and some¬ The player should strive in this work for a sombei intensity of tone and should render each phrase ol It is a good study in melody playing and in the divi¬ what in the Hungarian style. In playing this piece sion of the accompanying harmonic material between the orchestral style of interpretation should be used. •maVT uy ,He Pai" expr^d were his own the two hands. Grade 4. Both players have plenty to do throughout. ZarTt ,r °n<' of the >>'>ing sea distinctly apparent in the accompanying chords. THE ETUDE 570 THE ETUDE 571 THE ETUDE 573 572 THE ETUDE THE DREAMER To Lillian and Mildred MEDITATION R.G. GRADi MAY TIME

4 2 » —IT »- * 8 t a ^ Yr~ j 3_ sr—r—rn

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Vigoroso /.Q | y i n i —i

1 la meloata ben marcato

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5 f* 4 8 5 s 1 4 3 1 5

Copyright 1916 by Theo. Presser Co. British Copyright secured THE ETUDE THE ETUDE 575 574 gipsy march GIPSY MARCH Zigeuner Marsch CARL WOLF Zigeuner Mars eh CARL WOLF Four ha-nd arr.by R.Ferber SECONDO Tempo di Marcia m.m. J.=

=^=4 = P • ^ Hi H J ps

V s Copyright 19i6 by Theo. Presser Co. British Copyright secured THE ETUDE 577

576 THE ETUDE 579 the ETUDE

THE FOX GLOVE “In Grandma’s garden the fox-gloves gay, 581 THE ETUDE THE ETUDE 580 IN A GRECIAN GARDEN J^L A.JACKSON PEABODY,

UNGABISCH LUDWIG RENK,Op.2, No.2

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j 5 * B (_._it—n 1—1 U 1 6 t '* 3

motto lento 1 „ _ meno niesso „ -—-** a 5_1 * 2?.lP. 3 * 2 t >» 8 f, t

PP P ~ mf ’

u* rj UJ rj TfT•#■ Sr ♦ 4 ♦ ♦ 1 8 4 8 ? f 1 4 4 i—-- 4 * 5 5 Copyright 1916 by Theo. Presser Co. British Copyright secured 583 THE ETUDE THE ETUDE DAWN . rr\ ALBERT FRANZ MELODY IN C Moderato poco moto m.m.J= * \ \ melodia sostemto

t R' 9 » ‘ ■ '«——

Napoleon was a mighty man, And so was Julius Caesar, But I’m the greatest of the lot, DAVID D. SLATER, Op. 98, No. 11 Marziale M. M.d = lao In the eyes of Sammy Sneezer.

British Copyright secured Copyright 1916 by Theo.Presser Co. PASTORAL REVERIE R. S. MORRISON Moderato m.m.J = 84 MEDITATION 584 THE ETUDE THE ETUDE TWILIGHT REVERIE The radiant morn hath passed away, And spent too soon her golden store; The shadows of departing day Creep on once more. GEO. NOYES ROCKWELL

1 ■ -J- ^ ft MANUALS. Sw. sempre legato = 3

PRELUDE VIOLIN AND PIANO F. CHOPIN, Op. 28,No.7 Arr. by Thurlow Lieurance Andantino M.M.J = Sul D

VIOLIN

PIANO

Copyright 1916 by Theo. Fresser Co- British Copyright secured Copyright 1916 by Theo. Presser Co. 586 THE ETUDE THE ETUDE 587 UN FRAGMENT DE MENDELSSOHN Andantino m.m. J = 108 C. A.CASPAR

APPROACH OF SPRING CHAS. LINDSAY THE ETUDE 589

To Frances Billings Newsom from the french of Paul Verlaine by Aleister Crowley WITH MUTED STRINGS TOD B. GALLOWAY

Copyright 1916 by Theo. Presser Co. British Copyright secured THE ETUDE THE ETUDE 591 590 JESUS, LOVER OF MY SOUL C. S. MORRISON

j -->j> U- ^ J’.J1 i 3^ Mir irv i full of truth and g race, Thou art full of tiruth and grace. _' p- w rt 'iLlPTrivT ♦ *► ♦ jOrtt. e dim. L4ip ' ^g: , Lj..1-1--H -=t rjf"-— ©. ■ .1 '3- ~ ^.£• ' ~ \ British Copyright secured L THE ETUDE 583 THE ETUDE 593 DESIRE Making Our Neighbors Happy RUE BARNEE WALTER E.von KALINOWSK I, Op 77, No 2 By Lydia A. Casey Andante sentimentale Can you play the piano or the violin “What can I play that will help others— >r any musical instrument? Do you sing? make them better for having listened' lots and lots of people who This meant that I could not devote all of lNICH o music in the home—but who my playing to classical music alone music lovers. If one has the talent or has had been doing. But that I H to developed his musical education to the select the particular kind of music that point where he can play or sing correctly would appeal to all mentalities So, with any selection, no matter how simple, they my classical music, played for my own BACH should give exercise to this talent. For pleasure (as well as to help my neighbor lpp§_ who knows but that just next door there to love it as I love it) I mix " ‘ goodly is someone who needs cheering up—when selection of “popular music, old and TJltra-Quali discouragement seems to hold them in its great sprinkling of the clutches. Music reaches the mind quicker more cheerful church music. and PlA"¥75 than the spoken words of encouragement. One Sunday afternoon not long ago I We are so used to words that when we spent an hour at the piano. Two hours Established AH become discouraged and down-hearted, later, from a neighboring yard three words mean little or nothing But houses away, I heard the man cheerfully ,Jlj the good thought expressed c is whistling the chorus of a song that was instantly understood. popular ten years ago—that I had played I realized this clearly several years that afternoon. The next morning I heard ago when a sens of discouragement with someone else humming one of the hymns things as they were took hold of I had played. This was proof thought. I was alone at the time—when my desire to help others was bearing fruit, faintly through the evening air was I have ho means of knowing how many wafted to me the strain of an old time more were cheered or how many enjoyed hymn, from the church several squares the music—but there are no less than away. Instantly I was “healed" of dis- sixteen homes within hearing distance of couragement. I couldn’t hear the words my piano. Four persons to the house but the melody seemed to lead me into would mean sixty-four listeners, some of a higher plane of thought and every whom would undoubtedly need the cheer last vestige of the sense of lonesomeness of music. Playing to “show off” technical and discouragement disappeared. knowledge_ or to— make--i a impression _.. s so grateful for this messenger of others is often indulged in by musicians ■nt to me upon the wings of melody, who do not take their music seriously, that I resolved then and there that when But playing to the heart of the listener I sat down d the piano, I would give a with a desire to make him happy by exer- thought to my neighbors’ needs. I would cising the talent is a blessing "to all, and 5 select my music with this th'ought in mind, fulfils the purpose of music. In Tone and Artistic Merit Their Leadership is Acknowl¬ Expert Advice Regarding Your Piano The American Piano Tuner’s Guild, an temperature will have a startling effect edged by Musicians Everywhere organisation which seeks to have piano on the piano, and would render null and Write for story of “The Nine Muses” tuners examined before they are per¬ void the most careful work of the very mitted to follow their occupation puts best tuner New York City out the following circular of advice upon Generally speaking, the piano the care of the piano: perfect tune before leaving the factory; Those who are best qualified to know this condition ;s brought about b a series say that, in order to obtain the - • . of tunings, one following the other satisfactory results and at the same intervals, varying from 24 hours to three preserve the tone quality and keep the days. If the piano is allowed to go with¬ Allegro m.m.J=144 GEO. L. SPAULDING action in perfect working order, it is 5 3 out tuning for an indefinite period, the 4 ’ 1 204045 1 2 4 . 131 * 2 112 2 5 2 3 2 a5 2 3S 4a 82 necessary to have the piano tuned at least twice a year. Pianos receiving such at¬ effect of this work of the manufacturer [ tention are always in condition, while is lost, and the piano will also suffer in those receiving casual or indefinite atten¬ tone quality. tion are never in fine condition. All other The piano should be kept in as even a ! The scouts are oh p rade, In klia-ki suits ar - rayed. They 1 stringed instruments require more i less temperature as possible. Avoid sudden tuning every time they are used, Now changes. taking this fact into consideration, s not Have your piano tuned often and you i the piano owner most fortunate to have ill have a better instrument. Many i i his possession a stringed instrument piano owners from false motives of A-1 lJ that c i be kept i good condition < economy make a serious mistake when two tunings a year i they allow their instruments to go with¬ A piano should be tuned twice a year, out tuning until they are so wretchedly for this reason: There are 224 steel out of tune as to be almost unplayable. strings, ranging in size from 12J4 to 22, The best and most perfectly constructed these steel wires when drawn to inter¬ piano will not give satisfaction after it is Shooting the famous rapids of Quebec, and the famous the St. Lawrence is only one national pitch exert a strain on the frame tuned if it has been so neglected, Saguenay River, with of the safe but exhilarating its stupendous Capes of the piano of approximately 15 tons. The concert pianist requires enjoyments of this 800 mile “Trinity ” and “ Eternity.” The wire used in the piano is highly tem¬ «« Piano tuned before every perform- journey amid lakes, rivers, pered and responds readily to atmos¬ ance. This is necessary to insure per- and old-world travel haunts, Up-to-date Canada Steamship Hotels pheric changes; a change of 30 degrees ir feet tone. The trip includes the Thou¬ at Murray Bay and Tadousac. sand Islands, the exciting FARES FROM NIAGARA FALLS descent of the marvelous To Montreal and return. rapids, the historic associa¬ To Quebec and return. A French Critic’s View of Debussy tions of Montreal, Quaint old To Saguenay River and return. As for Debussy’s harmonic language, is not on account of the peculiarities of Send 6c postage for illustrated booklet, map and guide to JOHN F. PIERCE, Asa. Pass. Traffic Mgr.. Canada Steamshif Lines. 157 R. A O. Bldg.. Montreal, Ca his originality does not consist, as some Debussy’s style—of which one may find of his foolish admirers have said, in the isolated examples in great composers be- invention of new chords, but in the new fore him, in Chopin, Liszt, Chabrier and CANADA STraMSHTP TTNTtS use he makes of them. A man is not a Richard Strauss—but because with De¬ great artist because he makes use of bussy these peculiarities are an expres- unresolved sevenths and ninths, consecu- sion of his personality, and because Pel- MonPV for Vacafinn Employ your spare time obtaining toy t major thirds and ninths, and har- leas et Mclisande, “the land of ninths,” lviuncy 1UI V dLdUOn subscriptions to The Etude. Many monic progressions based on a scale of has a poetic atmdsphere which is like of your music loving friends will subscribe if you bring The Etude to their attention. Exceedingly liberal commissions. Ask for particulars. whole tones; one is only an artist when no other musical drama ever written.— one makes them say something. And it Romaine Rolland. THE ETUDE, Circulation Dept. 1712 Chestnut St., Philadelphia Please mention THE ETUDE when addressing advertisers. THE ETUDE THE ETUDE W4 Proper Distinction in Registers

By Ebenezer Cook

Doctor J. Michael says, “In singing have been the case if the habits had been Department for Singers all the vocal muscles always come into formed at first in response to correct action, yet the manner and the extent of ^ Edited by Voice Training Experts breath attack. Here again “doctors dis¬ this action differ with the different regis¬ agree” and employ technical terms which ters; neither of the registers requires the confuse the pupil. One talks learnedly full working capacity of all the muscles, of the diaphragm, another dwells on but none of them can be formed in case clavicular action, while another pins his of the utter disablement of even a single faith to the intercostal muscles. It is Natural Singing and the Old Italian Method muscle.” The Doctor then goes on to pretty safe to say that he “who puts his say that each register, with the exception eggs in one basket” here will, partially at By David C. Taylor of the lower chest, has a leading muscle least, fail. Only by a conjoint action of all smooth, rich tone. In every case you will which comes into full operation and pro¬ the muscles which have to do with breath¬ find that your voice responds instantly to tor, which tells us h0W7e^nO“rodudng duces the form of the glottis peculiar to ing can the best results be obtained. modern notion, the natural manner of your mental conception and faithfully re¬ Among the questions debated by vocal that register, and that the raising and Little action of the lungs should, at first, using the voice is incorrect; it must be produces the tone quality you have in theorists none has been more earnestly discarded at the very outset of one s vocal t'U” „”«“S lowering of tone is effected, within the be demanded, for muscles will not act of hearing. Natural singing is thus seen mind. Finally, sing the scale several discussed than the underlying basis of the studies, and a definite plan of vocal man¬ limits of the register, -through the co¬ naturally when too much is demanded of to be a rather involved operation. It times, striving for the most beautiful and old Italian method. There is little ques¬ agement put in its place. It was the be le operation of the remaining muscles. The them before they are schooled to proper includes, first, the mental musical quality of which your voice is tion about the practical features of the of the old masters that natural singing is same writer claims, with Merkel, that action. Short phrases and much staccato tone; second, the adjortmer•t^f the ^ capable. With each repetition try to im¬ old method. A vast number of excellent not in any sense incorrect; it is simply there are four registers: the low chest, work, with close attention to the proper collections of exercises and vocalises has crude, undeveloped, and more or less in¬ organs in response to the m prove' on the preceding effort. the high chest, the medium and the head mand; third, the actual smgmg of the attack, by directing the attention to the been preserved, and many of these are in artistic. , registers. He further says that in the action of the intercostal muscles, seem A student starting to take lessons under tone • and fourth, the listening to the tone As the Old Masters Taught constant use in vocal studios throughout lower chest register the entire masses of to be a very good way to gain elasticity the old system received no instruction arid6 comparing it with the mental concep- Europe and America. We know that the When you sing in the manner just de¬ the vocal cords vibrate, but in the higher of the lungs, as the abdominal, clavicular, old Italian masters trained their pupils whatever in the management of the breath scribed, you are managing your voice chest register only the anterior mem¬ or the placement of the tone. So far as tl0One of these steps, the adjustment of and even the dorsal muscles soon begin voices by having them practice the studies exactly as the old masters taught their branous parts vibrate, while in both the the handling of the voice was concerned, the vocal organs, calls for special cons.d to act in sympathy with the intercostals contained in these works, or studies of an pupils to do. This does not mean, of medium and head registers only the edges the student was allowed to continue to eration. It is on this point that the mod if too much is not demanded of them at exactly similar character. But we know, course, that you are using your voice per¬ of the vocal cords vibrate. He claims sing just as he always had before begin¬ ern system differs most radically from first. Elasticity of the lungs is the first also, that the whole of the old method is fectly. But this manner of managing the that the form of the glottis is the same ning his studies. A steady improvement the old Italian method. According to the thing demanded. Sustained tones on one not contained in any collection of exercises voice, if practiced daily under proper took place in his use of his voice. But modern idea, it is necessary for the singer in the medium and head registers, but vowel should be avoided until the correct and vocalises. Important as it is that the conditions, will lead to perfect tone this was accomplished solely through his to know how the vocal organs should thinks the muscle of the vocal cords must attack on each degree of the scale is compositions chosen for vocal practice production. Three things are needed be the leading muscle in the medium practice of exercises and vocalises, sing¬ adjust themselves for every tone, and to assured. By elasticity I mean the ability shall be adapted to the development of ing them always in a natural manner. to train the voice correctly by the natu¬ register, while the tensor of the vocal to supply the lungs at every opportunity, the voice, it is of even greater importance see to it that the adjustments are prop¬ erly made. In the natural system fol¬ ral instinctive system. These are, first, a cords must be the leading muscle in the and not to wait until the breath is almost that they be sung and practiced in some What is Natural Singing? head register. Other investigators think lowed by the old masters the vocal organs clear mental idea of perfect tone; second, exhausted before filling them again. The special way. There is a vital difference there are three registers, while still others practice of filling the lungs as full as This may seem at first sight altogether are left free to adjust themselves accord¬ a well-trained ear, capable of conceiving between the old method and the systems know there are only two. This confu¬ possible and then emptying them to the incredible. To understand how the voice ing to their own instincts. There is a perfect tones, and of critically judging the of vocal cultivation generally followed sion as to the number of registers is very extreme point I believe to be bad and can be trained, without ever departing mysterious instinct located in the voice. tones produced by the voice; third, daily nowadays. This difference is seen not so puzzling to earnest students of voice, be¬ the direct cause of many vocal errors, for from the natural manner of singing, we practice in singing tones of the type rec¬ much in the nature of the compositions When a tone is mentally conceived, this cause we know that teachers holding the vocal muscles only act well when ognized by the ear as correct. chosen for study,. as in the manner in must see in the first place just what nat¬ instinct tells the vocal instrument how to In the practical system of instruction different views of registers appear to have there is a good supply of breath in store; which students are instructed to practice ural singing is. What takes place when shape itself for the tone. The singer about the same success in .developing hence, do not demand too much of the perfected by the old Italian masters these I sing naturally? Suppose I sing a scale, himself need do nothing to help his voice singers. Now, this being the case, may lungs at first, and keep them well sup¬ their daily studies. three elements of vocal cultivation were Almost every student of singing under¬ do, re. mi, etc., just as a schoolboy does, in finding the correct adjustment. Nature we not consider the matter as academic plied with breath. Sympathetic mus¬ combined. That part of the method which stands the present' idea of vocal cultiva¬ without thinking of how he does it. I took care of all that when she implanted in its nature, and so far as practical re¬ cular action should be overcome as soon tion. It is supposed to be necessary for can do this perfectly well. True, I know her instincts in the voice. In other words, has been preserved,—the standard collec¬ sults are concerned, drop it? But let us as possible. This shows itself in many the student, while practicing any exer¬ that the vocal tone is produced by the you must tell your voice what to do, but tions of exercises and vocalises, repre¬ for the moment accept the theory ad¬ ways. Ask the beginner to open his cise, to pay attention to some one or two pressure of the expired breath against the not how to do it. It is for you to decide sents only the third element. The other vanced by Doctor Michael as the true mouth for “a” and at once the extreme elements of vocal control. There are a vocal cords, and that the pitch of the note what land of tones you wish to sing; two received the necessary attention m one. How is this knowledge to help the action of the facial muscles causes the large number of these elements, each one is determined by the degree of tension of guided by its own instincts, your voice the course of the instruction and practice singer practically? Is the teacher ex¬ respiratory muscles to act in sympathy of which is taken up in turn. The proper the cords. But' I can forget all this while will then find its own way to produce the on the composition chosen for study. The pected to name the leading muscle in and the tone is louder. Ask him to take way of filling the lungs, the management singing the scale, and just simply sing. tones you have in mind. cld masters recognized, just as well as we each register and demand that the pupil a lingual consonant and the lips move in of the expired breath column, the attack Now suppose I sing the same scale again, do, the necessity of securing the correct employ it? sympathy with the tongue. A Complex Operation of the tone, and the correct adjustment this time making my voice sound nasal. management and control of the wee. The teacher might as well tell the There is no question but that the facial of the vocal cords, for each note, are All I have to do is to think a nasal There is a very intricate system of They summed up their instruction for this pupil to move his liver and expect obedi¬ muscles do in a sympathetic manner usually the first topics to receive atten¬ quality of sound, and then to sing that nerve centres and fibres by which the purpose in the simple maxim. "Listen and ence! No, the muscles act mainly in an often disturb the action of the laryngial involuntary manner, and to make them muscles, and when these sympathetic ac¬ tion. Other points to which the attention sound. Here again, I know that the nasal muscles of the larynx and resonating cav¬ imitate.” At each lesson the master sang, work properly we must approach the tions are broken up, at once much vocal is turned are the influence of the resonat¬ quality is caused by my contracting my ities are connected with the brain cells with correct tone, the exercises giwsto matter in quite a different manner. The freedom is gained. Again, these subtile ing cavities,—chest, throat', and nose, the nasal passages and then forcing the tone in which tones are conceived. To each the pupil. Listening closely to the teach¬ natural voice does not show breaks at all. sympathetic actions may be utilzed by the expansion of the throat, and the placement 'through them. But I could sing the nasal minute muscular fibre the right amount of er’s tones, the pupil knew how the wee The child sings from one extreme to the tactful teacher to aid in making some tones just as well, before I ever thought nerve impulse is transmitted. Each fibre should sound in singing the pas»S^ of the tone in the front of the mouth. other without any pronounced change of “point.” To illustrate: A pupil has of wanting to know how they are pro¬ instantaneously contracts with the neces¬ This secured a gradual training, of w All these devices for securing the cor¬ registers unless the voice has been trouble in making a portamento when the duced. pupil’s ear, and made him familiar wnh rect formation of the tones are strictly sary degree of strength, and the correct forced at school, or else the habit has mouth is fixed, as it should be, but allow Once more let me sing my do, re, mi, the correct standards of vocal tone- Ij15 modern inventions. Nothing had ever adjustment for the tone is made. This been acquired by imitating someone else the mouth to close and at once the vocal been heard of them at the time the old scale, this time giving my voice as fine, takes place automatically, without our be¬ memory of the teacher’s tones helped him in forming his mental ideal of vocal per- who does show them. All teachers know muscles are helped by the sympathetic Italian method flourished. rich, full, and musical a quality as I can. ing in any way made conscious of it. fection. Moreover, the student w»®^ that it is much easier to deal with an un¬ action and the movement is facilitated. My study of vocal science has taught me We cannot feel what takes place in either stantly reminded to listen closely to to* trained voice than with one which has Afterward, the movement having been Is Vocal Training too Complex? that a quality of this kind is produced the brain or the larynx. All we are con¬ had faulty schooling. The pupil cannot acquired, the pupil can break up the when all the resonating cavities act in the own voice, and this was also a valnal* Vocal training has become very com¬ scious of is the imagined sound of the see the vocal organs in action as the sympathetic action; therefore, discipline proper way. But it is not necessary for form of ear training. In his daily (**" plex and difficult under the modern sys¬ tone mentally conceived, the impulse to piano pupil can see the hand, and so the each set of muscles to tend to its own me to know this in order to get the de¬ ticing of his studies the student gaveh> tem. So accustomed are we to think of sing the tone, and the sound of the tone pupil must be made to do things which affairs and not to interfere with the work sired quality. A child utterly ignorant of the study of singing as an abstruse sub¬ voice the exercise necessary f°r he can do, but which cause, in a secondary of the others. Attempts to get correct vocal science could do it just as well. as the ear hears it. The actual operation ual development, and at the same tin* ject that the true nature of the old manner, the vocal action desired. When vocal action by such directions as “Direct Provided I have a certain quality of tone is highly complex, but we are aware only car and his mental conception shared » method is apt to be overlooked on ac¬ wrong habits have not been acquired the the breath against the front teeth,” or in mind, my voice will produce it with¬ of its simple features. count of its very simplicity. In place of the benefits of the exercise. way is easy, but habits are strong, and “Direct the breath against the forehead,” out my knowing or caring how it is done. This can best be understood by actually the artificial system of vocal management Natural singing, with no definite f® when bad habits have once been acquired or “Against the roof of the mouth,” etc., This is what is meant by natural sing¬ singing some tones of various kinds. Sing with which we are familiar, the old roas¬ or purpose of vocal advancement *c«" it is a delicate matter to correct them. are like poulticing a boil—instead of try¬ ing. Vocal science has shed a great deal the scale, do, re, mi, fa, etc., with a pure ters simply made natural singing the basis never lead to correct tone product** The truth seems to be that the vocal ing to purify the blood of the patient by of light on the operations of the voice. tone but no particular expression. Sing of their method. No one need be told But when the training of the ear is et* organs act normally in response to constitutional treatment. Poulticing a boil , We know that each fine shade of tone it soft, medium, and loud. Think how it what natural singing is. Every child sings bined with daily practice in natural correct breath pressure. If there is a may do some good, but the application of quality results from some special adjust¬ should sound if the syllables meant “Alas! in a natural manner. If you are studying ing. and a clear mental conception of IF defect in tone production look for the a spoon to the tongue will only cause the ments of the vocal cords and resonating Alas! All hope is o’er!” and sing the singing now you can easily recall how feet vocalism is always held in cause in incorrect breath control. It can¬ muscles to resist, not to relax. cavities. But as a result of recent scien¬ scale with the tone color expressive of you sang as a child, before you had ever tion as the standard toward which not be disputed that the action of the No stubborn tongue will long resist thought of trying to manage your voice tific investigation we know something of despair. Then imagine the tone qualitv voice is called upon to strive, the*1 much greater importance. We have a lungs which causes good tones in one correct breath attack, but it will fight a in any way. It was precisely that man¬ which would be appropriate to Rejoice' rect tone production is readily attain® medium of communication through which part of the voice often fails to produce spoon for a long time. In fact the wrong ner of singing which the old masters took Our triumph is at hand! and give your This was the basis of the bid we inform our vocal organs what kind of the same result in another part, but this behavior of the tongue is only a symptom as the foundation of artistic vocalism. voice this quality in singing the passage. method. It was at once a simpler tones we wish to sing. This medium is is after wrong habits have been acquired of wrong muscular action; correct that This is the radical point of difference be¬ Try some single sustained notes, first in more interesting system than the rK>^ the mental ear. We also possess a moni¬ by the vocal organs, and this would not and the tongue behaves. Sensations of tween the two systems. According to the a harsh, ugly quality, then in a soft. method of conscious vocal manageas* Please mention THE ETUDE when addressing our advertisers. 597 THE ETUDE THE ETUDE 596 “Work Shy” Singers and Their Fate

breath direction in the mouth are to be the voice even Dr. Henry Coward, the foremost choral in not developing breathing power by recognized when they come, as they cer¬ °;h"' S,hZ°fu«aLd tone, win alwy» conductor in England, and an authority on strenuous and sustained effort they cease tainly will if the breathing and conse¬ the mouth on sustain number de- the vocal art, thinks that the reason many to grow vocally. quent vocal action is correct, but “poultic¬ bring about ’uiar strength of young singers begin well and then fade “The same power of voice which is con¬ ing a boil” by making them the point of pending upon the se theSe breaks from view is because they fail to develop sidered quite satisfactory in a new & PIANO attack is a great mistake. Finally, as to the pupll,,p”d * ”’CCepted as proof that their lungs beyond the initial stages. In SPORT CLOTHES singer is quite inadequate and disappoint¬ registers, no matter if there are two, thePyaare inherent. Cultivating breaks a chapter on breathing in his most excel¬ ing in a singer who has been before the To create a musical tone which shall stand FOR WOMEN three or four, fixed positions of the lent work, Choral Technique and Inter¬ public for some time. I have heard sing¬ as an example of exquisite beauty from glottis, the action of complementary and then bridging **J"®Jrer pretation, he says, “Personally, I feel very time. Rather, avoid them. ers express surprise that they have been generation to generation is a high achieve¬ muscles must be graduated so as to make strongly on this question of the cultiva¬ coldly received, instead of being raptur¬ ment. To insure this tone permanence, to tion of lung power and responsiveness. I SILK SWEATERS, SPORT HATS ously applauded as formerly. The secret lend it lustre through masterly workman¬ The Cupid Grand regard command of breath as the touch¬ i Operatic Career BATHING SUITS can often be traced to lack of develop¬ The Length of An RIDING HABITS The first small grand piano ever made was the stone of a young singer’s success. Sing¬ ship and to make INTEGRITY the ment in power through defective breath¬ While the world marvels over the MILLINERY, COATS product of Sohmer. That was over twenty- ers who cannot breathe well may take it guiding principle in a thousand fine de¬ ing. The public have an unconscious way huge salaries paid to successful opera Knox Sport Clothes, for every nine years ago. In this over a quarter of a that their fate is practically sealed. Many tails has been the higher achievement in debutants have good voices and good of weighing people in the balance; and artists, it fails to remember that the outdoor occasion, are distinctive century we have been constantly striving to the building of Schomacker Pianos. singer rests under a great disadvantage. srtsiiars-s'AS *• in style and of choicest materials. style, but if they have not good breathing those who are ‘work shies’—for breath ten years of her prime. . . perfect this type of instrument. The result is He is in the position of a man whose powers they always have a short singing development means real hard work—those In New York and Philadelphia al the Wanamaker Tenny Lind commenced to sing a piano without an equal among diminutive Stores only. Dealers in other principal cities. stock is liable to be burnt out by fire life. They somehow recede from the pub¬ who have followed the line of least resist¬ puK/* U» ... °< *»• e is grands in which tone is in no manner sacrificed lic eye, and they wonder why this should ance, i. e., taking it easy, are found want¬ against which he can obtain no insurance, nneratic debut n Stockholm at the age SCHOMACKER PIANO CO. to architectural requirements. Length 5ft. 4//, be so with ‘people of their ability.’ The ing, and are passed over for others who for the opera artist may lose his voice SrShteen.At the end of three years KNOX any minute. Many a great artist has Makers of Smart Hats width 4ft. 5//—price $675. Terms arranged. solution is to be found in the fact that show progress in their art.” her voice was ruined, apparently for ■ for men and women Send for illustrated catalog and full information. been forced to retire in middle age, just She went to Paris, however, and her at the time when men in other walks of voice was restored and greatly improved life are benefiting by their life experi¬ 452 Fifth Avenue through the teaching of Mawd Garcia Vocal Students ov«iSm V^the**^ ence and reaching out to greater things. at 40th Street all the real life, lustre, natural wave the younger. She returned to Stoekholm, Can You Sing in Tune? and color, and makes it soft, fresh The opera singer must therefore make to'tW^UeSll? h^and but in 1844 made her real debut in Berlin Downtown 161 Broadway and luxuriant. hay while the sun shines. Not all have the Singer Building cians were skeptical of his powers. At Five years later she retired from the An exact sense of pitch is essential for The hair simply needs frequent and staying power of Manuel Garcia, the Mastery of Principles operatic stage, not from lack of voice the singer. This being so it is remarkable his first rehearsal he decided out of regular washing to keep it beautiful, elder, who made his debut at six, and 315 Fifth Avenue but of her own free will, and continued that so many vocalists sing out of tune. bravado to submit himself to a test which but it cannot stand the harsh effect appeared in public for over fifty years— to sing in public until 1883. She there¬ New York, N. Y. Vocalists are taught to strive always for should at least establish his musicianship of ordinary soap. The free alkali, in almost to the time of his death. His ordinary soaps, soon dries the scalp, fore sang for practically her whole life- a beautiful quality of tone, yet important beyond question. He accordingly began son, Manuel Garcia, who lived to be over DEANE DOSSERT as this is, it means less to the average his first aria a half-tone higher than the makes the hair brittle and ruins it. study. one hundred, retired from the opera 1820 to 1887. , , This is why discriminating women use Giulia Grisi and her husband, the tenor, FRANK DOSSERT audience than exact pitch, for compara¬ accompaniment played by the orchestra. stage, for which he was not greatly tively few people have ears sufficiently At first the musicians could not believe GEO. CHADWICK STOCK Mario, both enjoyed a long operatic fitted, at the age of twenty-five, devoting Voice Teachers To Renew Your their ears, and assumed that he had made career, but continued to sing long after Formerly of Paris -Now In N.« York well trained to appreciate the subtle VOICE STUDIO himself to teaching and scientific research qualities of tonal change possible to a a mistake. Soon, however, it became MULS1FIED Y. M. C. A. Bldg. New Haven, Conn. into the processes of the human vocal they should have stopped. Grisi’s career Suite 1204- 1205 CARNEGIE HALL R.aidenca Studio well-trained voice. On the other hand, evident that he was doing it on purpose, organs. His sister, Maria Malibran, extended from 1811 to 1869. She made Polish Mop C0C0ANUT OIL her debut at eighteen and sang all the No. 2 WEST 88th STREET almost everybody has an acute sense of and when the piece was over they gave made her debut in 1825, and died in 1836 him a hearty round of applause. rest of her life. Mario was born about Art it! pupilm in leading Opera Heater Wash your Polish Mop, dry it pitch and a tendency to sharpen or flat¬ FOR SHAMPOOING NEW VOCAL MUSIC “ON SALE” as the result of neglect after a fall from Mile. Jeanette Allen. Grand Opeia. Bertie, ten is noticed at once. Could you submit to this test? Could her horse. Even then, however, her 1810, and died 1883. He made his Paris Mine. Marguerite Srlva. Opeia Connor. Pai in the sun or under debut in 1838. He went on singing until Chicago Grand Opera. When Manuel Garcia, the elder (father you sing a half-tone sharper or flatter MULSIFIED COCOANUT OIL voice was on the wane, for she never Mr. George FeuJuroS. Soto Tenor, Grand Opn, the stove. Then of the centenarian inventor of the laryn¬ than the accompaniment of your song, is especially prepared for washing the spared herself. Pauline Viardot-Garcia, 1872, when he came to America. At this to'blTkept; discount the best obtainable; the only Baaao, U Scala. Milan coverthe bottom of goscope), was a young man he went to and maintain it to the end? If so, you hair. It is a clear, pure, and entirely time his magnificent voice had deteri¬ Mr. 1 iem greaseless product, that cannot pos¬ her sister, made her operatic debut in za. Kc Naples. He was a newcomer in the have no occasion to worry about your orated so much that his visit was a fail¬ , Biriioae.CortntGaida, Lot- the can with O-Ce- sibly injure, and does not dry the tal card will stop the sending any time. Thousands 1839 and retired in 1863, at the age of operatic field and the Neapolitan musi¬ ability to sing in tune. forty-two. She lived for twenty-four ure and he sang no more in public. dar Polish and let scalp or make the hair brittle, no mat¬ SieTsay'8 years after that but was rarely heard in Giovanni Rubini (1795-1854) commenced ter how often it is used. id piano, vocal, octavo, violin and organ music singing very early in life, but his operatic the mop stand over Two or three teaspoonfuls will cleanse ■n this way; any or all to responsible persons. public. the hair and scalp thoroughly. Simply mois¬ Catalani, the great coloratura soprano, beginnings were somewhat obscure. He Keyboard Harmony and Trusposkw night, or pour a lit¬ ten the hair with water and rub it in. It THEO. PRESSER CO., Philadelphia, Pa. makes an abundance of rich, creamy lather, horn 1780, made her debut in Venice in subsequently rose to be the Caruso of By ANNA HEUERMANN HAMILTON tle O-Cedar Polish Tone Color in Singing which rinses out easily, removing every par- 1795 at the age of fifteen. She con¬ his day, but had the wisdom to retire An original. Ttlal. In.plrlne method o1 Macsn tide of dust, dirt, dandruff and excess oil. The directly onthe mop. Every singer strives for correct enun¬ variety of tone colors. The actor must hair Arlea quickly and evenly, and has the tinued to sing long after her voice had before his voice failed him, saying, “It is harmony founded on the principle ■ of being much thicker and heavier Mame Barbereux Parry To experience It to know ciation. Indeed, many singers strive for AUTHOR OF failed her but appeared in public for the time to retire because it is too soon.” The important thing to be able to convey a thousand varieties of ■-*■- 1_ soft and the hair rr if Limitation and \ Price last time in Dublin in 1828. She thus Unlike many who retire “too soon,” he remember is to use O-Cedar it so obviously that they overdo it and inference, fact or fancy in a single resh-lookl V OCal \ Its Elimination J $1.00 made no additional “farewell appear¬ Polish on all Polish Mops. produce vowel and consonant sounds phrase. The Rev. George Whitefield, _fluffy. bad a public career of thirty-three years, ivy and easy to A New WAY to develop RANGE and but her death did not occur until twenty- ances,” spending the last ten years of his which seem to have no relation to any the militant Methodist of the eighteenth RESONANCE one years later. One of the shortest life enjoying his considerable fortune 25c to $3.00 Sizes known words. At all events, it is im¬ century, it was said, could make his Studios 514 FINE ARTS BLDG., CHICAGO operatic careers on record among the which he had earned and saved. At AU Dealers possible to tell what they are trying to hearers weep with the feeling he put into say. A certain well-known English vocal the single word “Mespotamia.” Certainly READ teacher used to advise his pupils to go to the singer cannot afford to be behind the The Meaning of “Attack” in Vocal Music the music halls—vaudeville houses—and f)(5dar orator or the actor in his command of listen to the “artists” singing topical Systematic Voice Training That admirable choral conductor, Dr. The mechanical is that firm singing which W V^PolislL enunciation and the unlimited possibilities songs. Such singers, he said, have no By D. A. CLIPPINGER Plenry Coward, in his book on Choral arises from such a thorough knowledge of Channell Chemical Company voice, but their living depends on the of vocal shading. When Dr. Wiillner It Will Interest You in His Special Work in Voice Technique and Interpretation, has in this the music that the singer, confident of Production and Interpretation. Circular. CHICAGO ■> TORONTO m LONDON fact that every word they sing must carry came to America a few seasons ago, he work a chapter on singing which should his powers, can ‘go for’ the note or notes electrified his audience not with his some¬ Address 1210 Kimball Hall, Chicago, Ill. be read by every vocal student, over the footlights apparently without difficult passages. Though each what inferior voice, but with his great section devoted to the subject of attack, effort. may not be struck in the most perfect personality and power to bring out an he says: “The importance of attack-the way> th' effect‘Ss“g^Tand‘srir‘ But the mere pronunciation of words striking of the notes firmly and cleanly- is the least of the singer’s difficulties. He infinite variety of subtle shades of mean¬ WALTER L. BOGERT ring. The artistic attack super-adds 1 may be gauged by the fact that however must carry in his voice an inexhaustible ing in the words of his songs. the mechanical attack—which it includes President of N'.YrSme'MusicTeacherf Ass’n, 19lf. well the piece may be sung in all other Member of Examining Committee. respects, if the notes are not struck clean striking of each note, hitting it TEACHER OF SINGING firmlv, especially high notes and points of !n *e m'ddle, without the trimming; imitation, the whole performance falls ,ncubus of ,a scoop, drawl, or glide, the No. 114 West 72nd St., NEW YORK CITY The Vanity of Catalani flat. Poor attack renders all perform- last-named' occurring when the note is Makes the Complexion Beautiful ances unconvincing, while to hear each struck a shade sharp or flat. This artis- Perhaps the fact that good singing is plaud it as a miracle. It is profane to and every part triumphantly hit the bull’s tic attack is the goal to be striven for, SOFT AND VELVETY. Money impossible without a full share of self- depreciate the gifts of Heaven.” back if not entirely pleased. u E. PRESSON MILLER eye is exhilarating to a degree. hut it must be distinctly understood that confidence is responsible for the inor¬ Yet she was not undeserving of criti¬ Adheres antit washed cism, as is shown by the following, writ¬ “There are two kinds of attack, which it cannot be utilized until the mechanical dinate vanity which not infrequently Teacher of Singing ten by a contemporary observer: “When Mum” I name- the Mechanical and the Artistic, attack is attained.” manifests itself among vocal artists. STUDIO OPEN ALL SUMMER. Special rates tints: Rah, Pink, Brunette. White. 50c. by toilet she begins one of the interminable to teachers and students who take advantage of Few, however, attain such heights af self- Summer Course from May 29th to August 15th. counters or maiL Dept. T. E. roulades up the scale, she gradually raises National Toilet Company, Paris, Tenn., U.S.A. complacency as Catalani, the great color¬ 826 Carnegie Hall New York City The King and the Organist her body, which she had previously stooped takes all the odor atura soprano who was the Tetrazzini of almost to the level of the ground, until, Louis Marchand (1669-1732) was a interference with what he regarded as his her day. She regarded criticism of her having won her way with a quivering lip out of perspiration Arranging and Correction of Mss. brilliant but superficial French organist rightful income, the organist one day left musicianship as an offense against the Versailles, and a chattering chin to the very top¬ A SPECIALTY i- the organ in the middle of a mass and Almighty: “He is an impious man,” she most note, she tosses back her head and A touch of this snow-white cream A. W. BORST, Presser Bldg., Phila., Pa. joyed great popularity in court circles, went awayly from the church"church. When said of a German musician of some both as teacher and performer. But he was called x- - all its nodding feathers with an air of preserves the soap-and-water fresh¬ eminence who ventured to observe her triumph; then suddenly falls to a tone dissipated and reckless, and the king, in for his^unusua"1 behavior ‘ht^cooHv^r"8 ness of the bath. Try it and see. Patents on Musical Instruments shortcomings, “for when God has given two octav-es and a half lower, with in¬ order that Marchand s wife might not be plied. “Sire, if my wife getsTalf mC NORMAN T. a mortal so extraordinary a talent as credible aplomb, and smiles like a vic¬ 25c—Sold by 9 out of 10 drug- and department-itoret deprived of the means of sustenance, salary, she mav nlav half ti, - torious Amazon over a conquered enemy.” “MUM” MFC. CO., 1106 Chestnut St., Philadelphia DivUb!iUn.8Sn Patent Office, Suite 22 Legal Build- ordered that half of his salary be paid For this escapade he was lm*5g=gggf mine, everybody should honor and ap¬ ing, Washington, D. C. to this unfortunate lady. Furious at this Paris for a time an I vanished from \l» »* to**1* * Please mention THE ETUDE when addressing Please mention THE ETUDE when addressing “ ume ana went to Dresden. our advertisers. our advertisers. ion THE ETUDE whu V 599 THE ETUDE THE ETUDE The Amateur Organist WHAT IS There are many young persons who - "Ilb v^*:. ably in a dragging tempo. The inter¬ j2fiSc££s£^Z2*^ - have charge of two-manual and even lude between the third and fourth stan¬ three-manual instruments, who are en¬ zas is almost always the music of the Department for Organists tirely ignorant of music as an art, and, last line repeated on the swell manual. “THE CHOROPHONE” indeed, of the capacities of the organ The accompaniments to the anthems are ? ? ? Editor for August, Ernest R. Kroeger itself. They have “picked up” organ all played according to the text, which was written originally for the pianoforte. playing. The music committee probably We believe it to be the “IDEAL” small organ. wishes to economize on the organist, so Consequently they lack sonority and It is strictly a pipe organ of the highest grade, identical in materials, some young man who is clerk in the sustained fullness. They sound jerky voicing and workmanship with our largest instruments. It is built office of a railway company, for instance, and thin. The registration is often in¬ Transcriptions for the Organ effective. Sometimes a four-foot prin¬ on a special system giving greater use, fullness, and flexibility from the noble instrument, and to take it out of is engaged to play. He has some natural the greatest works for the organ. He cipal drowns out the singers. A sixteen pipes available. The time has come when a halt should cleverness in obtaining rapid changes in its province to portray the Venusberg gifts as a musician, and has played a foot bourdon is used continually, giving We believe it to be by far the most valuable pipe organ ever offered to be made in the continual placing of tran¬ stop combinations. There is really no will unquestionably Place ff music in Tannhduser, or the scurrying few piano pieces at a lodge meeting, or a mushy quality to the accompaniment. Preludes and Fugues aad toccatas the reed organ in the Sunday-school. the public at a cost under ?2,000.00. It has electric action, is complete in scriptions of orchestral and piano pieces enjoyment in listening to the music Bach. He may g^e Mendeissohn s So of the Valkyr maidens across the sky on A soprano voice is aided (?) by the use itself, as there is when hearing a fine So when the new pipe organ is installed all modern improvements, and it carries our same valuable guarantee. and songs on the organ. The condi¬ natas second place. He may then follow the clouds in Die Walkiire, is to cause of the vox humana. The bass must be orchestra play the same works. It is a in the church he is selected as the first Write us for special illustrated “CHOROPHONE” booklet. tion is about what it was in pianoforte with Handel’s Organ Concertos. the S this noble instrument to become ignoble. supported (?) by the open diapason on sheer tour de force on the part of the organist. Possibly he takes a few les¬ playing in the sixties and seventies. In natas of Rheinberger, and Merkel- the The organist shoves down the crescendo the great, and maybe the trumpet. The player. sons from a good instructor. However, those days transcriptions were heard Sonatas and miscellaneous compos.tions pedal and obtains a great mass of tone organ offertory is generally either Ba¬ It is possible that the extraordinary he quits soon after, feeling confident that everywhere. When Thalberg visited the by Guilmant, and the Organ Symphonies which is not the clear and transparent tiste’s Communion in G, Schumann’s facilities offered by modern organs in his “talent” will see him through suc¬ Trdumerei, Braga’s Angels’ Serenade, United States he played scarcely any¬ of Widor. Very few of these are de¬ instrumentation to be had in “full score’’ Austin Organ Company obtaining a variety of stop effects by cessfully. His organ preludes are fre¬ Mendelssohn’s Consolation, or Dvorak’s thing outside of his own operatic tran¬ pendent upon unusual changes of regis¬ of the orchestra. Many stops do not means of pistons have lured organists on quently in the nature of improvisations. Humoreske. The postlude is either Ba¬ scriptions. His Home, Sweet Home, and tration for their effects. Especially with HARTFORD, CONN. in a mistaken direction in making up blend happily, but all are jumbled to¬ Without the necessary education to back the compositions of Baoh, Handel, a tiste’s Offertoire in C, Scotson Clark’s Moses in Egypt were the ‘‘war horses” their programs. Perhaps it were better gether by this indiscriminate use of the him up, his form is of course negli¬ Mendelssohn, are the schemes of regis¬ Marche des Flambeaux, or Mendelssohn’s of most pianists. Then there were Liszt’s if the wonderful mechanical additions to crescendo pedal. When both hands are gible. The modulations are mostly to the tration consistent throughout. Io play War March of the Priests. Lucia, Ernani, Rigoletto, Belisario, which the instrument never had been made. used on the great manual, the volume of dominant seventh chord of the dominant them otherwise would be to render them The writer has heard many a service Commencing in October had a great vogue. Of course, with the Then legitimate organ playing would sound is the same, but in the orchestra, key, or perhaps of the sub-dominant key. in different parts of the country which ridiculous. The great family of diapa¬ amateurs, the matter was intensified. If have been more in evidence than it now while all the instruments may be play¬ He “maunders” about in a sentimental was along these lines. Although the son stops must be used in these works, a composer wished to make anything like is. Now to approach this matter from ing at once, now the strings are heard way, having no definite object in doing so. American Guild of Organists is doing a financial success with his compositions another direction: that of organ compo- and after all they are the true organ The strings, reeds, woods, are surmounting everything; then the brasses His favorite stop is the oboe, and he great things, there is yet much mission¬ The Etude it was necessary for him to transcribe come out in majesty, and these subside dearly loves the tremulant. The oboe ary work to be done in elevating the well-known airs from Italian operas, or Ask any first-class organist which are and the tremulant combined are the very standard of organ playing. But the main in order to let the wood winds bring out will present serially popular songs. How that craze has van¬ an effective passage. In some of these tran¬ apex of expression. His right foot is thing to be done is to educate music constantly moving the swell pedal, and ished ! Only occasionally do we find scriptions, confusion appears to reign committees to the point that they will his left foot skips about aimlessly. The only consider trained young organists in first-class pianists playing a transcrip¬ supreme. The listener can distinguish tion. Recital programs contain mainly doxology relieves the monotony of the playing their services. The dilettante nothing. Everything seems foreign to the names of the greatest composers of Brahms’ Organ Works dreary prelude, and one hears the good, and the amateur should disappear. Or¬ The Composer” the nature of the organ. Ask organists solid harmonies of the grand old chant. gan playing is an art in itself, and is not piano music, and the selections were In 1864 the Allgemeine Musikalische sion, but without interludes, or with only why they play these transcriptions, they The hymns are “announced” in a heavy, something to be “picked up.” It is worthy composed especially for the instrument. Zeitung contained as a supplement an very short interludes. No. 2, Herz- state that "the public wants them.” lumbering style, and are played invari¬ of being considered sincerely. But what about the organ; the “King” organ fugue by Brahms in the startling liebster Jesu; No. 3, O Welt, Ich Muss A Fascinating Musical Romance of instruments? Is that the attitude to take? Why, if key of A flat minor. Whether the seven Dich Lassen (i) ; No. 5, Schmucke Dich, by Look at the programs given even by the pianists reasoned in that manner, flats in the signature deterred the average O Liebe Seele; No. 6, O Wie Selig; our foremost organists. See the abun¬ they never would have passed the Homt, organist from the piece, or not, we cannot No. 8, Es 1st Ein Ros’ Entsprungen, and dance of transcriptions. Why is this? Sweet Home with Variations standpoint. Appropriate Voluntaries and Hymn Tunes No. 9, Herzlich Thut Mich Verlangen Some organists state that they have to say, but the fugue has never acquired The orchestra would still be playing Agnes and Egerton Castle (i), are examples of this style of treat¬ There is a story told by Dr. H. J. Stew¬ realm and enjoys a title accordingly. Sul¬ play “what is suitable to their audiences.” the vogue which Brahms’ name might The Beautiful Blue Danube as their ment. In all these, the chorale-tune is in art, of San Francisco, of an occasion livan, alive to his opportunity, began to Do pianists take this view? The audi¬ have ensured for it. In 1881 the Musi- "chef-d’oeuvre." Singers would consider when he invited a friend to sing after play what he regarded as suitable music. Etude readers will be delighted and thrilled by this work ences are not greatly different. What is kalisches Blatt included a chorale-vorspiel the treble part, as it is also in the most Flee as a Bird their most desired selec¬ First he played I waited for the Lord, by these noted Authors. Probably no more absorbing the nature of the organ? It is of and fugue on O Traurigkeit, 0 Herze- beautiful and expressive of the set. No. tion. Are not those organists who rea¬ the sermon at a missionary service. They course a wind instrument. No matter leid, the subject of the fugue being sug¬ 11, O Welt, Ich Muss Dich Lassen (ii), son like this mistaken? Are there not were warned beforehand that the service, and finaly he rendered one of his own piece of musical fiction has ever been written. how stops may be named: violina, viol gested by, rather than founded on, the in which each line is followed by a kind beautiful compositions written for the being of a special character, there would songs, well known to the congregation, en¬ da gamba, violoncello, etc., the tone is chorale-melody. It is a curious coinci¬ of double echo effect, arranged to be organ which can give genuine satisfac¬ be more than one sermon. But when, one titled Will He Come? obtained by a column of air vibrating dence that both these fugues have their played on three manuals, the second echo tion to their audiences? True, there are after another, six clergymen had given While co-operation between organist Watch for the October Etude in a pipe. Therefore under no cir¬ answers at first by inversion. Both were repeating only a part of the first. Beauti¬ some works which "transcribe” well for their experiences of missionary work in and clergyman should not perhaps take cumstances can the attack of a bow on among the compositions dating from the ful as they are on the organ, there are yet the organ. They are usually those which more or less lengthy sermons, it became such ironic form as this, it is nevertheless with the First Installment of a string be obtained by pressing down time when Brahms and Joachim ex¬ instances when some other medium, not are sustained in tone, and have a certain time for the soloist, he responded with highly desirable that co-operation should a key, which permits a column of air changed their works for mutual help and the organ, seems required for their per¬ dignity and breadth. Some of the slow 11 is Enough! Lord, Now Take Away My be present. Who has not suffered a spir¬ to vibrate within a pipe. The reason criticism. fect realization. movements from Symphonies, Sonatas Life. itual jar on being dismissed from a quiet and reverend evening service with a noisy, given by most organists as to why they Far more important than either of This is especially true of the tenth and and Chamber Compositions seem to be When Sir Arthur Sullivan was presid¬ THE COMPOSER play transcriptions of Symphonies, Over¬ blaring postlude? The organist should these, though some of them date from eleventh; in the tenth, the reiterated well adapted to the character of the or¬ ing at the organ of a church on the occa¬ tures, Operas, etc., is that on modern or¬ at all times keep the music in. tune with the same period, is the set of eleven notes of the bass, on the manual, do not gan. Even brighter pieces occasionally sion of its consecration by the bishop, gans they “can obtain orchestral effects.” the spirit of the service—not only in the Why not advise your friends and pupils that Chorale-vorspiele or Preludes, which sound well, especially those which are suit¬ there was some mistake about the time of This is not really the case. To be sure tell as reiterated notes, unless so light case of the hymns and other parts of the were the only compositions left behind able to certain solo stops. Still, there are the ceremony, and it became evident that October is a particularly good month with there are a few stops which do sound a stop is used that insufficent support is service in which choir or congregation compositions written for the organ, His Lordship was late—in England, like certain orchestral instruments. Es¬ at the master’s death. The majority of given to the melody in the pedal part. take part, but also as regards the solo which to begin a subscription ? which are intended to bring out these a Bishop, as one of the Lords Spiritual pecially is this the case with the reeds: them were written at Ischl in the summer For this a more beautiful effect is ob¬ pieces ‘that he plays. stops, and they ought to be played, if takes his place among the peers of the the oboe, the bassoon, the clarinet. It is of 1896, and all were published in 1902. tained if a baritone voice sings the words emphatically not so with any of the Here are examples of both the approved of the hymn, and the manual-parts are they contain any elements of beauty or We can Enter Your Subscription Now to begin in October strings. It is doubtful if it is so with styles of setting chorales, notably that of played on the pianoforte, as in the charm. This brings up to the last point: that is, the encouragement of composers the brasses. The trumpet on. the organ which Bach was so fond, in which a case of Bach’s exquisite chorale-prelude Teutonic Origin of the Pedal Keyboard to write for the organ. For such a is a poor apology for an orchestral fugue derived from the hymn-tune is Erbarm’ Dich Mein, O Herrc Gotti wonderful instrument, it has been singu¬ The well-known English organist, H. of the scale; perhaps the notes C, D. F, G trumpet. The same is the case with the worked before the entrance, and between where the same balance creates the same and A, providing for ‘pedal points’ in the French horn. It is because on the or¬ the lines, of the chorale, during the long larly neglected by the great masters. Heathcote Statham, tells us in his excel¬ ZABEL BROTHERS practical difficulty. In the last bars of Bach, Handel, Mendelssohn, and Brahms, lent book, The Organ and Its Position keys most used then in organ music; and gan these are reed stops, and in the pauses which, originally made for the No. 11 the gradual fading away of the these keys would probably have no spe¬ orchestra they are brass instruments, the convenience of the congregation, have were the only first-rank men who wrote in Musical Art, “As the swell is an en¬ last echo cannot be properly expressed cial pipes attached to them; they would MUSIC PRINTERS m ENGRAVERS tone being produced without the aid of borne such a rich harvest of artistic re¬ organ compositions. Still, there am tirely English invention, so the pedal Send for Itemized Price List and Samples on the organ, where the middle part only pull down a key on the manual. any reed at all. Percussion instruments sults. Of such treatment are No. 1, Mein many other excellent composers who keyboard, with its accompanying pipes, carrying the melody, cannot be brought The idea of separate execution of pass¬ COLUMBIA AVE. AND RANDOLPH ST. PHILADELPHIA, PA. reproduced on the organ are absurd, ex¬ Jesu, Der Du Mich (canto fermo in the have given us splendid pieces: R'?tr- is an entirely German invention. At the ages on a pedal-board with a complete out, nor its notes given the smaller em¬ Huber, Guilmant. Widor. Rheinberger, cepting perhaps the chimes, and the celes- pedal part); No. 4, Herzlich Thut Mich very time when Bach was composing and scale developed very slowly in England. phasis they seem to require; but the Merkel, Bossi. Fumagalli. Callaerts. Du¬ tia. Therefore the organ is purely a Erfreuen (canto fermo in treble) ; No. 7, playing his great fugues and preludes and We were more than a century behind the pianoforte cannot fail to give exactly the wind instrument, and attempts to repro¬ 0 Gott, Du Frommer Gott (canto fermo, bois, d’Evry, Karg-Ehlcrt, Maillv. Elgaf- toccatas, with a separate pedal part, and Germans in this department of organ¬ effect it may be supposed the master duce orchestral string, brass, or percus¬ first in treble, then in bass and finally in Best, and others of equal standing, is* even brilliant solo passages, cadenzas for playing, and in the earlier part of last BEGINNER’S BOOK SchoPianoforte°'of the sion effects, are futile. The claim of treble), and No. 10, Herzlich Thut Mich wanted. It is an open question whether eluding some gifted Americans. Tbe the pedal (which he was said to play century an organ with a complete pedal- By THEODORE PRESSER Price 75 Cents organists favoring orchestral transcrip¬ Verlangen (ii) (canto fermo in pedal). he was not thinking more of the piano appearance of original organ works on with his feet as others play with their board was commonly referred to as iry instruction. The material used is entire manner. It is intended for the veriest begi tions because of their being able to In another class, the pauses between than of the organ in writing these two programs incites the composers to <*»- hands), the organs on which Handel in ■having ‘German pedals.’ At the present secure “orchestral effects,” thus falls to the lines are ignored (in the case of if no others of the set. Was ever so tinue writing. The lack of their use dis¬ London extemporized and played his con¬ day the best English players are prob¬ en to clinch every subject. Writing exerch the ground. The writer of this article Schmucke Dich the player must ignore suitable an ending to any human work courages them. They are naturally dis¬ certos had no pedal-board; or at the most ably better pedalists than the Germans, has yet to hear any organist play the them even though they are printed above achieved as this eleventh chorale-prelude > inclined to compose, when no one pbj* there might occasionally be four or five being assisted not a little in the art by Beginner’s Book as it is possible to make. A trial of this new book is earnestly solicited overture to Tannhduser or the Ride of the notes, as their presence is meant their pieces. The American Beauty by all who have to deal with elementary piano instruction. Liberal discounts. As the melody fades away, we seem to pedal-keys, giving the notes most likely the superior English mechanism; but this the Walkiires so as to leave any other merely as a guide to the disposition of catch a glimpse of the soaring spirit Rose is the result of constant and cart¬ to be useful in sustaining a long bass development goes little further back than THEO. PRESSER CO., 1712-14 Chestnut St., Philadelphia, Pa. impression upon him than a mastery of the lines of the hymn), and the hymn- entering into its rest and reward- ful cultivation. The “American Com¬ note sometimes, on the tonic or dominant the last half-century.” the technic of the organ and skill and tune is presented Often in an ornate ver¬ J. A. F uller-M aitland. poser” will be produced the same ETUDE when addressing our advertisers. if art history may be depended upon- 601 THE ETUDE 600 THE ETUDE ■‘Picking Up Organ” The Knowledge of Organ Construction The use the utmost ingenuity to make their NOW:: By Jo-Shipley Watson A Good organist should be familiar A Tindale Music Cabinet instruments fit in with an arbitrary ar¬ Great Grove Dictionary with the construction of an organ. will keep your music organ do not neglect your Bach. Bach chitectural scheme. straight and orderly, free Nearly every ambitious piano student HUTCHINGS Therefore he should study some good The Keystone of Every wants “to learn the organ” and I am alone will give you independence between book (Stainer, Clarke, etc.), and famil¬ Learning from the Builder from confusion, protected from damage. Find any sorry that so many, without learning, the hands. iarize himself with its main features. He Musical Library ORGAN Then there is probably the most inter¬ piece instantly. Hundreds just “pick up the organ” by themselves. The third difficulty is playing legato. should go to organ ■ factories and inspect esting feature of all: the various quali¬ in use among discrimina¬ There is a great lure about this “king The piano player who attempts organ organs being erected previous to ship¬ ties of the stops. Notwithstanding his ting musicians. of instruments,” perhaps the most at¬ by himself will find that his fingers COMPANY ment. All important organ factories will ^ The sun and burning winds of 7 a Write for catalog No. 1. tractive thing about it for many people literally jump off the keys, the effect I, the shore will ruin the hardiest M permit this, and they will even allow their previous reading on this subject, there BOSTON NEW YORK Grove’s 17 styles, well made, dis¬ is its bigness. It is much more powerful will be far from satisfactory. A good @ complexion. Protect your skin by W foreman or other competent employes to are many functions to propound to the tinctive in appearance. than the piano and far more compli¬ legato is not only essential but impera¬ using J explain the different points concerning organ builder, which are always cheer¬ Cash or instalments. Plant at Waltham, Mass. cated; it is also noisier and the pleasure tive. After this comes the strict ob¬ Gouraud’s the mechanism. If the church in which fully answered. He is probably permit¬ Dictionary Tindale Cabinet Co. “'e ms's*; New York of producing huge volumes of sound is servance of tied notes, and this, I think, he plays purchases an instrument, he ted to hold down the keys while the extremely fascinating to the young player. is the best discipline the piano student 1 Oriental Cream I ought to watch its installation from be¬ workman tunes the pipes, and in this way Another fascination is the opportunity can have. It is a veritable revelation. u are now ^troubled^ with ta ginning to end. The workmen are in he learns much. The principle of the it gives to play publicly in Sunday- If you have played anything wrong, the most cases willing to have the organist crescendo pedal, the method of combin¬ of Music and school or in church and the small sum organ never fails to register it and some¬ ed? softTpe^rty-whf/eappeara GUILMANT assist occasionally in the various details ing steps on the composition pedals, the Church Organs attached. times the mistakes are fearful and won¬ of the erection of the instrument. He pistons—all are added to his education It is not well to limit one’s self to a derful. Organ playing will clean up your ORGAN then becomes familiar with the problems as a practical organist. He also obtains Musicians single instrument, and to piano students piano playing as nothing else can. A incidental to pneumatic or electrical ac¬ information concerning the expense of the organ comes as a first choice because student may be sloppy on the piano and tion, or even the old tracker action, each part of the organ, which may come Five Large Volumes Bound in Red it is also a key-board instrument and get on fairly well; but sloppy organ SCHOOL which is still in demand. He learns the playing is not permissible anywhere. in handy in the future. All of these therefore must be easy to play. How¬ use of the bellows and the feeders, and is Cloth and Gold. Price, $25.00 The fourth difficulty comes with the | DR. WILLIAM C. CARL will doubtless influence him to study the Hook & Hastings Co. ever, before attempting the organ the informed what to do in case these be¬ management of the stops and the me¬ Director history of the organ, the laws of acous¬ See these splendid musical student must have a thorough knowledge come injured through bad weather or >, Louisville, Dallas chanical appliances connected with the books in your own home. What of rudiments, of scales especially; he A Practical School for Serious Study rats. The wind trunks and wind chests, tics, and to read extensively regarding organ. This is something that can not the improvements which are being con¬ the Encyclopedia Britannica is must be able to read and play well at Students aided in securing positions which probably were only general terms sight; and most important of all he must be learned at the piano. In the manipu¬ stantly made with reference to organ to General Information the Send for new Catalog to him, without much meaning, now re¬ i—ESTEY CHURCH ORGANS- be able to find chord positions easily lation of the stops one needs both men¬ building. Therefore, the writer’s advice veal their raison d’etre. The valves Grove Dictionary is to Music. EstEstey standard maintained. and quickly. All these things can he tal and physical dexterity. 4 W. 12th ST. NEW YORK become a matter of great interest. The to the young organist is: lose on oppor¬ Maximum facilities. There is no better Musical Refer¬ Highest grade of product. practiced on the piano and no student The fifth difficulty is learning to play motor, even, is something in regard to tunity to learn all that is possible about ence Library at any price in any Pioneers and leaders always. should begin on the organ before know¬ with expression. The novice soon dis¬ which he finds he must become posted. the construction of the organ. It will language. Unabridged in any Examine stop action and wonderful reedless ing these first elements of music. covers that the method of playing with The arrangement of pipes is of the ut¬ all materially aid in making one’s posi¬ Oboe. Saxophone, Clarinet, etc. way. Naturally the student who “picks up expression on the organ differs from that NEW ORGAN MUSIC most importance, he discovers, and he tion as an organist more authoritative ESTEY ORGAN CO., organ” falls into innumerable bad hab¬ which he has used on the piano. He learns how frequently the organ builders than otherwise. Established II "ON SALE” its. It is far better to have a few les¬ also discovers the “swell” pedal, which This is the latest revised and sons from a trustworthy teacher than to enables him to change from loud to soft Have your name entered for the receiv¬ enlarged edition of Sir George fumble about by one’s self. and back again very easily. This leads ing of a few small packages of new music Old Organ Music Grove’s masterpiece of musical MOLLER PIPE ORGANS The first difficulty about organ play¬ him to the bad habit of keeping one foot ON SALE during the professional season, In the early days of musical art, organ consisted of strings and scale-passages, no guarantee as to amount to be kept; scholarship. There are 4,000 Over two thousand in use. Strictly ing is pedalling or playing with the feet. permanently on the swell pedal with the discount the best obtainable; the only re¬ music was relatively the most advanced, turns, and shakes, upon successions of pages and over 5,000,000 words high grade. Gold Medals and Diplomas The footless organ player is no player result that he viciously overworks it, and the nearest to complete emancipation chords, which are for the most part com¬ at Six International Expositions. Specifi¬ sponsibility the small amount of postage; from great authorities upon all at all. Do not start out with the idea and at the same time neglects his tech¬ returns of unused music to be made once and independence. The requirements of pletely incoherent. Few things could be cations and Estimates on request. Write that you will not have to use your feet. nic on the pedal keyboard. phases of musical learning. The for catalogs. each year; a postal card will stop the ecclesiastical functions must have made more instructive, in respect of the fact The main thing to remember is that feet If he is ignorant of the special way sending any time. Thousands of teachers books are liberally illustrated M. P. MOLLER, Hagerstown, Maryland considerable demands on the powers of that our modern music is purely the fruit are foremost in organ practice and pedal of producing effects his playing will be receive piano music from us in this way. with cuts, half-tones and notation organists from comparatively early times; of cumulative development of artistic de¬ exercises must be done from the very poor and uninteresting. It is necessary THEO. PRESSER CO., Philadelphia, Pa. and though the backward state of the vices, than the entire absence of idea, examples. Thousands of subjects beginning. to consult a trustworthy teacher upon mechanism of the instrument prevented point and coherence in these early are discussed : Biography, His¬ The second difficulty is lack of inde¬ this most important point in organ play¬ them from achieving much distinction by works, which are often the productions tory, Musical Science, Theory, GEO. KILGEN & SON pendence between the hands and also ing. SUBSCRIBE FOR CHRISTENSEN’S THE MEDAL OF brilliant display, they had ample occasion of composers who were great musicians Musical Industries, Instrumenta¬ between the hands and feet. If you are Last but by no means least is learn HONOR for experimenting in solo music, and the and masters of all resources of refined tion, ^Esthetics, Musical Terms, Pine Organ Builders a piano student and wish to take up how to sit. results they attained to were as fruitful choral effect. The movements were pos¬ ST. LOUIS. MO. RAGTIME etc., etc. The work is the most as they are instructive. As in other sibly effective in great churches, from the PANAMA* PACIFIC branches of instrumental music, they wild career of the scale-passages in treble, notable musical compendium in REVIEW Too Much Theory A Monthly Magazine for Amateur and Pro¬ INTERNATIONAL bass or middle parts, which often rushed any language. EXPOSITION frequently imitated the contrapuntal fessional Pianists—Devoted to Ragtime and (no doubt in modern tempo) from one Popular Music—Covering the 6eld of Vau¬ methods of choral music, and with more By Leonora Sill Ashton deville and Picture Piano Playing—Edited appropriate effect. But following the end of the instrument to the other. Now issued in America exclu¬ STEERE ORGANS and Published by Axel Christensen, the THE ORGAN POWER CO. natural instincts of human kind, they en¬ Almost the only structural device which There is great danger in smothering the first (if one sharp or five flats, or what¬ “Czar of Ragtime.” HARTFORD, CONN. sively by Theo. Presser Co. s, 79 St d Octobe, i, 1914 Contains piano music every month — new and lets ot the GOLD MEDAL At JAMESTOWN) deavored to adorn “these movements with these early organists mastered was the SPEIHOFIMJ), MAS8. MUNICIPAL ■ true spirit of music by too much theory. ever one you choose to teach in the be¬ snappy rags, songs and popular music—lessons in manuals, 87 stops; dedicated June 25th, 1915 ginning), tell him how all major scales vaudeville, ragtime picture piano playing, review of flourishes and turns and all the available effect of alternating passages of simple YALE UNIVERSITY, W00L8EY HALL On the other hand, theory cannot be DELICIOUS NEW CAKES- resources of ornamental variation. They imitation, like those in choral music, as a The Purchase of a Lifetime manuals, 154 stops; now building. To be dedi¬ neglected altogether. Let us see how to are formed on the piano: and, regardless also developed a -kind of performance contrast to the brilliant display of the cated October. 1916 mend the matter. You have had a care¬ of the fingering, help him pick out an happy, pulsating ‘‘rag” an<^ the.songs and melodies These books are of such high W. STEERE & SON ORGAN 420. which, without disrespect, may be com¬ scales. Farther than this in point of de¬ fully prepared musical education yourself, octave of each, finding the intervals on character, of such vast scope, and the keyboard. When this is done then pared to very had and unintelligent sign they could not go, except in so far and your painstaking teachers have left so send^along your subscription. It will bePthe L: modern extemporization. as mere common-sense led them to regu¬ are so substantially bound that you with the advice: turn to the notes of the scales, with their biggest money’s worth you ever received. The systematization of chord progres¬ late their passages so as to obtain they will last a “lifetime.” “Now it lies in your hands to help us correct fingering. SO cents a year—sample copy 10 cents sions had yet to be achieved, and even different degrees of fulness in different As the years go by the original ffi Bennett Organ Co. build up a thorough musical intelligence In the matter of simple harmony, tell CHRISTENSEN’S RAGTIME REVIEW him that the first, third and fifth of a Organ Melodies the ablest composers were therefore, parts of the movement, and to pile up purchase money will seem insignif¬ ORGAN BUILDERS in this part of the country; not merely Room 930, 526 S. Western Are., Chicago, Ill. through lack of opportunity, in much the the effects of brilliant display and gather icant in comparison with the con¬ to teach children to play a few tunes, but scale form its triad; but before you give Piano teachers write for “Teacher’s Proposition.” ROCK ISLAND - - ILLINOIS him the written chord, show him where Gems from Classic and Modern Com¬ same position as any very inefficient them all into one sonorous roll of sound tinuous service you will get from to explain to them the fundamentals of modern organist .is through lack of The organ, we build are as near perfection the art, and lay a sure foundation of mus¬ to find the keys, and strike them sepa¬ posers compiled and arranged at the conclusion. Crude as these works the books. The early editions ability. They had little or no conception are. in design, they were a definite de¬ ical understanding.” rately, then as one, till he can find all the for the Pipe Organ cost $25.00. of genuine musical ideas of the kind parture in the direction of independent Excellent advice; but do not let your major triads among the keys. Keeps Skin Smooth, Firm,Fresh ~ — Youthful Looking By C. W. LANDON which is adapted to instruments, and the instrumental music on a considerable aim become one-sided. Your teachers As you progress in harmony, follow the need for purely ornamental performance scale, and were the direct prototypes of This greatly enlarged never meant it to be. Their words to you same rules as given above. The different To dispel th - was the most imperative. They there¬ intervals of chords and their progression: Price, $1.00 the magnificent organ works of T. S. The Hall Organ Co. were practical; not unevenly balanced i is nothing quite so fore devised toccatas and fantasias, which Bach. C. H. H. Parry. latest edition costs New Haven, Conn. the relation of harmonies and the mys¬ A veritable mine of good things One of the surest safeguards against teries of counterpoint:—explain all of Powdered SAXOLITE only $15.00 these on the keyboard first, and let the for the busy practical organist. The Human Voice as a Model for the Organ PIPE ORGANS dealing out too much theoretical matter Effective for wrinkles, crows Not a dry or tedious number in Notw.tlm.nding this low Drier made for cash to a student is: to concentrate his mind pupil hear the result, instead of explaining wc have deer ed lo accept orders subject to pay- the book. Some of the greatest It is said in the Bible that God made and the trachea, each reed represents the upon the keyboard first, instead of upon them in black and white to begin with. melodies ever written arranged as man in his own image; and now when glottis and each pipe the larynx, many l\2Jn0nlh*' Write for terTnt* the printed page. Teach him the names of So the theory of music will become of man proposes to create an instrument for vital importance to him instead of a preludes, postludes and offertories. times repeated, for that which man cannot ?1850°Lc'h "lb>cript*"“ *.oP™ ETUDE it the black and white keys, which when the praise of God, it seems as if he took struck are going to produce the sounds he subject of abstract meaning. All of the transcriptions are new imitate is the suppleness and the elas¬ his own vocal organ for a model, and, in ticity of the living instrument, which con¬ SrtnttggrhoolafGIljiHTh iMumr wishes to make, before teaching him the Of what use is it for him to know the and made especially for this book. the house of Theo. Presser turn, in his own image, makes the organ tracting and dilating, can change at will stands behind A Training School for Organists, signs or symbols which stand for these Perfect and Plagal cadence in print, when —vastly increased and enlarged, however. both pitch and timbre, and the maker of Send your ordc Choirmasters and Choristers sounds. Not until he can find anv key on he could not tell them apart when played POMPEIAN In truth, in this giant instrument we find, an organ must employ as many pipes of Headquarters, 90 Trinity Place, New York the piano for which you ask, should you without the notes? THEO. PRESSER CO., in suitable proportion, all the elements unequal length as he desires to have FELIX LAMOHD, Director place the simple exercises for learning Practical knowledge is what is needed which constitute the human voice: the Theo. Presser Co. Daily training. in the Git ,d Music of the □LIVE OIL Publishers tones, and vary the forms of these pipes -s address The the notes before him. in all walks of life; and in the world of ALWAYS FRESH bellows represent the lungs, the great Sole Agents piscopal Church. For p as often as he wishes a difference in ecretary, Trinity Schoo :hurch Music, Again, with the scales. music it can only be obtained by means THE STANDARD IMPORTED OLIVE OIL PHILADELPHIA, PA. wind-trunks which distribute the wind to timbre, thus substituting quantity for PHILADELPHIA, PENNA. ) Trinity Place, New Yor Instead of showing him the signature of a course of action as suggested above. the different stops are the bronchial tubes quality.—Lavignac. Please mention THE ETUDE when addressing our advertisers. Ilcase mention THE ETUDE when address; oui advertisers. 60J 602 THE ETUDE THE ETUDE

OUR “SPECIAL” The Belgian School of Violin Playing OCr 10 Tested Lengths, OCp NO MATTER Silk Violin E, fort.d*' By Ovide Musin Who Made Your Violin or Violoncello We can improve it in equality of tone, Send for Violin and Cello Catalogue musicians SUPPLY CO. When we say a School of Violin Play¬ Henri Vieuxtemps, OUR PAMPHLET EON ^ 60 Lagrange St., Boston, Mass. ing is French, German, Italian, or Rus¬ (of Verviers, nearYsaye, Hubay, “Regraduating of Violins sian, what is meant by the term? A Liege) .. school means the disciples of a man of OLd"and MODERNVIOLINS^andCELLOS NORTHWESTERN OHIO SCHOOL genius, superior knowledge, and of new /Martin Marsick, Ce- ideas, the value of which he demonstrated I sar Thomson, Ovide Why the Violin Teacher Should Keep Up His Technic 1 Musin, Guillaume and taught to his pupils, who handed Henri Leonard (of He had had the advantage of four years’ PIANO TUNING down their knowledge to succeeding gen¬ < Remy, Henry Schra- ments for concert appearances, all sorts Liege) . It is midsummer, and it will be but a creased prices for instruction, and cut the instruction in Berlin with first-rate teach¬ erations. If the above mentioned schools ) dieck, Her.ri Mar- of positions of honor and importance in few weeks until the burden of the year’s length of their lessons down to a point ers, and when he settled in the United exist, it is true that a Belgian school ( teau (successor of ' the musical profession, and new pupils teaching must be taken up again. The where they would have abundant time for exists, and has existed from ancient times, \ Joachim at Berlin). who are willing to pay very high prices States to practice his profession he re¬ wise teacher will use these few weeks their own practice. and furthermore that the other schools for instruction. How often do we see a solved that he would not only keep up for the purpose of brushing up his Another advantage of public playing is were derived from the anci nt masters Martin Marsick (Jacques Thibaut, Carl great singer, pianist or violinist, who is his repertoire and technic, but add to it Learn Harmony and Composition technic and making plans for his winter’s that the player, if he is really an artist, who went from the Low Countries to (of Liege). ( Flesch. in the public eye at all times, ableto as well. In order to do this he mapped gradually acquires a following of ad¬ Italy, Spain, France, Germany, Austria work. Many violinists do not feel like obtain $10 a lesson for instruction, while out his day with that end in view. Adolf Betti, Alfred mirers, like that acquired by ministers, and even to the court of Peter the Great f devoting any time during the torrid Mornings he kept to himself, for practice Pochon of the cel¬ politicians, orators, lecturers, actors, etc. a practically unknown artist, whose in¬ season to practice, but here is where they and study; no pupil was ever allowed to of Russia, where they demonstrated their ebrated Flonzaley Nothing could be of more value to the struction may be just as good, finds it make a mistake. In the height of the intrude on them, even if he had to sac¬ advancement in the science and art of Quartet. rising violinisj, both'in an artistic and difficult to obtain pupils at $2 per lesson ? rifice pupils on that account. His idea composition, singing, and playing of mu¬ season’s work there are weeks at a time financial way, than such a following. It One of the most successful violin when it is difficult for a busy teacher to was that if he once broke into his morn¬ sical instruments, and where they founded Present Professor at forces the artist up in his profession, as teachers I have ever known was located RIESLING’S TEACHING PIECES (Guillaume Remy I ings with teaching he would soon have schools which were the source of our the Conservatoire get much personal practice; all the more nothing else could. It brings in engage¬ in a city of 100,000 in the Middle-West. (of Liege). reason then should he devote a portion every day more or less broken up, and modern development, irrespective of na¬ National at Paris. of each day during the summer for no time left to himself. He thought that tionality. Charles de Beriot practice. Even in the warmest summers a single morning lesson would break up That the artistic generative force of the ancient Belgian masters was not depleted Charles de Beriot, bom at Louvain, Bel¬ there are occasional cool spells, when the the atmosphere of these few hours which Growing Opportunities for American Violinists even to the nineteenth and twentieth cen¬ gium, 1802, died in Louvain, 1870, was time can enjoyably be spent for practice, he religiously kept for his own study, so One of the most encouraging develop¬ fares were paid in addition to this amount, turies is made evident by the great num¬ called the Father of the Modern Belgian and the mornings are usually cool enough he kept the mornings clear. At the be¬ New Violin Music “On Sale” ments in violin playing in America within and all he had to pay out of this was ber of Belgian artists, musicians and School of Violin playing because of a to admit of a couple of hours practice at ginning of each year he selected two new the past few years is the steady demand hotel bills and incidental expenses. important violin works, a standard con¬ teachers, throughout the world, whose special manner of using the bow, first least. for American solo violinists. It has not The demand for first-class orchestra certo and a miscellaneous work, such as Faust School of Tuning names have added luster to the ancient demonstrated by himself which gives Very few violin teachers keep up their been very long ago that the American violinists is on a constantly increasing the Ballade and Polonaise by Vieuxtemps, school which attained immense renown in greater elegance, freedom and continuity technic as they should, and a large pro¬ The standard school of America. concert-going public would have none of scale, especially for symphony orchestras. the Faust Fantasia by Wieniawski. or Piano, Player-Piano, Pipe and Reed the fourteenth, fifteenth, and sixteenth of tone. It was said of de Beriot that it portion of them drop playing in public its own countrymen. Unless a violinist’s It is not so many years ago that there something similar. He was well satis¬ Organ Courses. Year book free. centuries. Of our modern school the was a pleasure simply to hear him tune after they have been doing professional name ended in “osky” or “vitch” or were only two or three symphony fied if he could master and add to his OLIVER C. FAUST, Principal. names of Gretry, Daussoigne, Mehul, his violin. His compositions are played work eight or ten years. When they are 1-29 G.in.boro St., Boston, Mas* “heimer” he had no chance at all. The orchestras in the entire United States. repertoire two such pieces each year, be¬ Francois, Prume, Jacques Dupuis, Ge- the world over, and only an Artist can studying in the Conservatory or College American people ran after the long¬ vaert, Chas. De Beriot, Leonard, Cesar understand his works and play them as Now there are a large number. New sides keeping his general technic in good of Music, or with some noted teacher in haired foreign violinist exclusively, even Franck, Vieuxtemps, Meerts, Radoux, they should be played. theo! PRESSER CO., Philadelphia, Pa. York has several, and Boston, Chicago, order, and his old repertoire in condition this country or Europe, they work with although he might be inferior to the MATERIAL Wery and others of the past generation Leonard was called Chief of the Bel¬ Philadelphia, San Francisco, Cincinnati Kindergarten the greatest enthusiasm and unbounded native product. But there has been a Secures and hold. th. child’s interest. propagated the science and art which pro¬ gian school for the reason that he so and Minneapolis have orchestras of the An Enviable Success ambition. Student days over, this en¬ great change The American violinist is Color Bird Scsle. Stsff Peg Board, Folding Music duced those who to-day shine particularly perfected the science and art of bowing, first rank. Then there is a large number Boards, Keyboard Diagram and many other at¬ thusiasm too often cools, and we find being given a show, and his work is in His public appearances were few but im¬ in the realm of the violin. The greatest as to produce a more voluminous and of the smaller cities which have excel¬ tractive things. Send for Catalog. them drudging away, teaching, or doing demand at good prices. We have such portant, and on such occasions he played DANIEL BATCHELLOR & SONS teachers of the modern French school at singing tone, and the use of the whole orchestra playing, with never a thought successful American violinists as Maud lent orchestras which are doing good large important works, and not minor R. F. D. No. 1 - - Chester, Pa. Paris were Belgians from Liege; for bow from frog to tip, and vice versa. of keeping up the fine repertoire of int- Powell, Albert Spalding, Francis Mac- wJo*k. It is getting to be so that every pieces requiring small technic, as is the instance, Lambert Massart, of Liege (who Furthermore his books cover the whole portant violin works they once had at millen, Eddy Brown, Kathleen Parlow city thinks it must have a base ball club mistaken course of so many teachers was professor at Paris for 47 years, his field of violin instruction. I believe that their finger tips. From a business and (the Canadian) and others. and a symphony orchestra. playing in public. Each appearance en¬ most celebrated pupils being Henri Wie- Leonard was not only a great, if not the artistic standpoint this the greatest pos¬ All of the above-mentioned American The American violinist is getting to be hanced his reputation, and concert en¬ niawski, Camilla Urso, and Fritz Kreis- greatest of all violin pedagogues, hut also sible mistake. The violinist should make violinists have played many successful in demand for symphony work and higher gagements and applications for instruc¬ ler) Leonard, Vieuxtemps, Marsick, and a great player. He was the first to play every possible effort, not only to keep up engagements in the leading European class orchestral playing, as well as solo tion came in great volume. He did not Remy (present professor at the Conser¬ that classic—the Mendelssohn Concerto— Your Music Is Torn! his technic, but to improve it. cities, as well as in their own country. work. It has not been so long ago that make the mistake of having his pupils vatoire National de Paris). in Germany at Berlin with the illustrious Besides the most prominent American a perusal of the lists of names of the play big works in public, and when he LITTLE FOLKS, Dept. 1 Ysaye was a pupil at the Liege Con¬ composer himself conducting the orches- It will Take One Minute to Business Value of Playing violinists such as the above, there are violinists playing in our leading American played himself playing little unimportant servatoire, and of Henri Vieuxtemps. He Repair it by Using From a business standpoint it is the dozens of others of lesser rank who have symphony orchestras showed nothing but numbers of the encore style. The result also studied for a while with Wieniawski Ancient records teem with the names Multum-in-Parvo Binding Tape greatest mistake for the violin teacher steady work with the concert companies, foreigners, but in the recent past there was that his pupils looked up to him as at Brussels. Fritz Kreisler was a pupil of Belgian musicians who advanced the roll of paper, 25 cents each, postpaid. to give up public solo playing. For who play for clubs, societies, lodges, etc., has been quite a sprinkling of American a great violinist, and spread his fame ROOT’S of Massart at Paris. Martin Marsick, art of music, founded schools, and left getting new pupils there is no course as in the smaller cities. names, and many of those with foreign everywhere. TECHNIC AND Cesar Thomson, Guillaume Remy, and numerous pupils in all the European cen¬ Transparent Adhesive Mending Tissue sure as this. Successful public playing is Some of the most prominent American names are American born. Twenty-five As years rolled on this teacher ad¬ Ovide Musin were pupils of the Conser¬ ters of learning, who continued the de¬ worth columns of advertising in the press, solo violinists earn large amounts. I years ago symphony directors imported vanced his technic and as he added two ART OF SINGING vatoire de Liege and of Leonard. Jac¬ velopment from generation to generation If your music dealer does not carry it, send to and thousands of circulars. “Hearing is personally know of one instance where all the violinists for their orchestras from A Series of Educational Works in Singing ques Thibaut, and Carl Flesch were pupils big works to his repertoire each year he on Scientific Methods, for Use in through the genius of certain ones. The Theo. Presser Co., Philadelphia, Ps. believing,” with the public. For a teacher, an American violinist had a contract Europe as a matter of course, but at soon had a repertoire which compared Private Instruction and in of Marsick. Henri Marteau, pupil of term “school” seems not to be clearly Classes , Multum-in-Parvo Binder Co. people want the man whom they have with one of the most prominent concert present any reasonable number of finely favorably with many exclusively concert Leonard, succeeded to the post of Joachim understood by individuals who have the By FREDERIC W. ROOT 624 Arch Street Philadelphia, Pa. actually heard play, and receive the bureaus in this country for the sum of trained orchestra violinists can be picked violinists. This teacher saved his money, at Berlin, Germany. Adolph Betti and idea, that to belong to a certain school plaudits of large audiences. You may $31,000 for a single season. His railway up in our larger cities on short notice. I. Methodical Sight-Singing. Op. 21 Alfred Pochon were pupils of Cesar bought real estate which advanced in Part L The Beginning.55 necessarily means that every pupil is describe »by the hour to prospective value and retired a few years ago with a Part 2. Through the Keys.50 Thomson. turned out after the same pattern in a I Music typography in all its Branches I patrons how well you can play and teach, fair-sized fortune. His success came en¬ Part S. ProgressiveMusicianship. .50 The catalogue would read as follows: mechanical manner. It is true that there HYMN AND TUNE BOOK PLATES ' | but one five-minute solo, well received II. Introductory Lessons in tirely from the fact that he had the in¬ Voice Culture. Op. 22 - $1.00 is the science of composition, apart from by a large audience, is worth hours of Expression in Violin Playing TEACHERS. PUPILS. telligence to see that the man who allows HI. Thirty-two Short Song Studies the inspiration. There is the science of Dudley T. Limerick:] talk in convincing people that you are a The violinist who has absorbed pure they should really teach them how to his. own powers to wane is constantly For high c- " Charles De Beriot j technic, and the science of bowing, which violinist. technic, and then imagines that he is a For media (of Louvain, Bel-(Henri Vieuxtemps. -- GOSPEL SONG PLATES-PLATES-* work, which is a very different matter. falling behind in the race, whereas the For lower__ must be learned by every one who aspires It is quite true that some very good musician is, as he will probably discover In the case of children I insist on their man who not only keeps up his powers, IV. Scales and Various Exercises gium) .( to something more than superficiality, but JNo. i o S. fiicho Street, Philadelphia violin teachers are indifferent public sooner or later, under a delusion. On ( Market above Fifteenth ) relaxing their expression, and, when they but adds to them, is constantly growing for the Voice. Op. 27 - 60c Auguste Rouma (of fHenri Leonard. although Corelli, Tartini, and Viotti owed players, but such teachers find it very the other hand, should his eyes never be V. Twelve Analytical Studies. are particularly stiff, in their looking m artistic rank, and all the good things Liege) .I their knowledge of the science of the art much more difficult to get new pupils, opened to the fact that he is merely a Op. 20 $100 of violin playing to their predecessors of happy throughout the lesson. I have of life which follow in its wake. As VI. Sixty-eight Exercises in the and to hold those they already have. The very imperfect machine, he is in an even Henri Wieniawski, the school at Rome, they were not alike Clarke.Mus.Doc. found that a child whose expression Schumann says in his Rules for Young Synthetic Method. Op.28 • 75c Lambert Massart Hugh A. public performer can also command worse plight. For this reason certain Camilla Urso, Fritz as composers and players, all three retain¬ while playing is a natural one does not Musicians, “Strive only to become a great (The General Principle of Vocalization.) LESSONS BY MAIL higher prices for his lessons. Many sharply defined lines should be drawn in (of Liege). Kreisler. and greater artist, and the rest will all VII. Guide for the Male Voice. ing their particular individuality. violin teachers claim that they have no teaching, to enable the pupil to distinguish stiffen, and plays with half the effort of Op. 23. $*00 In Harmony, Counterpoint follow.” time for personal practice, that to do it between the means of expression and the one who is allowed to purse up the lips VIII. Studies in Florid Song, $1.00 and Composition or fix the expression, or stand in an un¬ High and Medium Voice While the American musician is enjoy¬ figures furnished by the authorities of they would have to slight their pupils. expression itself. The same thing applies 4618 CHESTER AVE., PHILADELPHIA, PA. Such teachers would find it an advantage to the player who is receiving advice on easy posture. -SPECIAL OFFER- ing one of the most prosperous seasons Munich, who are delegated for this par¬ It is really remarkable how many peo¬ musical expression without having any for years, his European brother is suffer¬ ticular duty. This bureau keeps itself in¬ to give up some of their pupils if neces¬ ple really believe fiddle strings are made vocal teachers and si sary, to make time for their own practice idea of the necessary technic. The tech¬ cannot be overrated. Pupils should th ing sadly from lack of employment and formed, in the usual efficient German of cat-gut. Though nothing but lamb- and for playing in- public. What they nic of any instrument must therefore be in phrases instead of in single notes m from want. The International Musician fashion, as to what every inhabitant gut has ever been used for the purpose, SPECTION (that Is rt- would lose in dispensing with a few mastered before musical expression is pos¬ tally obliterating the bar-lines, and tl interested, costing only the pos says: “Since the war in Europe the un¬ that works for a living is doing.” It the idea that cat-gut is used extensively any or all the works are returned. pupils temporarily, they would make back, sible and this should be taught in such will not then consider the playing of 2. To send the complete series employed musicians in Munich, Bavaria, should also be remembered that there are simply won’t be downed. many times over in the future, since their a manner that the pupil does not con¬ correct note the alpha and omega has reached the enormous figure of 88 now hundreds of musicians in America increased prestige and popularity, caused found the means with the end. music. Notes are the words; phrases Since the war has tied up all of Europe, per cent., the highest of all trades or call¬ driven to these shores by the great war. The aim of most teachers seems to be the Chicago packers have taken up fiddle- ings from whom statistics were secured. Some are finding it very difficult to get by their improved technic and playing in expression. From "Modern Violin Te Theo. Presser Co., Philadelphia, Pa. public, would enable them to charge in- to show their pupils how to play, whereas nic,” by Frank Thistleton. stnng manufacture with more or less This is not a random statement, but upon success. The Violin World Please mention THE ETUDE when addressing our advertisers. 604 THE ETUDE THE ETUDE 605

Music Supplies for Fall Music Teachers’ Elements of Music Teaching Should be Window Signs Ordered Early Most music teachers’ window signs are THE BEGINNER’S HARMONY WRITING Be prepared for a good season’s busi¬ ugly and- expensive. We have had our artist make two beautiful, simple, dignified . BOOK ness, and wise preparation surely insures a good ending. designs. Both signs are fourteen inches By JOSEPH H. MOORE Price, 25 cents Being prepared for a good season’s busi¬ long and eight inches high. Placed in the Tbere is nothing impresses a subject on ness is as much in having good material window of your home or your studio they with harmony, and especially with the ele¬ on hand when the season opens as any are bound to attract attention and create mentary harmony. This book is suitable other one thing. a favorable ■ impression. One sign is for every piano student, and can be taken printed on Stiff white cardboard and let¬ up almost at the beginning, or at least when We cannot impress too strongly on all the scale work begins. It also has a short the teachers of the country and the schools tered in black catechism covering all elementary informa¬ tion that the pupil should have at this time. as well that the best way to have an ex- Music Studio. Dorothy’s Voyage Through Music Land with the Dream Fairy eeUent selection of material on hand with The other is printed on rich buff card¬ which, to start the season is to order it in SUTOR’S NOTE SPELLING BOOK board and lettered in dark olive green (A Story for Reading at Children’s Musical Clubs) NEW WORKS. Music Supplies by advance, so send in your order for our own A Writing Book for Learning the Notes publications, or a general stock of publi¬ Piano Instruction. Advance of Publication Offers— Mail Order By ADELE SUTOR Price, 50 cents cations of all publishers. Let us have In ordering, be sure to state which let¬ The best book of its kind ever offered. Dorothy's day had been difficult, posi¬ boy shoveling these headless notes into “The greenhouse over there is the August, 1916. Offer The Theo. Presser Co. originated mail¬ your order early. In the summer months tering you want. The advance price is 20 The note spelling book as an aid to the tively disagreeable. The weekly music a big hopper. ‘House of Wasted Time.’ Around the order music buying, and perfected it with the best of attention can be given to the cents. Do not be deceived by this, how¬ teacher has come into practical general use. Children’s Harmony Book— more painstaking details than those of The young beginner needs assistance of this lesson had been more of a failure than “Oh,” said Dorothy to the Dream corner is the ‘House of Torn Sheet "reston filling of an order and the making of a ever, as an individual sign similar to this any of the dozens of competitors who have kind. All children love original work and usual and Miss Leander had said things, Fairy, “What dreadful place is this— Music.’ Down the hill there is the treat a selection. Set the date of delivery and made by the ordinary sign maker would by this method readily acquire a thorough Tbos. W. Tapper followed. knowledge of the notes, leger lines and clefs, dreadful things so Dorothy thought. take me away—I can’t bear it 1” ‘House of Poor Sight Reading.’ On the the package will be there on time. In no cost you many times the price we have set. Easy Octave Studies for the Pianoforte. A careful perusal of any of our new other way could this most important all in a vivid, interesting and pleasurable The customary serenity of Saturday “Neither can I,” growled the old man. hill beyond, up there among the trees, If you wish to have your own name let¬ Elementary Method for Beginners, Op. list of classified catalogs will be found to feature of the school’s and teacher’s busi¬ afternoon was greatly disturbed. Not “This,” said the Dream Fairy, “is the 38—By F. Wohlfahrt. tered in the space we have left for the live the composers. Little girls and boys explain in detail in the preface our sys¬ ness be wisely provided for. that Dorothy shed tears. Oh no—not entrance to Music Study, this is the Godard Album for the Pianoforte. purpose, write it precisely as you want it who come here and who have mastered tem of dealing. It is worth reading. Any And in addition to all of the above ad¬ over a music lesson; perhaps over a place of bad time keeping, for years and Grove’s Dictionary . 15 and enclose 25 cents additional. Name A PRIMER OF FACTS ABOUT MUSIC any one of their works, no matter how of those catalogs, or all of them (they vantages we offer a reduction on the trans¬ movie show; but never, never over Miss years the old man and his father be¬ Melodies in Difficult Keys for the Piano¬ and initials must not be over 11 letters. Questions and Answers on the Elements of Music short it may be. if they play it correctly forte—By Mathilde Bilbro include separate catalogs for the piano, portation charges on all orders received Advance orders received now will be de¬ Leander, music was not so serious as fore him, have sat here clipping note By M. G. EVANS Price, SO cents are given permission to visit the Com¬ New Book First Piano Pieces.. voice, organ, violin and other instruments, by us previous to August 15th. We wiU livered during September. Just the thing all that. heads, catching rests and dots and ties This little work is more than a primer; poser’s Hill.” New Method for the Pianoforte- octavo music), will be sent free to any deliver packages of music with which to to open your season. it is a compact little musical encyclopedia, For Dorothy, music was little more as fast as the mistakes are reported L. Schmoll who ask for them. “How perfectly lovely!” And Dorothy open the season to a central point near the subject matter being presented not alpha¬ than a pleasant diversion on Saturdays, from earth, he has never had a vacation, Progressive Piano Student The aim of this business from its begin¬ betically but progressively, beginning with gave two and three skips down the path. Theo. Presser your home, and you will be called upon to The Musical Booklet the rudiments of music and ending with a just a little filling in between Friday nor his father before him, and he has Sacred Two-Part Songs. . ning, about 1883, to the present, has been pay only the transportation from that tabulated summary of Musical History, each “I want to see Beethoven.” Library subject being elucidated and explained and Monday lessons. Dorothy didn’t never left this chair since music study School of Violin Technic—Book I— to assist the teacher by first publishing nearby central point to your city. “Well, Dorothy, I’ll be glad to take H. Schradieck modern educational material for their through the medium of a series of practical practice much, she just dabbled at the began.” Sixty Progressive Exercises—J. Pischna A great many people will always he About one person in ten knows how to piano, “dabble” is the very word to ex¬ Then Dorothy noticed this motto over you there,” said the Fairy. “Come, let The Greatest Gift Christmas Cantata— use; second, to furnish those works at late—the great majority—so that when use the metronome advantageously. That press Dorothy’s mode of practicing the the portal, it was not in Latin, not in us see if you are prepared.” By H. W. Petrie reasonable retail prices; third, to sell them September 1st comes and the selection one has learned to respect the little ticker piano. Now to begin the real part of my Greek, so you see she could not have Then they entered a building called The Musical Booklet Library— to the profession at liberal discounts and orders are pouring in here how much bet¬ on the top of the piano because he knows story—please come a little nearer for it mistaken its meaning—“Music students “The Temple of Music." Pleasant-faced on terms so liberal and so arranged as to ter it will be for those whose orders are that it is spelling “systematic progress” intended for the use of Teachers a Five Copies. is a wonderful experience I am going who have counted aloud, may enter here, Nine Copies . be most convenient; fourth, to carry in not only filled, but are waiting in the every moment it is properly used. A dents. teachers were there and smiling children, stock the publications of the world so that teaching specialist, Prof. Claranee G. Sent for Examination others pass to the left.” Then she no¬ The Organ (New Edition)—John Stainer studio for work to start. the first Dorothy had noticed; scraps and mail orders, small or large, can be at¬ Hamilton, M.A., of Wellesley College, Saturday night was well under way ticed the path under the portal was over¬ The Young Violinist, Op. 10- On Sale order blanks, regular order bits of music came from far and near. G. Wichtl tended to promptly; and in addition to blanks, both postal card and otherwise and writes his opinions upon the subject and and the great Dream Ship was signaling grown with tangle undergrowth while gives definite advice and information. GIBBON’S CATECHISM OF MUSIC There was much bustling to and fro Thirty-live Easy Studies, Op. ISO— the above to have an organization of selec¬ our first catalogs will be cheerfully sent “All Aboard,” when Dorothy came, run¬ the path to the left was broad and Isn’t it worth a great deal to secure that By GIBBON CHAMBERS KILLOUGH and the doors to rooms opened and shut Well-Tempered Clavichord.Bach tion clerks, order clerks, correspondents to all who ask for them. Our regular fall ning full tilt, to catch the boat, she had smooth as the rodd. Two tears rolled information? Now you get our point. silently. Finally Dorothy found herself and advisors who stand ready to attend circulars, including much of interest to Price, 50 cents scarcely entered her snug berth, scarcely down Dorothy’s cheeks and the old man, Prof. Hamilton's booklet is one of the Settlement of to every detail of the needs of the educa¬ the educational interests of the country, Presents the fundamental principles of shut her eyes, or so it seemed to Doro¬ in one of these rooms seated at a beauti¬ Musical Booklet Library. A little library music in a simple and concise manner, calcu¬ who was quite blind, heard them fall and tional musical interests of the country wiU reach our regular patrons during the ful piano; the teacher beside her asked Accounts promptly and efficiently. of special information which can be bought lated to implant a desire for a wide and thy, when a tap came at the stateroom he smiled wanly as he handed the Dream first week of September. thorough acquaintance with the theory of door. Dorothy has declared these many questions about things Miss Leander had All the patrons of the Theo. Presser Co. It is most surprising the distance mail for a few cents, but which contains in¬ music. The work is arranged in the form Fairy two entrance tickets, they passed formation worth dollars. Here is a list of of questions and answers concerning Ele¬ years that she was broad awake when to the left and walked down the broad often told Dorothy. Somehow Dorothy will receive a statement of the amount will cover in twenty-four hours. An order mentary Notation. Time Values. Intervals, Elijah and these practical, inexpensive littl^ booklets: the tap came; but we must allow for path to the first house. couldn’t remember; the one thing she owing on August 1st. Regular items are mailed in Toronto can be returned from Scales, Keys, Chords, Abbreviations and Em¬ Philadelphia in thirty-six hours—almost Messiah bellishments. While intended for r'ass work, years and lapses of memory. Anyway It was a beautiful little house designed remembered now was the fact that she payable monthly or quarterly—certainly How Edward MacDowell Taught the Piano. it is also adapted to the needs of one study- now. On Sale accounts are to have re¬ as quickly and sometimes more quickly The offer for these two popular oratorios By Mrs. Edward MacDowell. it took many loud knocks to arouse Dor¬ for the village music teacher, through had never really listened to Miss Leander. than if you lived in Philadelphia and Progressive Ways for Securing New Pupils. turns made from them, and settlement at will be in force during the present month. othy. She sat up and said boldly “Well, the window Dorothy saw the teacher sit¬ How hard it was now! Dorothy felt she waited to go to the business section of the By Allan J. Eastman. least once a year, preferably at this We call especial attention to “The Mes¬ Making a Success of the Pupils' Recital. who are you?” and the dainty creature, ting at a grand piano, the lid was raised. was going to miss seeing the composer city to make the purchase. There is not season, because this season is the time siah.” In all editions the voice parts must By I’erlee V. Jervis. who had entered, echoed back quite as Inside it was scarlet while the outside too much that can be said in favor of Trills and How They Should Be riayed. WRITING BOOKS for MUSIC PUPILS after all, simply because she had not paid which is most convenient for most schools remain the same. The only difference is By James Francis Cooke. boldly, “Well, who are you?” of the case was black and gold; the mail-order business. attention to Miss Leander. and teachers. Do not delay the return of in the accompaniment, which is the orches¬ First Step in the Study of the Pedals. By A Complete Course of Writing Exercises for “I’m Dorothy Deakin, of Estes Street, piano looked like a gorgeous butterfly During the coming season many small Carol Sherman. Acquiring a Knowledge of Musical Notation The sunny, smiling teacher sat by her unused On Sale music, unless it is of such tra condensed into a piano arrangement. now, who are you?” poised in a flower garden. The room was but nevertheless important improvements Profitable Physical Exercises for Piano side. Dorothy must confide to some one, a character that it can be used for next w ill all go toward doing the best that we This is the only part that is distinct in the Students. By Dr. W. B. C. Latson. By CHARLES W. LANDON * “Oh, I’m only a dream fairy, I’ve been Passing the Dead Line in Music Study. filled with flowers of all sorts and the so she said. “Oh, really, now I'm here I season’s work, in which case correspond can to furnish the teacher with what they various editions. In our edition the accom¬ A practical and intelligible presentation of appointed by the head fairy to escort By Thomas Tapper. everything writable in musical notation. ■ The soft curtains swung in and out and car¬ must see Beethoven, may I ?" “Of course, with us with regard to the special settle- want as quickly and as efficiently as it can paniment for “The Messiah” will be some¬ Peer Gynt, A Dramatic Prose Reading. subject is treated in a manner calculated to you through a bit of Dreamland, a por¬ ried the perfume to Dorothy. you may see him. if you will play for me possibly be done. what easier than the Best or even the Arr. from Notes of Richard Mansfield. interest and instruct even the dullest pupil; tion, I believe, that you have never seen How to Use the Metronome Correctly. By anyone who faithfully works out the exer¬ “Oh, I’d like to take lessons in there,” the Minuet you learned with Miss Lean¬ As the opening of the new season is now It will not be amiss to say again briefly, Prout editions. This makes it more dis¬ Prof. Clarence G. Hamilton, M.A. cises in these books will become a correct before. At least there is no account of and Dorothy walked up to the door; she only a few weeks off, settlement of the send in stock orders as early as possible. and rapid reader of music, vocal or Instru¬ der last week.”’ tinctive. Some of the editions of “The mental. Blank pages with lines for writing your having been there,” and here she had even lifted the brass knocker when accounts of the past season is imperative. They cannot be sent in too early. Delivery Messiah” are extremely difficult and re¬ Patrons ordering these booklets in ad¬ music included in each book. held up a card upon which was written Dorothy, wondered how this smiling can be made at any time, but the more vance of publication may have them at she noticed this sign above the door: teacher could know about Miss Leander. One word more, in making returns be sure quire almost a concert pianist to do them Sent for Examination. Price, Complete, 50 cents many curious things about Dorothy that the name and address of the sender orders we receive before the rush of the the following prices: Two copies for 15 “Music Studio. Little girls of nine She did not wonder long. On the wall of justice. In our edition the accompaniment cents, and five copies selected for 30 cents, Books I and II, each, 30 cents Deakin, of Estes Street. is on the outside of every package re¬ opening of the season, the more satisfac¬ is somewhat lightened. In “Elijah” the and ten, who have kept lesson appoint¬ the little room was a tablet, bearing the tion we can give. If anyone desires cata¬ the entire nine announced above for 45 “Dear me,” said Dorothy, somewhat turned, and see that the returns are accompaniment is usually the same. The ments, who have practiced regularly each logs on any subject connected with music, cents. The books are ready to go to surprised and a little frightened. “What names of all Miss Leanders pupils: some transported in the cheapest way—via par¬ two works wiU be gotten out in most excel¬ WRITING BOOK day, may enter without knocking. No were lettered in gold. These pupils she cel post, printed matter express, regular or advice on any subject, correspond press at once, so they will be upon ad¬ if I don’t want to go with you, what others need knock.” lent style and will be from original plates. vance offer but a very short time. Some of By EUGENE F. MARKS Price, 25 cents learned had passed and been permitted express, or freight. FuU directions were with us. if I don’t want to see that portion to¬ Dorothy bit her lips, for this was the Onr advance price is 30 cents, each post¬ the single copies contain the best of a For Musical Exercises and Buies in Dicta¬ to visit “Composer’s Hill.” sent with the June 1st statement. night.” second refusal and Dorothy was unac¬ paid, for a single introductory copy. $2.00 lecture or a $5.00 lesson. tion, Harmony and Theory, with practical But poor Dorothy could not play the Children’s Harmony Book ' hints in Music Writing. Handy in form; “You must,” said the Dream Fairy as customed to rebuffs. pages ruled alternately for notation and Beethoven Minuet; she tried again and Easy Octave Studies By Preston Ware Orem she clasped Dorothy’s hands and pulled “What sort of place is this,” Dorothy New Method for the Pianoforte Introductory Offers handwriting, thus making it possible to again; she had never really known it so: for the Pianoforte We are continuing during the current write special memoranda, rules, suggestions, her off the couch; so they started to inquired. “Instead of a place for be¬ By A. Schmoll Withdrawn etc., opposite the musical matter written in of course, it would not come. She told month the special offer on this new work. that portion of Dreamland, known as ginning again it seems a place of no be¬ All teachers will welcome a collection of the staves. It also contains directions as us she was not frightened at all: no one easy octave studies. While it is essential It is now in the hands of the printer and We wiU continue the special offer on The two foUowing works are herewith to the proper manner of writing the char¬ “The Place of Beginning Again.” ginnings at all.” the Schmoll Piano Method during the withdrawn from special offer. The intro¬ acters and signs used in musical notation. had ever been known to be frightened in that octaves be taken up as soon as possi¬ this may be the last month of the special After a long time they came to the “So it seems at present, we might re¬ introductory offer. We are aiming to have present month. We cannot impress too ductory price cannot now be aUowed. The “The Temple of Music.” She found ble, nevertheless it is difficult to find books entrance, at the portal sat an old man, name it and call it “The Place Where the book ready for the fall teaching, and sincerely the real worth of this work. Our books will be sent at regular professional herself with the Dream Fairy in the which are sufficiently easy to introduce in KEYBOARD CHART as old as time. He held a pair of huge Priceless Lessons are Given Free of the early third grade. In the compilation all who are interested in a work of this aim has been in all our publishing to make rates, and on examination to any of our street; she was crying bitterly and tell¬ Price, Postpaid, 25 cents shears, and Dorothy saw that the walls Charge.” of this book the entire literature of piano¬ character should not fail to avail them¬ the study of music pleasing rather than a patrons who desire to look at them. ing the Fairy about her failure. Eighteen Melodic Studies for the Piano¬ of the lodge were covered with shears, Dorothy feared the Fairy was begin¬ forte studies has been scoured in order to selves of this opportunity to give it an drudgery, and this book of Schmoll's falls ‘Well, dear, now you know that you examination. This work may he used forte, Op. 10, by Max P. Heller. Max near his chair stood a boy turning a ning to sermonize, so she changed the find studies of the right type. Octave so clearly in line with our policy that we 2 keyboard < grindstone, the boy was grinding and have failed; come with me to ’The playing is the prime essential in modern either for a class or private teaching, and take great delight in recommending it. Heller has made some very popular sets bass and treble clefs, as wei on the keys; subject and asked about the factory of easy studies. This is a most tuneful shows the position of every j; illustrates grinding on the shears. Such a terrific Place of Beginning Again.’” pianoforte study, so it is necessary' to de¬ although it is primarily intended for We have had in contemplation^ the issuing across the street. younger students, it may be taken up to set of studies in the second grade. Price, the relative value of not explains the noise, thought Dorothy; as she came It was the most beautiful place in that vote considerable attention to this depart¬ of this work for many years, and it is rests, dots, etc., and has s “That,” said the Fairy, “is not a fac¬ ment, but at the same time the studies the best advantage by beginners in theory 60 cents. key signatures. nearer she noticed that the old man was tory, it is a hospital, a hospital for abused part of Dreamland. Dorothy never felt of all ages. It will serve to pave the way with genuine pleasure that we can see our Twenty-five Melodic ami Progressive which are used for the purpose should be way clear at the present time to undertake clipping off the heads of quarter notes pianos; for pianos that are never dusted, so happy in all her life, for the Dream for any of the larger harmony books, Pieces for Study and Recreation, Op. 50, I Mail orders solicited and filled to all parts oF the musically agreeable in order to enlighten the publishing of the work. We would and half notes and sixteenth notes and pianos that are never shut at night’ Fairy was telling her that she would come and it will not be found in conflict with by A. Schmoll. A most melodious set of country. The best discauits. Any oF our works sent the burden of technical drudgery. In our most heartily recommend the work to any all the kinds of notes that are in the in¬ pianos that stand in a draught, pianos again some Saturday night and they new book the studies will be easy and full any of the present recognized systems of so-called study pieces; that is, really small practical teacher. Procure at least one I " in,Pe-—-- struction books and there, all about his that stand near steam pipes. We will would climb “Composer’s Hill” together: of variety, combining the technical and the teaching. There are many novel features compositions with an educational idea. chair, lay headless notes wiggling and and so they parted at “The Place of Be¬ musical sides in equal degree. Our special in the book which will appeal to all. Our copy of the work while it can be had at They are in the early grades—one, two Theo. Presser Co. Philadelphia, Pa. pass it by. as they are much too busy to special introductory price in advance of the reduced rate. Our special advance and perhaps some two and a half. Price, squirming. Then Dorothy saw another show us through.” ginning Again.” introductory price in advance of publica¬ Please mention THE ETUDE when addressing tion is 15 cents, postpaid. publication is 30 cents, postpaid. price is but 30 cents, postpaid. $1.00. our advertisers. (Children i Depattment continuedon page 60S.) THE ETUDE 60 T 606 THE ETUDE Special Offer for The Progressive Piano Student New Etude Prize Contest The Increasing Cost Immediate Renewals Greatest Educational Work of the Age By Theo. Presser August 1st brings to a close The Etude Theo. Presser Co. of Materials Prize Contest. After this date no more When does your subscription expire. This work is positively promised for the The European War, and the fact that opening of the teaching season. There has manuscripts will be received. So far there almost every commodity that goes toward Have you inadvertently overlooked plac' Mathews’ Standard have been a large number of entries and a Publications Success Through Right Grading ing your renewal order? been scarcely a teacher that has been using the manufacturing of anything has been the Beginner’s Method that has not or¬ very flattering interest has been shown. affected either by actual shortage or a GIVING the right piece or the right study at the right time is a most im¬ For just thirty-one days, or to August Graded Course of dered at least one copy of this second The work of the judges will be completed Issued June, 1916 supply which is not adequate to take care portant matter. The wrong step may cost the pupil s interest. 31, 1916, we are going to give to every book. In fact, it is almost necessary that as soon as possible and the announcements of the tremendous increased demand, has Indeed, it often costs the teacher the pupil. This has happened m reader of The Etude renewing their StudieseosPianoforte a. pupil continue in the same course, and of the winners will be made in an early caused the cost of everything to increase thousands of cases and the stupid teacher never goes to the root or things subscription for one year at $1.50 during this book will naturally follow the Begin¬ issue of The Etude. All manuscripts in such proportions that it is difficult at Compiled by W. S. B. MATHEWS and finds out what is really the matter. , . August a copy of our Popular Home Col¬ ner’s Book. It starts with scale work and which are unsuccessful will be returned PIANO SOLOS this time to say what the end will be. Some of the most famous teachers have made the biggest blunders in The Leading Musical Writer and lection for the Pianoforte, containing 45 Educator of the Present Time everything along the same grade, such as to the senders as promtply as possible. Till. Composer Grade Publishers have been affected as much, grading. Conrad Kiihner, the noted German pedagogue and editor, in his arpeggios and wrist and chord studies. It highly attractive pieces, for the slight ad¬ We wish to thank all those who have con¬ 0 Morning Dew... .P. Lawson 1% if not more, than any other line of busi¬ grading of the Two Voiced Inventions, of Bach, places the Invention in B minor ditional remittance of 15 cents, or a total A COMPLETE course of standard will take the pupil up to about grade two 14 Planquette .P. Lawson 2 ness. Book paper has been offered to us tributed to this Contest, and we are only 15 The Little Dauphin, and the Invention in D minor before the Invention in A minor. He concludes of $1.65. This is one of the best collec¬ Etudes and Studies arranged and a half or three, and will contain mate¬ during this week at more than three time, that the last named is more difficult because of certain motives and certain sorry that there are not enough prizes to M. Croeby 2 tions ever offered. The pieces are not in a progressive order, selected rial enough for the second year’s work. 6 Up in the Swing.M. Crosby 2 its normal cost, and it is questionable dynamic peculiarities. From the.aesthetic standpoint the A minor InV:nl:on may from the best composers for the cul¬ go around in order that all may receive IS Visit to the Z00..M. Crosby 2 difficult; are NEW and ORIGINAL; Our advance price on the volume is 20 where the supply of paper is going to be more difficult but from the technical, that is the mechanical standpoint, tivation of technic, taste and sight cents, postpaid. some recognition. 1 Anna.G. Spenser 2 sheet-music size, clearly lithographed on 2 Kathleen .G. Spenser 2 come from in the near future. it is very much simpler. Every teacher of any experience whatever knows reading, carefully edited, fingered, 4 Evelina .G. Spenser 2 All of this points to only one subject— what happens when the pupil reaches this measure in the B minor Invention. fine quality paper and strongly bound. phrased, and annotated and supple¬ School of Violin 7 Elinor .G. Spenser 2 our charges will have to be increased, Added to your musical library, this Collec¬ Child’s Own Book of 9 Patrick .G. Spenser 2 mented with complete directions for Technics, Bk. 1. slowly and reasonably. Our patrons have tion will give hours and hours of musical the application of Mason’s “System Great Musicians 0 Juanita .G. Spenser 2 By Henry Schradieck 1 Phyllis .G. Spenser 2 the confidence in us to know that they delight. of Touch and Technic ” for the pro¬ Bach, Mozart, Schumann, Schubert and 2 Margaret.G. Spenser 2 will not be increased unless absolutely This isfone of the greatest values ever duction of a modern style of playing. No violin student can be said to be Mendelssohn have already appeared in this 4 Jane .G. Spenser 2 necessary. Owing to the increased cost of thoroughly trained who has not at some 2 Prance .P. Lawson 2% offered by The Etude; is good for only Thirty years ago Music Teaching in interesting series of books by Thomas 3 Normandy .P. Lawson 2% everything going into the manufacture of time in his career made acquaintance the month of August, 1916, and whether America was for the most part con¬ Tapper. The plan of having the students 7 Hide in the Park.M. Crosby 2H all books, the so-called “cheap editions'’ of your subscription has expired or not, re¬ ducted in the most slip-shod and ex¬ with Schradieck’s pedagogical works. 3 Charles .G. Spenser 2% standard and classic music, those standard Possessed of unlimited technic, Schradieck cut out the pictures and insert them in the 5 William .G. Spenser 2% newal order will be accepted from you travagant manner imaginable. The 6 John G.~ ~Spenser 2% compositions published in book form that teachers were not to blame for the has spent a long lifetime studying the book is very popular indeed, and makes during the specified time limit. have always been sold at too low a price, enormous expense of purchasing in¬ problems of his instrument. His work that “something to do” which always 13873 Rosa” .7.7.; ; ; .G.' Spenser 2% You may, if you choose, substitute any will be the first to be affected. The retail Those little nervous paroxysms in the left hand that we call Mordents simply dividual studies and pieces of music which we now offer on special terms has creates interest with little folks. Handel 13693 Danish Country Wedding, one of the following for the Popular Home will soon be added to the list. The entire E. P. Christian! 3 price will remain the same, but the dis¬ say “Halt” to the average pupil. The A minor Invention contains nothing of this for educational purposes, nor were been carefully revised and edited by Fred¬ 13718 A Merry Party.. . N. Sacks 3 count on this class of publications will be sort and technically speaking should come before the B minor Invention. This is Collection: they to blame if they did not have the erick Hahn, a teacher of wide experience set of six may be purchased for 50 cents. 13765 Forest Sketches, adjusted in order to increase the dealers’ not a small point for a technical obstacle that will cost a pupil two weeks delay Singer’s Repertoire.—Thirty-six songs, In¬ experience to select the best Btudies and modern ideas. The special intro¬ The books already out to be delivered now C. S. Morrison 3 cluding studio and recital songs, suit¬ 13770 Sparkling Brooklet. 0. Motor 3 income. and discouragement is expensive to the teacher and pupil alike. The thinking for the right time. The Graded Course ductory cash price in advance of publica¬ and Handel sent as soon as it is com¬ 13772 The Rocking Horse, We trust that this whole matter will so teacher of experience would not be likely to make a mistake in judgment such as able for medium voice. idea is an original creation of the tion is 20 cents. pleted. If bought individually the books L. Schytte 3 adjust itself in the near future that no Kiihner makes. Kiihner is right in theory but in practice he is in serious error. Piano Player's Repertoire.—Thirty-nine Presser House. The Standard Graded cost 15 cents each, and that will be the 13777 Hunter’s Life, Op. 215, 0. Heins 3 further increases of prices will have to be pieces, of various styles—caprices, Course has succeeded because it was Melodies in Difficult regular price as soon as Handel is issued. A REMEDY 13784 When All Is Fair, Op. 92, announced. songs without words, reveries, and sim¬ built along the lines which years of ex¬ Keys for the Pianoforte F. A. Williams 3 So many have been the inquiries that have come to us from teachers refer¬ ilar characteristic numbers. perience had shown to be necessary. By Mathilde Bilbro 13817 The Shepherd’s Repose, ring to grading, standardization, etc., that we have had “A Selected Graded List of Popular Redial Repertoire.—Thirty-one The Greatest Gift A. Schmoll 3 As early as possible a student of the 3 3891 Memorial March. ..J. Abel 8 Three Months’ Trial Pieces” printed in booklet form which we shall be glad to send gratis to any pianoforte pieces. Including standard CHIEF ADVANTAGES Christmas Cantata 13892 By the Surf. .C. H. Smythe 3 teacher sending us a postal request with full name and address. The list fits piano should become accustomed to play¬ 13911 Gavotte in D, Oja 81, NoAO, ^ Subscription to “The Etude” and original modern works. Every By H. W. Petrie in finely with the Standard Graded Course but may be used independently. It is number a gem. ing with equal facility in all keys. It is a for 25 cents "just the thing” for the self-help student. It is a teaching requisite that should mistake to work only in the more familiar The success of “The Greatest Love,” 13928 Little Spinning Song, New Pipe Organ Collection.—Thirty ef¬ keys and to neglect the others. The idea Th. Kullok 3 During the summer months we offer be on every teacher’s desk and it costs you nothing but a postal card. The list Easter Cantata, by the same author, has 13944 American Belles, is the result of years of experience upon the part of experts. Seven hundred fective but not difficult pieces. An ideal in this new book, by Mathilde Bilbro, is to inspired the present work for Christmas. J. M. Zimmerman 3 The Etude to new subscribers for three collection for the organist. .studies pieces, studies and exercises are given—a complete conservatory course out¬ t fraction of what they would furnish agreeable and at the same time First of all the work is suitable for the 13950 Witches’ Dance, Op. 74, months for 25 cents. Any three issues useful material for practice in the more L. Schytte 3 from June to October may be selected. lined. The teacher can select from this whatever suits the purpose best. average choir; not a choir of trained 13789 Farewell to the Alps, unusual keys, especially in the sharp keys. The primary benefit of this trial subscrip¬ New Book of First PROGRESS “ singers, but a volunteer choir will be able 0. Bohm 3% THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. The studies are not difficult to play and 13788 Hungarian Dance. T. Dutton 3 % tion is the retaining of your pupils’ Piano Pieces X like an even and regular flight of steps, to take up this work. It abounds in most 13794 Song of the Ploughman, h the pupil may easily be led to musical they lie well under the hands, so that the charming solos and choruses and duets. G. Bachmann 3 % musical interest through monthly receipt This book for the most part Is taken of The Etude, where it would otherwise re taken from all tl entire attention of the student may be The work will take about an hour to per¬ 13894 Ballerina, Op. 270.T. Lack 3 ‘/j from the pieces that appeared in The VARIETY devoted to the sight reading. The special 13801 Twilight Musings, lag during the summer period. The 1 stud- form, and will be suitable for a portion of Suitable Premiums for Summer Magazine Etude. So all our Etude subscribers know lea. This Is greatly pre price in advance of publication for this G. S. Schuler 3% Etude will give them pleasing and in¬ a Christmas program. We are perhaps a 13769 Rnstlc Round Dance, about what they may expect to receive. studies all composed by 01 new volume is 15 cents, postpaid. structive music suitable for summer play¬ Etude Workers Club Offers e accompanied by little early to make this announcement, but 0. Moter 4 The pieces will be the easiest that have SIMPLICITY 13771 Spring Song. . . .R. Wagner 4 ing, and iif addition to this most excellent There must be a number of your friends We are listing below a few specially the choirs will soon be searching for some 13786 The Knight and the Nuns, been in The Etude from time to time, and taught by any teacher w previous experi- Elementary Method for and stimulating reading matter. • In many you can think of right this minute who are selected low-priced Magazine Offers, the novelty for Christmas festivity. The work T. Dutton 4 the collection will be published in a 50- There is no arbi¬ Beginners, Op. 38 13798 Fanitul, Op. 23, No. 3, cases the subscription will be continued interested in music, among them several quoted prices being good only for the trary method demanded. will be on the market in plenty of time by the pupil in the fall. Why not try this month of August, and we urge our readers cent volume with strong, durable binding. By F. Wohlfahrt 0. Olsen 4 who would eagerly grasp the opportunity INTEREST for rehearsals. We expect to have it in 13880 Pastorella, Op. 263.T. Lack 4 with your class? Offer your pupils this The principal feature of the hook is the to place a yearly subscription to The to act QUICKLY in placing their orders. most fascinating to Over forty years have elapsed since -print some time in October. Our special 13881 La Capricieuse, Op. 282, trial subscription of three months for 25 amount of material. There will be no less T. Lack 4 Etude were the merits of the magazine THE ETUDE . , _ __pared with the old- AVohlfahrt’s death, but his Method for advance price for the work is 30 cfents, 13895 Madrigale_A. Simonetti 4 cents, and we are positive there will be than 75 pieces in the volume, ranging from only properly brought to their attention. To-Day’s (free pattern). ;;; 1*1.75 led method of using Beginners, like his excellent elementary 13799 Song of the Nightingale, a hearty response. McCall’s ( free pattern). grade one to grade one and a half or two. postpaid. F. Filipovsky 4% Nothing, we believe, has a greater ap¬ ....Jsa*e75cb. studies, is still in considerable use. Much They will be arranged in progressive of the success of this method is due to the 13820 Serenade, Op. 32, No. 9, peal to a woman than a handsome (but THE ETUDE . A. Jensen 4% Pischna’s Modern Priscilla . order. Our special advance price Is 20 MAKE NO MISTAKE fact that Wohlfahrt was a good teacher, Godard Album for 13779 Valse Gracieuse. A. Strelezki 5 serviceable) hand-bag, and we have ac¬ • ‘ ) Save 40 ct*. cents, postpaid. The Standard Graded Course should not be con¬ and well understood that difficulties have 13783 Fragment.W. G. Smith 5 60 Exercises cordingly arranged the following very The Pianoforte 13795 Solvejg’s Song, Op. 55, THE ETUDE .. founded with any other system, course, or method. to be met one at a time. He ar¬ This most important work for rather liberal offers of high-grade bags for those It, and it alone, is the original series. When you Benjamin Godard, the distinguished No. 4.•. . E. Grieg 5 Mother’s Magazine . • l *2.00 order be sure to insist upon the Stasdard Graded ranged his material accordingly. More 13818 La Sirene.F. Thome 5 § advanced pupils is progressing very satis¬ of our readers who send us the required ! than this, however, he had a natural gift French composer, has held his popularity 13912 Valse Caprice, Op. 2, factorily. Our edition will be a new and number of subscriptions, each at the regu¬ THE ETUDE . Music and Musicians possibly longer than any of the salon A. Barili 5 for writing melodies, which he put to good 13800 Dedication . . .R. Schumann 8 instructive one, by Mauritz Leefson, which lar yearly rate of $1.50. Modern Priscilla .* • l *2.45 Thousands of musicians, teachers and 10 GRADES; 10 VOLUMES; use even in the most elementary exercises. writers. The reason for this is that he McCall’s .. . . . f Save 55c*. 13750 Dance of the Gnomes, will contain all that there is in any other For TWO yearly subscriptions. students have longed to own a complete $1.00 EACH VOLUME When it is remembered how dependent is is original and chaste and interesting at F. Liszt 9 edition, with a number of additional varia¬ THE ETUDE . set of Grove's Dictionary. The price of Oar usual discount is allowed. Send (or any or the violinist on ear-training for correct all times. Some of his pieces, such as the PIANO DUETS tions to each exercise. These exercises are A Black CrSpe, grain-leather, morean- • l *2.50 all the volumes for inspection. When ordering Woman’s Home Companion. $25.00 cash down was always a barrier. intonation, it becomes evident that all ele¬ Second Valse and the Second Mazurka 13796 Masqueraders, Op. 50, all based on a figure that is carried through lined Bag, six inches deep by six inches "• ) Save50cts. mention Mathews’ Standard Graded Cocas*. as wide, including mirror and change purse The Theodore Presser Company cut the mentary violin study should be tuneful and A Matin are played the world over H. Van Gael 2 the entire chromatic scale. At least this THE ETUDE . and will continue to be played for the next 13815 From the Sunny South, to match. Ladies’ World . ;;; 1*2.75 Gordian knot with one scratch of the pen from the start. The most wonderful D. Rowe 2 is the case in the greatest part of the work. Modern Priscilla . when the contract was signed, making it violinists in the world are perhaps the fifty years. They are drawing-room It is a work that has been used by some For THREE yearly subscriptions. • • . .) Save75ct». 13740 Cecelia.J. E. Philie 3 THE ETUDE . the Sole American Agents for the work. Hungarian gypsies, who have no “method.” pieces of a very respectable character and 13758 Elfin Dance.F. G. Rathbun 3 of the leading pedagogues of Europe and A beautiful Black Goatskin, silk-lined ) *3.00 All Grove Dictionaries issued now in this STANDARD They learn to play through an instinctive can be played by even concert pianists. is becoming more standard as time goes Bag, with change purse and mirror to Everybody’s . ... 1 Save $1.50 c™n‘ry 6ear the .stamp and the guarantee love of melody, which enables them to You will not go astray in ordering one of 13708 Valse Episode, Op. 160, on. Every one searching for something match. Six inches deep by six inches Must go to same address of the Presser Company. More than that CONCERT ETUDES overcome many technical difficulties with these at 20 cents, postpaid. C. W. Kern 4 thorough, comprehensive and drastic we wide. Very latest design. THE "Tl DE .. the price was cut 40 per cent., or nearly astonishing facility. The special intro¬ 13797 Madrilena .P. Wachs 4 are sure will find what they are seeking 13819 Laughing Water, ;;;l *3.15 half, from $25.00 to $15.00. Then, to make FOR ADVANCED STUDY ductory cash price in advance of publica¬ The Organ (New Edition) in these Pischna studies. They form some¬ Modern Priscilla C. M. Millington 4 Sacred Two-Part buying still more convenient, the customer Price, $1.00 Grades IX to XI tion is 25 cents. 13738 Manitou... .C. S. Morrison 4 what the same place in piano technic as THE ETUDE . By John Stainer Songs may pay $3.00 down, receive the hooks These pieces are bound in book form, each se¬ PIANO STUDIES does the Bach Well-Tempered Clavi¬ Woman’s Home Companion_ ::: l *3.25 lected for some standard technical essential; for Bach’s Well-Tempered We take pleasure in announcing that we chord. Our special advance price is but American Magazine . . .. ) Save $1.25 ™"’P,iT‘e and pay the balance at the rate instance, the two compositions by Saint-Saens are This work has been prepared in re¬ Must go to same address of $1.00 per month. made up exclusively of rapid reiterated chords. Clavichord have in preparation a new edition of this 25 cents. sponse to an increasing demand for a book standard work. The great disadvantage THEHE ETUDE ..} $o ry/r Buying books in this wav Is like invest¬ Four of the pieces abound in arpeggio forms We will shortly add to the Presser Col¬ of this kind. There are so many occa¬ and others in extended and arpeggioed cnords, in the old edition has been in the finger¬ The Young Violinist ./Oman's Home Companion.!!! I 0.7D ing—like putting money In the bank. The and others in rhythmical puzzles, but all are of lection this well-known volume comprising sions in choirs where sufficient voices are Pictorial Review .J Save 75 ca. books will last a lifetime and every musi¬ concert grade and content, famous pieces, ready the first twenty-four original Fugues from ing, which was according to the American, _ La Cinquantaine, Gabriel-Marie 3 By G. Wichtl, Op. 10 not present to make up a four-part vocal cian knows that they are indispensable. for presentation with an abundantly developed Bach’s celebrated Well-Tempered Clavi¬ or rather the English system. We have technic. There are twelve pieces in all, by ni"“ eliminated this and new plates have been 13661 Beautiful Catalina, This most popular method for the harmony, and besides there are many 35 Study Pieces, Op. 130 TTie Grove Dictionary becomes a tangible composers,about half of them by composers at chord. We are preparing an entirely new T. Lieurance 4 choirs organized for special purposes By Gurlitt asset to every musician who owns one, and living. Adapted as a continuation of Mathei and handsomely engraved set of plates for made after careful revision and editing, 13753 Romance, Op. 26, violin will be added to the Presser Collec¬ J. S. Svendsen 5 tion. It is a work that has been used which are composed of women’s voices t is an asset that properly worked should this edition, but in accordance with a well- retaining all of Stainer’s original material, This is one of the most popular opuses but bringing the book up to date in all VOCAL extensively by many of the leading only. This new work will afford abundant of this popular writer. They are in reality bring much bigger interest than money. established demand we are following the other respects. There is no elementary 12409 To a Faded Rose, teachers of violin. This edition will con¬ material for two-part singing, both in the not studies, but study pieces. Every dolf0 a™onth P»t by in Grove is a well-known edition by Czerny. The work has been carefully revised, however, and book for the organ which has been as J. Edwards 3 tain also the Six Pleyel Duets, and a num¬ line of anthems for general use and hymn one has a name attached and the never ^Veears to make, is force. but 15 cents, postpaid. SSia-*1 -™r ** I THE ETUDE 609 608 THE ETUDE

Children’s Department (Continuedfrom page 604.) Musical Game of What American Compositions In the Silence. Carlos Trover. June, 1915. Musician? a SdST cT^Ltoco:^ \ following list, taken from The Etudes 1914 and 1915, may be helpful in arrar

The compositions range from Grade to Grade IV and V.

and Orientale. W. E. C. Seeboeck. Jui 1914. J. H. Rogers. June. 19: I

no- Scotch Poem. E. A. MacDowell. Gilbert Reynolds Combs,Director November, 1914. Dance of the Midgets. C. W. Cabman. November, 1914. Old Mother Hubbard. J. H. Rogers.

November, 1914. (Piano, four hands.) Combs C«NSBiw»ic>iar Valse. J. H. Rogers. October, 1914. Little Miss Muffet. J. H. Rogers. July, 1914. Triumphal March. E. R. Kroeger.

Romance. Engelmann. or Music

Keeping Step. Th March, 1915. Cradle Song. W. H. b A School of Individual Instruction 1915. (Theoretical and Applied Branches Taught in Classes) Some of the Unique Advantages of Studying in the Combs Broad Street Conservatory The World of Music With the mighty advances in science, the various Frequent recitals—four a week—are given by professions and business, there has come a corre¬ the students to accustom them to public appear¬ sponding demand for higher standards of pro¬ ances. These recitals are also of inestimable value ficiency. in kindling their ambition by enabling them to observe the work accomplished by others. The demands for higher standards of proficiency in teaching music as a science and an art have Our complete symphony orchestras, one of 80 been anticipated as well as met by this school. pieces, the other of 60, offer the rare privilege of For thirty-one years the Combs Conservatory, orchestra routine and exceptional opportunity of under the inspiration and guidance of its Founder public performance with orchestral accompaniment. and Director, Gilbert Raynolds Combs, has led Twenty-four of our pupils accepted by the Phila¬ in applying advanced methods of instruction delphia Orchestra; others by Boston Symphony founded upon scientific, psychological and sound Orchestra and organizations of similar importance. pedagogical principles. An enrollment this year of thirty-five per cent, Additional culture is offered to ambitious in advance of any previous year in its history is students through reciprocal relations with the evidence that the Combs Conservatory of Music University of Pennsylvania, by which special has successfully demonstrated the EFFICIENCY courses in English, French and German may be taken without extra charge. of its methods of instruction.

We have arranged in logical order the underlying Dormitories for women—delightful, homelike principles involved in the proper study and inter¬ surroundings at moderate cost. Accommodations pretation of music and by employing these for 2500 Day and Dormitory students. principles in their direct application to individual needs, we insure to the earnest, diligent and ca¬ All branches are taught under a Faculty of 70, pable pupil a thorough musical training with a min¬ at the head of which are instructors of recognized imum expenditure of time and effort. ability and international fame. A School of Inspiration, Loyalty, Success WRITE TODAY FOR OUR YEAR BOOK ITS INFORMATION MAY OPEN GILBERT RAYNOLDS COMBS A SUCCESSFUL CAREER TO DIRECTOR YOU AS IT HAS FOR HUNDREDS 1335 South Broad St., Philadelphia 1

610 THE ETUDE THE ETUDE 611

Schools and Colleges Q> Schools and Colleges NEW YORK AND NEW ENGLAND OHIO

Conservatory ^The American Institute of Applied Music The National of Music of America C\ (METROPOLITAN COLLEGE OF MUSIC) In“,TiNNETTE(JEANNETTE M. THURBER, Founder and President) 212 West 59th Street New York City ARTISTIC FACULTY: Roi courses in Voice, Organ, Piano, Stringed Instruments, Public . F'nck._ etc. Enrollment m all bra School Music, Theoretical and Historical branches 31st Season—October 2, 1916. . Send for circulars and catalogue Moderate. Address Secretary, 126 and 128 West 79th St., New York City JOHN B. CALVERT, D,D„ Pres,KATE S. CHITTENDEN, Dean |\|ew England , Dormitory Established

Conservatory Privileges for 1869 INTERNATIONAL Year Opei Director OF MUSIC Sept. 21st, 1916 Ithaca Conservatory Ladies and by BOSTON, MASS. A Conservatory that offers not merely the oppor- Also Church and Concert Engagements The Largest and Best Equipped School of Music complctc musical education; that develops not Gentlemen William H. Dana Located in the music center of America. It affords pupils the environment and atmosphere s CARNEGIE HALL, NEW YORK 'cal education. Its complete organization, its imposing Conservatory Building, splendi advantages for those who look forward to concert Residence Building offer exceptional facilities for students. work, for special attention is given to Lyceum Complete Curriculum. Courses in every branch of Music, applied and theoretical, including Oper; training, the Conservatory being actively asso¬ Iwing to the practical training of students in our Normal Department, graduates are much i ciated with a flourishing Entertainment Bureau Granberry Piano School and having several of its own companies in the Lyceum field. Ithaca Conservatory students are

SUMMER NORMAL s^advanced pupils in actical training in ac School of Expression and Dramatic Art associated Art t"1-"8 RALPH L. FLANDERS, General Manager. DANA’S MUSICAL INSTITUTE i Schools of piano and Organ, violin, singing, harmony, composition and orchestration, band and small string instruments, languages, painting, ADVANTAGES A DAILY REHEARSAL IN BAND for band pupils Crane Normal Institute of Music OF THE CITY OF guished faculty. Beautiful, commodious build¬ A DAILY LESSON IN YOUR CHOSEN STUDY Training School lor Supervisors of Music NEW YORK ings, with concert hall and dormitories. Resident A DAILY LESSON IN THEORY FOUR HOURS OF PRACTICE DAILY BOTH SEXES INSTITUTE OF MUSICAL ART Frank Damrosch, Director derate. Catalog A DAILY LESSON IN MUSICAL HISTORY CONCERTS AND RECITALS ONCE EACH WEEK AN ENDOWED SCHOOL OF MUSIC and booklets, addrei Voice culture, sight-singing, car-training, harmony, A DAILY LESSON IN SOLFEGGIO WEEKLY CHORUS REHEARSALS The opportunities of the Institute are intended only for students of natural ability A DAILY REHEARSAL IN ORCHESTRA for orchestral pupils SPECIAL INSTRUCTION IN ENSEMBLE PLAYING with an earnest purpose to do serious work, and no others will be accepted. For catalogue including octette, sextette, quartette, trio and duo, for such instruments as are used in these combinations. 53 MAIN ST.,’ y POTSDAM, NEW YORK and full information address SECRETARY, 120 Claremont Avenue, New York. BRANCHES TAUGHT Piano, Organ, Stringed Instruments, Woodwind Instruments, Brass Instruments and Percussion, ALBERT ROSS PARSONS Public School Music and Voice. All branches of Theory taught by Modern Methods. THE NEW VIRGIL For illustrated catalogue, address LYNN B. DANA, President, Desk “E,” Warren, O. Students Qualified 10 playing develops Jn- , skillful pedali as Concert Pianists .— —.. —-- PRACTICE CLAVIER , _ —iN. Y. Musical Cou> i, < ) Appl, lor ptnonal instruction lo Far superior in its latest construction to any and Teachers : : Albert Ross Parsons, St“‘nw!7.”^rkcny,.4,hSl' other instrument for teaching and practice. Schools and Colleges Schools and Colleges < MICHIGAN VIRGIL SCHOOL OF MUSIC MICHIGAN ^ Y For Eart*cu)ars address Secretary VIRGIL PIANO CONSERVATORY MICHIGAN STATE NORMAL COLLEGE £• VIRG1L Executive Office, 567 Third Ave., New York City CONSERVATORY OF MUSIC The most efficient school in America ▼ OR A. K. VIRGIL, ST. PETERSBURG, FLA. MICHIGAN ig, piano, organ, violin and theory. The “Tek” Results tell of music study Director Conservatory of Music, x 9, Ypsilanti, Michigan. BURRO WES COURSE 19 reasons why the Be a Teacher ol Music Year Course Kindergarten and Primary—Correspondence or Personal Instruction Happy Pupils—Satisfied Parents—Prosperous Teachers. Classes are doubled by use of this method “Tek” excels the Teach music in the Public Schools. The pay is good and the UNIVERSITY SCHOOL work pleasant. We offer a complete and thorough course £ptaSrsto KATHARINE BURRO WES OF MUSIC piano for practice. in Public School Music that may be finished in one yean We ALBERT A. STANLEY, A.M., Director also teach Drawing, Home Economics, Physical Training, Ann Arbor, Michigan in the West Conservatory, Catalogs Manual Training, Industrial Arts, Penmanship. Strong Advanced courses are offered in aU branches of faculty, beautiful location, unsurpassed equipment. Also two-year Offers courses in Piano,Voice,Violin.Organ, request Theory, Public School Music and Drawing, The Courtright System of Musical Kindergarten course. Catalogue sent free. Oral Interpretation, etc. Work based on “A GATHERING PLACE FOR best modern and educational principles. ADVANCED STUDENTS” . k j_ucting children . .... Children taught by th For detailed Numerous Lectures, Concerts and Recitals throughout the year. Students’ Orchesl Fall Semester begins October 4 TAUGHT BY CORRESPONDENCE A. M. VIRGIL, President address Branch Studios. Excellent Dormitory commodations. Teachers’ certificates, dip¬ 11 West 68th Street NEW YORK Thomas Normal THE SECRETARY lomas and degrees conferred. Many Send for announcement 3029 West Grand Boulevard CHARLES A. SINK, Secretary Training School Detroit, Micb. TFAGWFPC Your Name Should Appear in Take a few minutes to study the THE von ENDE SCHOOL of MUSIC p.an,stEsS ------school announcements on these “The Foremost Musical Institution of Americ pages. Here are the best Colleges, ORGANISTS DISS2?Y GUY BEVIER WILLIAMS Conservatories, Schools in NEW YORK CITY artistic pianoforte playing valuable course in modern pedagogy America. SINGERS TJhe rost is advantage is inestimable. Write for Booklet Please mention THE ETUDE when addressing our adve; m m THE ETUDE when addressing 612 THE ETUDE THE ETUDE

33-= =*3= Schools and Colleges Schools and Colleges IULINOIS- -INDIANA—MINNESOTA-PENNSYLVANIA-IA SOUTHERN BALTIMORE CHICAGO School of Music of Shenandoah ESTABLISHED 1857 BALTIMORE, MD. THE COLUMBIA SCHOOL OF MUSIC Collegiate Institute VOCAL TEACHERS CLARE OSBORNE REED, Director For students of all branches of music, .! MIDDLE WESTERN D. A. CLIPPINGER, 1208 Kimball Hall, Chicago. Fall Term begins September 4th this school offers unusual opportunities for MAME BARBEREUX PARRY, 514 Fine Arts Bldg., Chicago 1 complete and thorough education. For En¬ PIANO—VOICE VIOLIN—THEORY- m semble playing, there is an orchestra of 26 pieces, a beginners’ band of 24 pieces Chicago’s Foremost School of Musii and the 2nd Regimental Band of 28 pieces. Weekly concerts. Peabody Conservatory of Music Offers courses in piano, voice, violin, organ, Two manual organs (Hook and Hastings and M. P. Moller) offer a most PUBLIC SCHOOL MUSIC public school music, theory, orchestral in¬ unique department in organ playing. The violin department is unusually strong. HAROLD RANDOLPH, Director Louise Burton struments, etc. Walton Pyre School of r address registrar it it S09 SOUTH WABASH AVENUE, CHICAGO Dramatic Art and Expression. Superior Other advantages —Piano tuning. Voice culture. Elocution and Physical Culture, SOPRANO Normal Training School, supplies teachsrs for Arts and Crafts. Rates: $200 to $275. No extras. 4Istye ar. For Catalog, ADDRESS BOX 110 DAYTON, VA. The oldest and most noted School of Music in the THEHADLEYSCHOOLOFMUSIC, Inc. country. in Voice, Piano, Violin, * * positions. We a’ WILSON-GREENE SCHOOL OF music An exceptionally strong staff of teachers and a . Terms Moder, Address Dept. C >4 E. Jackson St., Chicago, BRENAU Eii^irBrf'br'tae'worid'i'srMteit madSa.1"J’oloe.'pUmll'vtoUn^ thorough equipment for instruction from begin¬ COLLEGE - CONSERVATOR! ning to completion in all branches. WESTERN CONSERVATORY Thi"«r"d GAINESVILLE, GA. All Branches of Music, also Dramatic Art and Languages Fall Term begins October 1st. Circulars mailed on request. Fall Session begins July 12th NORMAL COLLEGE COURSE FOR TEACHERS Deslrabledormitory accommodations. Numerous lectures, concerts and recitals throughout ths Standard College Courses — Special six thousand pupils’ have been enrolled State 'charter'. school year. Teachers' Certificates. Diplomas Send for Catalog. E. H. SCOTT, Pres., Mailers Bldg., CHICAGO and Degrees conferred by authority of the state Courses in Music, Oratory, Art, Domes¬ of Illinois. Students' Orchestra. Many free tic Science. Location, foot hills of Blue Eastern Conservatory of Music U Sum mer Schools « mer .Schoo 1 s Thirty-first session begins Sep¬ Ridge, near Atlanta. 7 National Sorori¬ OPENS SEPTEMBER 21st tember 7th.’1916. (A Department of Eastern College) TEXAS NEW JERSEY CHICAGO MUSICAL COLLEGE The Cons! ties. Attractive social life. Non-sectarian. ,1 Institution. In the ciuntrr/ Eight? 27 States represented. Write for descrip¬ Founded 1867. Dr. F. ZIegfeld, Pres. Emeritus. Effa Ellis Perfield achera. many of international reputation. Lo tive book and catalogue. catod In new magnificent sixteen '1 :: PEDAGOGY story Kimball HaliBulldlng. . SUMMER NORMAL HEPARD BRENAU, Georgia, Gainesville, Box 97. DR. H. U. ROOP, Pres., Manassas, Va„ Box R based on Inner Feeling, Reasoning ) For free ettakn am) fernral bfonufioe. UNEXCELLED OPPORTUNITY \ OYSTEMS CUMMER and Drills, teaches teachers how to teach f Address. 671 KIMBALl HALL OiartlL Second Term, July 15. Fall Term, Sep. 10. p f OIMPLIFY OTUDY HAHN MUSIC SCHOOL f and Performer, CARL D. KINSEY, Mgr., 3919 S. Junius St. DALLAS, TEXAS g CINCINNATI CONSERVATORY of MUSIC, establi SHEPARD SCHOOL OF MUSIC, Orange, N. J. The Mary Wood Chase School of Musical Arts CLARA BAUR. Found rea. MARY WOOD CHASE, Director, Author of Natural Law. in Piano Technic Centralizing Faculty of International Reputation All Departments Open Throughout the Summer Most successful schools Summer School, Epworth, Ludington, Mich. Fifth Season July 10th to August 19th School of Elocution—MUSIC—Languages * M h d V d T c-ar i raining, narmontc Effa Ellis Perfield Music School, Inc. started years ago advertis¬ LYON AND HEALY BUILDING, CHICAGO Music PUBLIC SCHOOL MUSIC Atlanta Conservatory of Music ing for their pupils of The foremost school of fine a. __ Certrude Radle-Paradis Location and surroundings ideal for Summer study today. Today they are ad¬ For Catalogue 1 ~ ’ *JJ in the South. Advantages equal Training Music Teachers to Teach MISS BERTHA BAUR, Directress, Highland Avenue and Oak St., Cincinnati, 0. to those anywhere. vertising for their pupils of Centralizing School of Acting Fall Term begins September 4th. Edwarda-uwnrci Dvorak,uvoran, Director tomorrow. chools and Colleges of^vTifsie^by mad?.’** YoiTrnay0^a^successlufper- Send for Catalogue. ATLANTA, GA. MINNESOTA Pepartments: Piano, Theory, Voice, Violin, ray to increase your income. Write Now-Today. Violoncello, Expression. Send for Booklet. Bonus System of Mu.icel Education Summer ^Schools NEW HOME of the MINNEAPOLIS SCHOOL of MUSIC )ec“tur Illinois ORATORY AND DRAMATIC ART NEW YORK INDIANA conn, practice room., office., a l/rge reception h?lhc)Mkra^7vitr^‘Vuiu\ 1|acitOT.Wud,™>?Mibil*ttl irpMeln^'Ntrih1' £j°orj,tlot“* «“j* fttrniiiMnj.are modern and »rU«io in every re.peot and It I. the l.rgi Summer Schools SCHOOL OF MUSIC DUNNING SYSTEM MASSACHUSETTS d. Special Bummer Seagton, June IJthto At^t7tt?HlM?rct^Vstalog"'l"eu^ renaSt! FaUterm < VALPARAISO UNIVERSITY Accredited The University School of Music offers courses in Plane „ -VALPARAISO.r~. ' • INDIANA. Mudc Sch^lP.‘S1°'^ °'cetVio,Iin- Organ, Theory and Public School Music. IMPROVED MUSIC STUDY FOR BEGINNERS K EXPENSF*^ STOte-2fk « the University. A HEART TO HEART TALK WITH TEACHERS LOWEST' THE FLETCHER MUSIC METHOD Progress the Demand of the Hour The Original Musical Kindergarten and Simplex Method of America y. Vic , Schools and Colleges Are you .atisfied with resulu in teaching beginners? Are you satisfied to let a noth'r year pass wil Brought to America through the interest of the New England Conservatory eighteen years out availing yourself of the opportunity to possess » Mnsic^ Trainmg. wh.^s. hundreds of teachers w PENNSYLVANIA ago; and during that time taught to over 700 music teachers (every one of whom could be lethod of instruction whi employed in Boston alone); the demand is growing rapidly for Fletcher Music Method jr old pupils a SCHOOL OF teachers in spite of the many cheap copies of this system. THE SUMMER SCHOOL WILL BE DIVIDED INTO TWO CLASSESi NOBM^^EtiVATOlf , Schools and Collides NORMAL TRAINING CLASSES FOR 1916 THE FIRST OPENING MAY 29th, AND THE SECOND OPENING JULY 10th PIANO TUNING Mrs. Carre Louise Dunning, 8 W. 40th St., New York. Normal Class. In the 200 hours of instruction, which last eight weeks, more ground is covered in practical Piano Tuning, Regulating and Repairing taught by MISSOURI Portland, Oregon, June 26th. Chicago, Aug. 6th. New York, Sept. 21st. harmony than is covered in any Conservatory in two years. Mrs. Addye Yeargain Hall, Musical Arts Bldg., St. Louis, Mo. Normal Class, June 16th. _ , Read, “WHAT IS IN THE FLETCHER MUSIC METHOD,” Price $2.00 Mrs. Chauncey Bever, Normal Class for Teachers, Billings, Mont., For full information regarding Normal classes and lectures for Educational, CONSERVATORY Musical, and Mothers' Clubs, apply directly to —...vv, e.ucut.on, business set- Conservatory of Music under direct! Mrs. Jay Rector Bevitt, 3914 Third Ave., San Diego, Cal., July 19th. MRS. EVELYN FLETCHER-COPP, 31 YORK TERRACE, BROOKLINE, MASS. D , 7- “7 unaer direction of J.J- C. Eisenberg, graduate of RnvalRoyal Conservatory.Cnnaarva tn.,r TLetpsic, J».:. f~>Germany,_ maintains 1 ” highest standard. Piano, PITTSBURGH MUSICAL New Grand and Upright pianos. Fall termSeot ! INSTITUTE, Inc. Address: Director C. W. C., Warrenton, Missouri. & P 12‘ Catalo8free- Send 4259 Fifth Avenue Pittsburgh NEW YORK SCHOOL OF MUSIC AND ARTS Low Rates for Beginners Central Park West, < jr. 95th St., New York City :: RALFE LEECH STERNER, Director Catalog and Bulletins upon Request BEETHOVEN CONSERVATORY at handsome Cetelogue to tb Unsurpassed beauty of scene faring Central Park, One of the oldest and best Music Schools in the United States -- BROS. EPSTEIN Special Summer Teachers’Courses which is the finest location in New York City. The National School ol Elocution and Oratory TS Mtef THEETUDE have knowledge of or personal acquaintance with r E. R. KROEGER MANY EUROPEAN CELEBRITIES AND EMINENT AMERICAN TEACHERS, including The oldest chartered schoolof Exprea^oni- *- grees granted. Public Speaking. Physical Training. Eng¬ nL ?! announcements on these forestpark Piano Arthur Friedheim the Great Virtuoso; Liszt’s Greatest Pupil. Voice—Ralfe Leech Sterner, Celebrated Vocal Teacher. Violin—Clarence DeVaux Royer, the lish, Dramatic Art. Professional and Finishing Courses, ges. In collecting these announcements we are performing an important service to Dormitories. For catalog, address D. A. Shoemaker. Prln. Nordstrom Carter, Voice. S&JTy^.. Eminent Violinist. ’Cello_Paulo Gruppe, World’s Greatest ’Cellist. Harriette Brower, Harold A. Fix, S. Reid Spencer, Frank Howard Warner, and many others. Pennsylvania, Philadelphia—929 Parkway Building °“li St ndyt ‘j®*® adv,ert'sements carefully, and correspond with them You Senior and Junior Colleges.Prep.aodCollegeofMu.i will find them all glad to send information, terms, etc. THEO. PRESSER COMPANY ANNA S. CAIRNS. DORMITORIES IN SCHOOL BUILDINGS AND PROPER CHAPERONAGE. OPEN THE ENTIRE YEAR. PUPILS MAY ENTER ANY DAY. TWO PUBLIC CONCERTS EVERY:y Preiident. St, Loui,. WEEK. TERMS, INCLUDING TUITION. BOARD, PRACTICING, ETC., ON APPLICATION.n SEND FOR BOOKLET AND BOOK OF VIEWS.s. Tlease mention THE ETUDE when addressing our advertisers. COLLEGE Please mention THE ETUDE when addressing our advertisers.

eJ 614 THE ETUDE THE ETUDE 615

Musical Questions nmmgr Schools INSTITUTIONS OF LEARNINGII..I EASTERN CHICAGO, ILLINOIS WANTED—An honor graduate wishes to hours the corn completely disap¬ p>Su^~TPrcpV>‘t°ry.i. waw. work her way in music school. Three years’ UNIVERSITY SCHOOL FOR GIRLS BLUE RIDGE COLLEGE, gST 75 experience in teaching. Wishes to study anthems, related es yy pears. The action is gentle. No 1106 Lake Shore Drive who wrote “Jesus, L,over o^nature’s^eauty of Musk Xr3s piano and organ. E. G., care Etude. > results. It is sure and scientific and final. Millions of JUNE 26th .to JULY 28th “Hark, the Herald Angels WANTED—By teacher and soprano soloist Rev. Charles Wesley of th people keep free from corns in this easy, simple way. Please FOR ass.in Voi“-Piano a m- McFERRIN SCHOOL, £ John Wesley t- T “ A. Yes. Th(e Rev. Charles Wesley, famous try it. Blue-jay is something Basic.Va. Locat- Boys and Girls. Prepares for college. Erpeme, MR. and MRS. CROSBY ADAMS TEACHERS AND STUDENTS OF MUSIC- BRANDON INSTITUTE, as a writer of _ _, __ you should not go without And PIANOFORTE, VOCAL, KINDERGARTEN reasonable For catalog and information, write to younger brother of John Wesley, the founder doah Valley near the Bine Ridge; el< G. L. Morelock. Principal. ■Ml ‘~ e^T “ r Classes for Teacheri of Piano AND PUBLIC SCHOOL 16 „,..,n..r train References. Address M. F. L., c Methodism. John also wrotei nnumerous nothing can take its place. Blue=jay hhsi-i Mimmm isinr CHILD’S OWN BOOK OF GREAT MUSICIANS A charming series of useful books for little folks By THOMAS TAPPER J^gSLj^ss. aau-ste JSsirWB |g|glggg^

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Have You Studied Harmony? “I couldn’t get along ^TARS of the without Ingram’s Movies, who Milkweed Cream and Velveola Souveraine. Every must stand the yvoman should get the severe test of the ‘beauty’ that is, truly, ‘in camera, especially ap¬ every jar’ and in every In¬ gram box and bottle, too.” preciate the great value of (Signed) Ingram’s Toilet Creations. MARY FULLER To keep the complexion fair and free from blemish, January 31, 1916 skin disorders and sallowncss, there is nothing equal to What Ingram’s products do for famous beauties they can do for YOU— Ingram’s Milkweed Cream Take by Mail, postpaid 50c and $1 Advantage Preserves Good Complexions—Improves Bad Complexions of This Offer Ingiam’s Send us 6c in stamps to cover cost of packing and mailing, and get is a face powder that beautifies, conceals blem¬ free our Guest Room Package con¬ taining Ingram’s Face Powder and ishes and is sure to stay on. 50 cents—4 shades. Rouge in novel purse packets, and Ingram’s Rouge is the “pink of perfection.” Milkweed Cream, Zodenta Tooth Powder and Perfume in Guest Room Ingram’s Perfumes and Toilet Waters are sizes. Address “doubles” of real flowers. See free offer in left-hand panel. Write. F. F. Ingram Co. 43 Tenth St. Letroit, U. S. A. FREDERICK F. INGRAM CO. Windsor, Ont. Mahers of Milkweed Cream Established 1885 Windsor, Ont. 43 Tenth St., Detroit, U. S. A.

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