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

9-1-1946 Volume 64, Number 09 (September 1946) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 64, Number 09 (September 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/191

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THE AMERICAN PREMIERE of the Ninth Shostakovich was symphonic Symphony of Dimitri r— Gamfd&teL SIEGMEISTER’S new of ELIE feature of the opening concert -nsta-t.0, Brooklyn,” had its the work, "Sunday in Berkshire festival on July 25 wano the Gen- the Ninth STUDY? II ERn world premiere on July 21 on Orchestra con- 1 TO WOod Boston Symphony SHALL GO IE rn, m the Air, when by the WHERE NOTE eral Motors Symphony of Koussevitzky. An audi- NEW Orchestra ducted by Serge played by the NBC Symphony greeted the work. ence of eight thousand Kurtz. The work de- directed by Efrem press reports, the new opus the Sunday According to Teachers (New York City) picts in five brief movements and sometimes paro- Private the is “prevailingly gay Private Teachers (Western) afternoon diversions of Brooklynites, and makes no pre- respectively, distic in tone . . . being entitled -of HELEN ANDERSON sections the epic or oracular vein FREDERICK DAVIS Driver, Family tenses to HAROLD Concert Pianist Prospect Park, Sunday Eighth symphonies VOICE Coney the Seventh and piano, harmony £ Children’s Story, and of Interesting course— grao at Home, immediately preceded it. •! National Association which Member Successful Pupils Singing Many m Teachers of TeLJc_4Jl385 1 66 72nd St.. N. Y. C. Salt Lake City 1. Utah W. emi- 1 406 Templeton Building FERDE GROFE, for appointment BOYD THE CHAUTAUQUA | Phone 3-0316 (or 4-5746) ^ MARY BOXALL nent American composer (Leschetizky) OPERA ASSOCIATION, orchestra leader, Pianist and Teacher 1 Val- and HURLBUT hot,(1 directed by Alfredo with whom 1 have HAROLD Of all pianoforte teachers Sequence has presented to The Li- Mary Boral Boyd 1 Perfect Uninterrupted presented in July Paris New York—Hollywood o do. either os pupil or associate, enti, — Leland Hall, "rot. 1 1 Progression brary of Congress the of S.nglng s, in my opinion, the best. — series of Member Natl. Assn, ol Teachers natural and August a J at Smith College. manuscript of Metropolitan °P e iano Naw YorkT or x 1 original I Developer of Singers of f°i Studios. 113 W. 57th St., New teacher appeal performances of tit. YO0YcUE *dd. c/o/ Nola combine, student end A|. opera Opera. So. Calif. Opera Radio, teachers and ^cUsnts, 1 course that piano-orchestra ver- I caqo Gity N Y. Summer classes for Th. each his Fischer & Bro., N. Y.. p ubl Island. 1 successful course d.V,s.d to sustain six different operas, 1 FUNDAMENTALS" (J. 15th— Mill Hill, Nantucket th. most BlspBa une 15th to Sept. ready acclaimed sion of the celebrated I Endorsed by W. J. Henderson, ™' a enthusiasm. Smooth step-by-step ad- having been given Hollywood. Calif. Mass. 1 ! j and one the scores and libretti I Beochwood Dr included such examinations on Rhapsody in Blue, writ- 2150 the element, of piano technic with performances. They of music education have Tel. Gl. 1056 combining two they desire to at- FREDERIC FREEMANTEL vancement, Director of Music of the operas which ten by the late George were: “The Gondoliers,” important positions as melody. Josephine Each year one hundred and fifty twenty- Ferde Grofe Voice Instruction Ball,” “La public schools of Indianapolis, tend. Gershwinnearly ANGELL lessons, Antoine "The Masked in the SYDNEY LEE Author of 24 home study 1 students have been allowed to hear at ago. Mr. Grofe feels that this Voice Productions and Rigo- Cincinnati, Albany, Baltimore, and as five years PIANO TEACHER 'The Fundamental Principals of 1 ONE Rondine,” “Romeo and Juliet,” chaperones ac- Sing Them I ^ . opera. Faculty the Ameri- Singing"; also "High Tones and How to GRADE , ... ,, educational depart- least one work, so much acclaimed by Eminent Teachers lesson the studjni actually Butterfly.” Princi- head of the music One of America's Studios: 205 West 57th Street In the very first letto,” and “Madama students to and from the opera. right- Talented Beginners University company can people, “belongs to them and Advanced Pupils or Circle 7 ' 5420 Simple, direct, modern approach Josephine An- ments at Bowling Green State York City ri10ne 1 1 begins to play. roles were sung by splendidly at Correspondence Solicited New pal The plan has worked out should be in the national center of foundation in piano playing. Contents and others. Al- (Ohio) and New York University. fully e "ver Col °' to a solid Hugh Thompson, , Co. per- ' toine, Chicago Opera suc- I 2065 Clarkson St. ? 1 Teaching Material- Hinsdale and the the people’s culture.” Much of the OTTO EUGENE KLEISSLER 1 include Descriptive Original Igor Buketoff con- 1' berto Bimboni and schools to purchase tickets Blue” is un- SINGERS! SPEAKERS! VOICE ASPIRANTS! Designs—Visual Transposition—Major mits high cess of the “Rhapsody in ISABEL HUTCHESON corrected I Rhythmic GILBERT AND SULLIVAN’S operetta, Weak, strained, misguided voices quickly of Music—Note Read- ducted. half price. the collaboration Piano Teachers undreamed ol. I and Chords—Theory at questionably due to Teacher for and strengthened to vocal heights Scales “The Mikado,” banned in Japan because work for Teachers: art taught. Beginners ac- 1 Games—Musical Dictionary. orchestration of Ferde Grofe. 1 Modern Piano Technic: Group All oronches of the vocal ing Tests and Emperor, was and Piano Studios New York and I HORNPIPE AND CHAN- of its satirization of the 1 Coaching concert pianists: Conducting cepted. By appointment only. TOM SCOTT’S FOX, prominent organist, Address all correspondence. 1 Ernie Pyle OSCAR J. I Teachers Forum." Newark, New Jersey. orchestral work based on given in Tokyo in July at the 57th St. TEY, a new director of San opera, “Tire Love MUSIC STUDIOS Carnegie Hall, 154 W. „ 1 composer, and choral ITALO MONTEMEZZI’S BROOKS MAYS Trafalgar 735877 1 by the com- Theatre. cast of sixty-five, with a Phone 0-6214 Studio 123, New York City folk tunes, found A the 1 Texas American retired from performed by 1 I005 /, Elm Street, Dallas 2, is sustained through Easy Antonio, Texas, has recently of Three Kings,” was The student interest received its orchestra augmented by a on Nantucket Island, sixty piece direc- Association 1 of the Classics—Original Melodic poser active service after forty years as Cincinnati Summer Opera DOC. CHARLES LAGOURGUE STUDIOS Arrangements the Holly- girls’ ensemble, presented the I EVANGELINE LEHMAN; MUS. Minor and Chromatic premiere on July 21, at Japanese various the composer VOICE PRODUCTION—SINGING- Material—Pedal Studies— world stage tor of music and organist of at the Zoo, on July 9, with Coaching EDUCATION played by the Los An- sparkling music of this well known Mastercourse in Vocal COMPLETE MUSICAL Scales—Rhythmic Development—Construction of wood Bowl, when throughout the state. It is Mr. conducting. CLASSES in 1 spon- churches Teachers Mr. Lagourgue will conduct SUM M ER under Leo- work as one of the productions for Artists, Advanced pupils, and Symphony Orchestra to com- the INTERNATIONAL COLLEGE of Music. geles Fox’s desire to devote more time Light Opera, Radio and Concert SINGING in the Army. I Grand and resort of the French Riviera. sored by Ave.. Detroit (3). Mich. CANNES, renowned pold Stokowski. already has a number of MUSICAL MAGAZINE, “Maestro,” Studio: 167 Elmhurst York Studios. posing. He A NEW 5-8413 For information apply to New Telephone: To. THREE published, the most widely known made its appearance, published in 35 West 57th Street, N.Y.C. GRADE EDWARD KILENYI, recently released songs has Pieces which "sound diffi- SCHUYLER, New to the Original Descriptive PHILIPPA DUKE the Army, being The Hills of Home. far away New Zealand. Devoted O'BRIEN LIVERETTE fifteen, from service as a captain in LUCIA but is in keeping with the third grade — child just turned the new jour- EDITH SYRENE LISTER cult' York’s wonder with the New musical and dramatic arts, Several years assistant to Studies Heller, pianist appeared as soloist in July AUTHENTIC VOICE PRODUCTION Original Etude ; as well as by as a composer and a distinguished tenor of a issues, shows a wide cover- SAMOILOFF was heard Philharmonic-Symphony Orches- KARL JOERN, nal, in its first LAZAR 405 Carnegie Hall, New York City 1 etc.—Sight Reading—Keyboard Harmony with the Phil- York Czemy, first appearance era, now teaching in Denver, its field. The Etude extends hearty Academy Associate Teacher with the late W. on her Stadium, under the by-gone age of Now Teaching in His Collaborator and —Chromatic Studies—Minor Scales and Triads. Orchestra at the tra at the Lewisohn anniver- Calif. Shaw and Endorsed by Dr. Floyd S. Muckey I harmonic-Symphony recently celebrated the fiftieth greetings to “Maestro,” and hopes it will Sixth St. Los Angeles 5, Warren Halasz. He played two 1 3150 West Music Studio, Lancaster, Pa. 1 Schuy- direction of Laszlo Phone Fe 8294 Wednesday: Troup Stadium in July. Miss career, having made life in the Philadelphia, Pa. 1 Lewisohn and sary of his operatic have a long and influential Thursday: 309 Presser Bldg., musical Liszt works, the Danse Macabre GRADE FOOT who has been known for her in 1896. For many years he was PARKS (FRANK) (ERNESTO) ler, Fantasia. his debut music world. HENRY FRANCIS variety of style including an insight to many four, played Hungarian LA FORGE-BERUMEN STUDIOS A greater attainments since she was the leading lyric and Wagnerian tenor forms oi composition — Special Study ol the Sonata Second Piano Concerto; Opera, his role of ORGANIST Voice— Piano Saint-Saens’ of the of the Metropolitan PAUL HINDEMITH has composed a new - Sevonth ANNIVERSARY Forge are: I Form — Diminished Seventh and Dominant under Thor THE TWENTIETH CONDUCTOR Among those who have studied with Mr. La preceding this, the orchestra, von Stolzing in "Die Meister- for piano and orchestra for Crooks, and Talking Pictures by Walter Concerto Marian Anderson, Lawrence Tibbett, Richard 1 Chords and Arpeggios—Etudes for the Contraction Scherzo from the presentation of Johnson, presented her singer” being especially notable. Maria Sanroma. It will have its VOCAL COACH and Mme. Matzenauer. Expansion of the Hand — Valuable Recital Material Brothers, The Western Electric Jesus York “Rumpelstiltskin.” Warner CALIFORNIA 1100 Park Ave., Corner 89th St., New fairy tale, one of the February concerts 1 SAN FRANCISCO through a wealth of Original Compositions and Famous The Bell Telephone Labora- premiere in Tel. Atwater 9-7470 Company, of the Piano Classics. Corporation, THE FIFTH ANNUAL AWARD of the New York Philharmonic-Sym- EDNA GUNNAR PETERSON tories, The RCA Victor McCLANAHAN Price each book the New Music Critics Circle of New York for the Orchestra. The work was promised RICHARD SI.00 QUINCY PORTER, Director of Thomas A. Edison, Inc., and The East- phony Concert Pianist—Artist Teacher TOBIAS MATTHAY American composer Representative THIS WAY Conservatory of Music, has re- celebrated on composition of an in the summer of 1941, when the two class lessons in Fundamentals England man Kodak Company, was Harvard Blvd. Los Angeles. Calif. Private lessons, % among works per- I 229 So. Southwest Harbor, Me. 1 as Professor of considered exceptional artists were teaching at the Berkshire 2597 Summer-class, ceived the appointment 6. The celebration was world FE. New York City I August 801 Steinway Bldg. THIS WAY TO MUSIC Yale School of formed during the past season was won Music Center. Theory of Music in the wide, with special exhibits, scientific con- announcement by Samuel Barber for his Concerto for THE SAMOILOFF by HAZEL COBB Music, according to an ferences, and education forums. Harry STUDIOS & OPERA ACADEMY EDWARD E. TREUMANN Op. 22. The BEL CANTO Yale . Violoncello and Orchestra, A new, simplified, correct way to the intelligent read- by President Charles Seymour of M. Warner, President of Warner Broth- place where you can learn the origina Concert Pianist—Artist-Teacher performance 1 The only ing of notes. reading from Porter will assume his new opus received its first Method which developed sue Emil Von Sauer, Moritz Moszkowski 1 Miss Cobb employs lateral University. Prof. said in a preliminary statement: invisible I Samoiloff Bel Canto Recommended by ers, by the Boston DL CL oir EDDY, BIANC/ rapid in Brooklyn, outstanding voices as NELSON and Joseph Hofmann. nine known notes to give the 3tudent a more month. like other revolu- last April many others. Nov post this "The talking picture, DIMITRI ONOFRI and St. 7th Ave. conducted by Serge critic, I SAROYA, Studio Carnegie Hall, Suite 837, 57th at 1 knowledge of note placement on the stall Tuneful, was Symphony Orchestra PAUL ROSENFELD, music and art 1 under the direction of Zepha Samoiloff. New York City 1 tionary technological achievements, Tel. Columbus 5-4357 original Pro- known as a Los Angeles melodies enhance the desire to learn. Koussevitzky. and author, particularly I Write for Catalog, 3150 West Sixth St., Summer Master Class—June 15 to August 15. has been introduced by product of invention and research fusely illustrated, A CLARINET the 8294 No charge for Auditio the book develops extraordinary champion of modern and serious music, I Phone FE Selmar Instrument Company, espe- by many different scientists over a long MMF filOVANNA VIOLA skill through its progressive planning. the City. vet- this THE SALZBURG FES- died July 21, in New York Soprano cially contrived for the use of a war period of years. We intend to make ELIZABETH SIMPSON Dramatic — Price 75c TIVAL, which opened Teacher of Singing "Be] Canto" eran who had lost two fingers of his left anniversary the occasion for honoring "Basic Pianoforte Technique" trained Artist pianist, Author of Experienced European pioneers who August first and con- FRANCIS MOORE, concert Young Artists Opera, Concert and Radio hand. all of those far-seeing 1 Teacher of Teachers. Coach of Coaching TWO UNUSUAL the who as young Class Course: production, defective singing corrected 1 PIANO BOOKS by STANFORD KING scientific tinued throughout teacher, and composer, a I Pupils" Prepared for Concert Work. Correct voice contributed so much in the Pianistic Interpretation, Norma Beginners accepted three accompanist for Fritz i echnique. month, included had been 1 in ORCHES- research that made the talking picture man I Methods tor Piano Teachers. Phone: Trafalgar 7-8230 THE ATLANTA SYMPHONY Giovanni,” Powell, New Y4rk City 1 A BOY operas, “Don Kreisler, Mischa Elman, Maud Francisco; 8 Weil 84th Street A GIRL Youth possible.” I 609 Sutter St., San TRA, the outgrowth of the Atlanta musi- Webster St., Berkeley, Cal. “Figaro,” and “Der Ros- Johanna Gadski, and other noted 2833 And His PIANO And Orchestra, of Atlanta, Geor- PRY^TAl 1 Her Symphony V/|v 1 J 1 A l_ WATERSVY A LI\J PIANO enkavalier,” and a num- cians, died on July 11 at Pelham Manor, The boys' own piano book! Original launched on its career this help students attend grand DR. FRANCIS L. YORK of Voice Early grade pieces for the girl, depic- gia, will be A PLAN to the he had Teacher piano ber of concerts -by Victor New York. For twenty-five years Interpretation and the Theory worl pieces typical of boys' pas- of Henry Sop- devised by a 1 Advance Piano Radio, Screen, Concert tive jump- fall, under the direction opera performances was Mus. Bach., and Mus. times of such enjoyments as Viennese Philharmonic de Sabata been accompanist for the Mendelssohn 1 required for the degrees of and a great interest-sustainer. conducted the in the Hinsdale Town- interpretation. Opera, Pedagogy kin, who successfully group of people I Mas. Special Chopin Among the descriptive compositions rope, hop-scotch, window shopping, Orchestra. The conduc- Glee Club of New York. 405 E. 54th St. New York City 1 initial concerts School, Hinsdale, Illinois. DETROIT CONSERVATORY OF MUSIC are Youth Orchestra in its ship High de Sabata, Charles Tel. Vo. 5-1362 "A Hike Through the Woods" birthday parties. 21 compositions, tors included Victor Detroit, Mich. group of influential citi- gives what is known as the Sailboating", "In last season. A This group Barbirolli, Malcolm Sar- well known pianist, a Helicopter", with helpful illustra- Muench, John MICHAEL ZADORA, Halloween suggestions and zens of the southern city has formed Hinsdale Opera Tea once a year, and Pranks", "The Old Salt's gent, Ernest Ansermet, Karl Schuricht, former faculty member of the Institute tions accompanying piece. Guild, for the “benefit” funds are Tale and 16 others. each the Atlanta Symphony from this annual be- and Herbert von Karajan. Plans are of Musical Art, now merged with the securing subscriptions for THE ETUDE. Part or the new orchestra on are utilized t’o buy tickets Price purpose of placing raised which pre- or Obligation. $0c each to place the festival on its Juilliard School of Music, died in New full. time. No Cost Write fof com- attend the Chicago ing made a permanent basis. for music students to founder plete details TODAY1 Address: status by the summer of 1947. An York City on June 30. He was Civic Opera. Artists from the opera war CIRCULATION DEP’T is being considered, and president of the Busoni Society. the tea and give their all-American week DR. ERNEST G. HESSER, Director of company attend by WAN THE ETUDE MUSIC MAGAZINE all programs to be presented MILLS services while the music students serve with CHESTNUT ST., PHILA., PA. Music in the Baltimore Public Schools, VASSILIEVICH ALEXAN- 1712 MUSIC, INC. American conductors and soloists. It is ALEXANDER public school tea. A fee of twenty-five cents is charged 1619 has retired from active classes at DROV, composer of the Soviet National Broadway, New York Y. receive also the intention to reopen 19. N. Dr. He'sser’s activities for tickets. Qualified students music supervision. year. Anthem, died July 9 in Russia. their ability to pass the Mozarteum next during forty years of service in the field ticke'ts based upon WITH MUSIC" 481 SEPTEMBER, 1946 "FORWARD MARCH '

Editorial

Wjuiicaf f^iotd

disturbance, and Macready the military called out to quell the by after Forrest died in> 1 872!, was obliged to go back to England. establish the hand so amassing a fortune which enabled him to and actresses, m Fhila- Edwin Forrest Home, for aged actors

since passed that American audiences, in the main, have long came down to the foot- period when an actor with clinched fists “There are only two kind lights and yelled to a hissing audience, geese!” In the frontier own , of beasts that hiss—snakes and did its hissing wi P the audience was not appreciative, it of the humor o One of the most amusing evidences shots. . Please told, he keeps on his desk . cal President is the sign, we are can. pianist. He’s doing the best he don’t shoot the # to an end m Eui ope. Musical riots by no means have come countries is so volatile temperament of the people in many of the can ignite old prejudices a and so excitable that the least spark remember a scene enmities and turn an audience into a turmoil. We provincial town. The audience v as in an Italian opera house in a pleasure-loving Italians. A MUSIC AND CULTURE composed of the usual large crowd of How to Improve Your Sight Reading Ellen Amey 484 the opera threw the whole house as if Personal History in Music Vincent Sheean 485 simple turn in the plot of screams and how s Dressing for the Concert Stage Vyvyan Donner 487 RIOT AT THE GRAND OPERA explosion, into an uproar. There were Report to the Nation Edtcin Franko Goldman 489 from an performance oi "Tannhauser" in Paris national anthem and the After a of derision. The orchestra played the MUSIC IN THE HOME for silence. The only solution was A Wealth of New Records Peter Hugh Reed 490 management pleaded and prayed Civil War our country was very The Etude Music Lover’s Bookshelf B. Meredith Cadman 491 P TO THE TIME of the They marched out of giving the auditors back their money. importations from Europe, not only that MUSIC AND STUDY largely dependent upon revenge in their eyes and mayhem m educa- past the box office with The Teacher’s Round Table Dr. Guy Maier 492 for material goods but also for science, philosophy, Yehudi Menuhin’s Magic Bow U Joseph Wechsberg 493 souls. and their . Publishing International influences still exist today, a Popular Song Helmy Kresa 494 tion, and the arts. outskirts of Madrid, there was / Great Sopranos of Yesterday Again, in a little theater on the Elisc Lathrop 495 economic standpoint, infinitely more materials are now Piano Solo Arrangements ) Reminders About Music Study Kathryn Sanders Ricder 496 from an combination opera, revue, of America’s Favorite a characteristic Zarzuela, that Iberian Taking Up the "Slack" of a Church Service George S Schuler 497 than at the beginning of the century. Many / i “Band imported to America rival tenors took part in the Concert Tonight" William B. Tower 498 concert, vaudeville, and ballet. Two } Dento-Facial Irregularity in our lives, as we found out when / and Embouchure (Part 3) of these are very precious assets malice in POPULAR SONG CLASSICS tenor had a small army of partisans with ) Edward A. Cheney and Byron O. Hughes 499 pineapples, program. Each ) off such things as coffee, sugar, bananas, How an Ex-Soldier Regained His Violin Technique Samuel G. Jaggar 501 the war cut his rival’s cohorts commenced ) their eyes. When one started to sing, / Your best-loved songs brilliantly arranged for piano Questions and Answers Dr. culture, science, and art, by Kar[ w Cehrkens 502 rubber, tin, quinine, and so on. European floor. '/ ) Overcoming Piano Difficulties by Exaggeration sneeze, yawn, and spit upon the D. Savino. Indispensable for teachers and students and a Chester Harris 503 plants not to shuffle their feet, cough, What Is the Outlook for a One-Armed Pianist? thousands of gorgeous flowering / Paul Wittgenstein 504 to say nothing of the that the singer could barely be heai d, / ricli source of delight in the home. writing of this When the hubbub got so bad t MUSIC our country, which at the time of the / indigenous to threaten, and shout for silence. Classic and Contemporary his partisans would rise and plead, t Selections whole land a glorious garden, are indispensables ) . ALICE BLUE Wine in editorial make the spit the GOWN . . ROSE ROOM New Grinzing slap a man’s face and we saw a man m / Robert S( , Q 746 505 with We saw a woman / n rIa Ce °- 7 back to Germany and Japan, .AT SUNDOWN Johannes Brahms 508 in our lives. Now we are giving so menacing . . SLEEP became } Rv fhp Rrr r another partisan. Finally, the scene ) Karganoff, Op. 25, No. 6 510 the highest face of Prelude in D major magnanimity after their attack on . unprecedented fiiend CHARMAINE . . SONG OF LOVE f Abram Chasins, Op. 10. No. 5 511 asked a Spanish composer > from that we fled from the theater. We 512 civilization, the daily bread which will keep them . ) in DIANE . . things every night.” ) SWEET AND LOVELY 513 said, “That’s nothing. They do that Drifting in the Moonlight about it and he ) t oofT . 514 starvation. / DRUMS IN MY HEART . . TEMPTATION opera, and the concert, Dancing Shadows . France, at the theater, the 514 imported Audiences in i Chanson Triste (Piano Duet) cultural values which we have GREAT DAY .'.'.V.'.P. With all the material and this . . TIME ON MY HANDS Tschaikowsky. Op 40 No. 2 516 in expressing their feelings. At times worst of all, are highly independent / Vocal and Instrumental Compositions come many malignancies, diseases, pests, and AM I . . have it because the HOW TO KNOW . THE RANGERS’ SONG ) by political humidity, but usually is / ' SOn diu voice) of dollars to stamp is influenced '/ ™ Sydney King Resell 518 which are costing billions I Autumn™ ™ cancerous ideologies IF Beauty HAD YOU . . THREE O’CLOCK IN “ If the music at the pei- ) lltam 519 like what they hear. Danse Rustique (Violin)... A. Wolf auditors just don’t IF ) Felix Borowski 520 out. ) LOVE WERE ALL THE MORNING .... banal, or if it is bizarre, or if it is impossibly mod- Delightful Pieces for Young musical riots. formance is '/ > Players Aipong the things that we have not imported are IN A LITTLE . . VOICE IN THE Merry Majorette into minor revolution. OLD '/ _ ern,” the audience soon turns the scene a The Fall Bruce Carleton 522 the theater, but somehow, ) Concert.. . bucolic'past we have had riots in SPANISH TOWN VILLAGE CHOIR Louise E. Stairs 522 In our catcalls. Sometimes the performer '/ t On a Picnic major pio- There are guffaws, hoots, and Ada. Richter 523 have managed to live them down. In 1849 a riot of MY BLUE HEAVEN . . WALTZ we for his endurance, ) YOU SAVED } THE battles it out and at the end receives applause JUNIOR ETUDE City, brought about by the livalry '/ .Elizabeth A. Gest 536 occurred in New York MORE THAN FOR ME ) portions if not for his music. If the riot is a^ lb ely MISCELLANEOUS American actor, Edwin courage, and audacity, '/ ) between the patrons of the well known YOU KNOW . . WHEN I discuss in the cafes and GROW TOO New Keys to Practice i one, the auditors have something to > (VIII) English tragedian, William / The Effect Faison 486 Forrest, and the patrons of the great OVER THE RAINBOW OLD TO DREAM of Music "on History restaurants for months to come. ) Band Questions Answered... Herbert Antcliffe 486 gifted and distinguished actors, sidewalk V William Charles Macready. Both men were PAGAN LOVE SONG . . As in a Mirror D. Revelli 486 in which case WHISPERING ) the riots are influenced by political groups, / Leslie 488 Fonest played Often Opportunities for Music Workers E. Dunkin were intensely jealous of each other. In 1845, RAMONA . . but circumstances. ) WITHOUT A SONG ) Voice Questions Answered William Schuman 500 the composer is more or less the innocent victim of D Theatre in London and was badly RIO RITA t Competitions Nicholas Douty 527 “Macbeth” at the Drury Lane ) . . WONDERFUL ONE in Paris on March 13, 1861, when Wagner gave the Violin Questions Answered 529 lack of sportsmanship This happened / / Mothers Harold hissed by the audience. With a regrettable Price 50c each to the Frontt Berkley 531 French presentation of “Tannhauser” at the Grand Opera. / Mr*. Theodore Brown 534 in Edinburgh shortly first / at your dealer or direct he attended a performance by Macready Perfectionist in spirit, Wagner’s demands upon the resources of / ) , a y private box and hissed Mac- a o' Ph ' la stood up in his flrihjATontll Pa ” Forrest '/ Tm9. Copyrilht 1946 " thereafter. THE BIG 3 MUSIC CORPORATION, 152 U. ^ ? TheodoreTh °' \ severe that the director, the conductoi , / W. 52nd St., New York 19, N. Y. S. A. and Great Britain. ^ ^ Presser Co., for opera company were so kind of international feud. When Macready the '/ resulted in a I enclose ready. This $ Send POPULAR SONG CLASSICS indicated above at 50c each. orchestra, the singers, and even the claquers “ganged up” in New York in 1849, the par- the > appeared in the Astor Opera House t NAME CITY Wi against the irascible composer. The rehearsals were a bedlam, and ) Dominican were on hand and a battle royal started, / duras, Panama tisans of both performers ADDRESS STATE Salvador. Spain ’ Republic of Hon- " and all South (Continued on Page 528) / S2.75 a year in c ep ' ' he people were shot ) "s-7* Canada and Ne^oundltd Guianas. international scandal. Seventeen ’ lfmT’'’'”a T, became an Single copy, • ear ,n which .5 Price 25 cents. * other countries. f St 483 I SEPTEMBER, 1946 482 'FORWARD MARCH WITH MUSIC’ 1 THE ETUDE 2

Music and Culture grew up in what he calls the Vincent Sheean. born in Illinois, Gluck-and-Louise Homer duets, era of Caruso records, Alma An ardent amateur and the eminence of John McCormack. Culture life. As a child, he sang m Music and singer, he has been singing all his also exposed to piano church choirs. He confides that he was take. did not enjoy prac- lessons, but somehow, they did not He music fluently and thus ticing However, he learned to read everything singable equipped, he began the habit of reading University of Chicago, Mr. Heading he could get his hands on. At the History in Music as dramatic and music critic Personal Sight Sheean made his journalistic debut Your "Daily Maroon." In this post, he Improve of the college paper, the to concentrate on the How skipped dramatic performances in order to Symphony and the productions of the the concert - of fhe Chicago . glance through A-flat major /,ni v to Garden, Maggie Teyte, Lucien Interview with Schubert, to Chicago Opera. He heard Mary An SO, No. 4, by appreciate uncan- Op Muratore, Titta Ruffo. These laid the foundations of an recognizing chord groups in sight fr^dvantages of musical taste. His duties never again brought him th6 nily aware 4 composition a reader may learn to had the least ambition to /nJ ll tWs info contact with music, and he never -Jkmeif rC in a single hobby £IL sensation. steadily pursued the music i L, thought-units has M, df several become a musician; but he Uincent Sheean these may hinge on the technic might pursue golf. Recognized as one of the fore- nuestion of playing as another Correspondent correspondents, and lecturers of the time, Mr. Distinguished Author, Lecturer, and in a composition having full musical most journalists, ^the nSst found time to publish a dozen books, the best known should know something of the affilia- Sheean has reader Editor s Note. content a of which, perhaps, is "Personal History. ,i ht reader “ in a five, or a seven chord music A 8 £SS as found . pleasures that await the ££ tion of ’chords he GREATEST musical sens ^ diffi- of which make . primary chords a key-the through his ability knowledge, the that is, the ROSE HEYLBUT student will probably come cadence- SECURED EXPRESSLY FOR THE ETUDE BY playing at on one, four, and five of the scale. Add music at sight. Reading and be chords formed to read culties in readmg will in any acquisition, all that can T wide range of hflS been used serviceable be music student a material hasteen^^ these as a sight also offers the the recognized m there should be a Again, if diminished seventh and minor seventh of these facts hi ’ ^ learned of the cannot possibly communicate emo- potentialities. In view technical training, control carries over to ing but words. He part of his j mage seventh when played that feeling. And that sight readersamongth^ewho ^ tactual Though the diminished «•«— interviewed by The Etude carries me back cate average of good will subconscious chords v EING will find that musical tion. better is and arms y catch of the easiest he does. I think you are apt to find. What ability to extended arpeggio, is one from when I was earning no laurels everything of our gifted have studied music than we and practice. as an !< to the days emergencies. I once “The other thing that holds back many pupil made by study material notation is often confusing people are competent at meeting discouraging signs? Every and the basicm of execution, its a -9 as a piano student. I read that maga- excess of patriotism which makes the reason for these single sensation the forms the Doint whatever of this, at the Metio- young artists is that be made by a construction. Then it will witnessed a remarkable instance He should, however, has learned its religiously, and marvelled at the musical accom- all-American training. This is a potential reader. forms which oonpm a until one zine Frida Leider was singing them desire nothing but of these gi£ts . The eminent objectives and their value any to recognize wherever and in got printed in its pages. politan Opera. certain essential rather than become equally easy plishments of the people who is not to be misinterpreted as either a lack of feeling aware^of makes a good reader _ voice failed her. She opened her if playing at * appear A sensibility to con- when, all at once, her of a good reader. Then, phenomenal sight readers whatever arrangement it may joining that eminent company, now, I must America, or a lack of appreciation for American in the making Some of the most On next tone, and that next tone simply for both the adult player and readers are the personality of both these accomplishment is singing mouth for the gives undue trouble, this fact. Adffit 20^11^ the distinctiveness and fess that my sole musical training. It is to be interpreted to mean that well- sight remedial bally attested to come. The orchestra went on; it took only a know how to work for habit of reader in playing 1 1 m. hear me. I haven’t got a did not the young pupil will an early-formed chords will aid the when nobody is around to going on. But in rounded performance requires more than vocal train- held back by . show what was flnite tone no more split second of time to that a note stands foi a good voice—but I love music. I can think of ing, and that the other three-point reading. To know rime split second, Dor- playing at sight presents a pianoforte is of pi oi Knowing Sequences than to read through a volume that fading and and a particular key of the Importance stimulating pleasure things required are best relationship Hugo Wolff, othee Manski, waiting problem: The observance of note sequences is of great importance to a of songs by Schubert, Schumann, Brahms, learned in the atmos- importance. Recognizing in the wings for her Technic. training. any created of them, pausing with those I love best, Physical— intervals is indicative of good sequence is a group of nob m digging into all phere that developed musical notation. the violin reader. A finding own cue, took up the Reading is studying u : .lly on scale all of ‘performance values,’ but Mental— An eight-year-old boy who repeated at regular Interval thinking not at them. To learn Italian two processes—Mental and line of the pattern melody and thread of Mme. Leid- Coordination of the of a note on the second more or 1. mto all musical the greatest satisfaction in the line of the opera not the notes of was asked the name chord tones. They enter carried on — like a flash. It or In Paris, I ran er’s part and PV»v<;ical answer came a com; > > ion they may the harmonies of the accompaniment. the score, but the feel- satisfac- violin staff. This When Interspersed in sight reading with a and it s material. he until matters on the To insure pleasurable the third finger on the D string an aid to reading. Their into a man who had played for Isadora Duncan; ing of the works—one ready and a played with to have little value as one must first have a is G seem fluent reader, and we stage had righted them- tory execution, fifth of C. Oh, yes, its name established when two alter- was a fine accompanist and a must live a while in technical difficulties the perfect ..^ importance, however, is was more dependable technic equal to the hand went into the Posi-f looking over songs together. That selves. It the boy’s arm and nob , x t end through used to spend hours Italy, eating Italian Second, one must be answering, nating groups of four sixteenth of ‘the in the material to be read. and his third finger Lieder. than a matter found tion as though actually playing A- flu major Etude. was a real education in food, breathing Italian glance a thought-unit—not sep- three octaves, as in WoUenhaupfs show’s going on’; it able to take in at a imaginary D string. this Ital- differ dropped on an ... . the principal motifs of air, fathoming notes-the nature of which may found in Sequence groups make was a matter of know- arate or single simple illustration of a thought-unit is sequence extending The Prime Value of Music lian people, finding out material chosen for reading. Third, A composition. It is a one-group ing the right thing to with the musical taken from Rubinstein’s Kam- music hobby is the most body. the following example thtft lead the brilliant pas- “The best approach to the what makes Italian coordination of mind and through an octave or more and doing it. And there must be positive reader’s technic has been acquired fun with music. Only do, through ennoi-Ostrow. If the the C-sharp minor Im- natural one—the desire to have opera the thing it is. be built up and developed of sage work at the beginning of I am convinced that Technic should study of keyboard harmony, the notes realize that the music hobby induces and through the .! extended se- later does one By all means, do your practice and study of the scales promptu by Rheinhold. Weber employ the control imparted by the purposeful passage have already been recorded qualities that have nothing to do with funda- this cadenza-like i' ions. A reader certain positive vocal training here at the different keys. These all his more brilliant comp- association with their chords in all triad. The notes of this triad quences in release. Since long atl e as the C-sharp major It wiu fun. First, of course, there is emotional home but go to. the of all cr® of ; - luenccs. — forms are the basic material pianist has should have a wide acquaintance music helped Mme. mental ^ the complete thought-unit. The is primarily emotional (rather trained through the constitute unit and give him the appeal of music source-lands of music Thus it is, that a hand of the arpeg- increase his assets in readable Manski to save the sit- work to observe the pattern or outline intellectual) it makes a direct attack on the for effective only practice than , to learn the things of these forms is made ready ready-to-use material for his finger A little uation. Even the most practice chord as found in this particular passage. The eases them, much in the manner of the reader said that if she had giated as found in feelings and that will make your sight reading. One good mental image with correct and study of sequence constructions mediocre performance was always fingers will follow the abou classic Greek theory of catharsis. You enter a concert vocal training com- t practice each day, she Etudes v. !: bring controlled re- some technical Cramer’s first and fourth hear a deeply re- implies a playing. An unusually figuring. hall in a rather neutral mood; you municative. This is t for any kind of group straint that would ready beneficial results. . things happen. First, player remarked that Ex.l kin ligious work of Bach’s, and two especially tjue of op- good sight reader and ensemble compositions pri- c:r another amaze those members ) helped Pure polyphonic your neutral mood gradually takes on the contagious and some technical work units are.less era, which occupies a little daily reading difficulty the reader. The read in, - of the audience who / she of to spirit of the music, and, in second place, you experi- distances in reaches and skips. Thus, extended basi different positions, her to gauge wide in scope, because of the absence of through think that making mu- }\ attention to her notes. It ence a sort of expression of that spirit, merely abroad. In was free to give undisturbed the notation re- means nothing more here and ) forms and sequences. Consequently, to, released of, sic facility and accuracy of listening. You are both stimulated and it the life was evident that much of the of construction. letting go! Europe, is quires more attention to the details the prime value of music. than > to the unerring subconsci- emotion. That, I think, is people; here, it both these readers was due material are her , of the a All the elements of fundamental are other values, which become more and t which, for the most part, followed But there is still an orchidaceous ous movements ‘ by a '/ but the pure basic forms are equalize live with music. Music Singers Should The early turning o.f the pages - more apparent, the longer you sing Scar- tactual or motor image. 'ader s kno growth. To the predominance of created forms. The . sense of form and of structure. No Languages read in large units. Wherever imparts a strong Know pia’s notes is no dif- >. indicated that they however, shoul . medi- perceptible, the hands hov- edge of essentials is not lost. He matter how impassioned its utterance, it is grounded “Speaking of / basic material was easily Bach. ficult task—but to be Here was every indication that to his general equipment some study of on a firm basis of balance, of proportion, of structural ocre performances, I ) ered over such forms. comp®* Scarpia, one must have and practice they “Two and Three-Part Inventions" of this support. If you listen awarely, that sense of form be- can get a great deal of '/ carefully directed study first-hand knowledge through nposition. a acquired that which makes a are gems of the polyphonic style of c< comes part of you. I know that this musical feeling pleasure out of them. '/ had, with limited time, of Rome and the major and II minor in writing. I had an Certainly, I don’t pre- good reader. C major and C minor, the D for form has been of help to me Roman mind / "Two Part 1 mediocrity; but if reader should never lose sight of the finer subtle- the F major and F minor, all from the example of this only recently. I am just publishing fer A he P “My most poignant ) and time. It is through ventions,” could study bci ne most book (on world matters nothing to do with the music itself is good, ties of technic—touch, tone, with careful a new — VINCENT SHEEAN musical experiences in- — 1 of ® / . will find his mental and spir- ful. two or tliree the nature of the various parts of the performance values these essentials that he The reader would leave any music) and clude three perform- '/ The following excerpt is taken from a in playing at sight. A heavy Sarasate’s “Inventions” penetration material demanded different kinds of writing. My pub- sink into second place. itual uplift so necessary with a keener musical his readings of the Bee- produces a Zigeunerweisen for violin. It is used here to show that heartily wish that the general performance ances given by Toscanini; / touch hampers facility and better controlled finger technic. lisher seemed a bit disconcerted by this divergence of Still, I uncontrolled simple chord background be Eroica and the Brahms’ First Symphonies, both the other a may made, less recogniz- Fra ^> of our American artists were better than thoven V that deadens all sense of beauty. On. In the compositions Schumann. Brahms, mood in the three sections of the manuscript; the standards tone able both to the visual and the aural of in York, years ago, and his Verdi Requiem, in be caused by timidity, senses by the by s> ‘unified’ writing means they are. There are two reasons, to my mind, why they New / a light touch, which may and Rachmaninoff is overshadowed publishing world believes that hand regular introduction of a note foreign pianism before the war. My enthusiasm for the Verdi Even in sight read- to the chord. mee ideas, I aren’t better. One is that many of our singers coach Salzburg, allows no support for assurance. phonic effects. adapted to work that is all-of -one-piece. To explain my > The pianoforte is occasion led to a rather embarrassing experience! I alert to the advantages of a of structure. book was to be songs and roles instead of steeping themselves in the ing, a pupil should be requirements of this more symphonic style fell back on symphonic My ) , round, reso- Ex. traditions that brought those songs was lecturing at Rollins College, in Florida, some years well-controlled touch that will give out a physical c 3 paci built like a symphony in three movements—an An- languages and the position. The reader's and .j / mental surprising number ago, and was invited to dine at the home of its presi- dependable tone. Such a tone will sing through- new dante, an Allegro, and a Largo, each conveying its and roles to life. I can think of a nant, however, may have to be developed to meet t find a mission in diction in French, Italian, and dent, Dr. Holt. My table neighbor was Louise Homer, out a melody and leading parts, there arc P own feeling, mood, and pace. In those terms, the idea of singers whose special demands. In the notation alone looking very beautiful and gracious. Mme. Homer said t parts, be content only to accompany. clear to publisher. German songs is perfect, but who cannot speak secondary or zling complexities of inner became my values and both as to the moving meal. In- that she would have to leave immediately after the / reader should be acutely alert to note the n • “Again, it seems curious that an art as emotional those languages fluently enough to order a A and the different voice -. In also be To the musician it is rhythms of these lecture, as she wished to be home in time to hear ) himself to the beat. He should clear that the background give off of restraint and deed, I have sat at restaurant tables in Salzburg, should hold is the ter of employ BU as music should such a sense strictly to tonic triad of minor. technic it may be necessary to artists Toscanini’s broadcast of the Verdi Requiem that night. / of attack and release. If he keeps 0 For a quick reading control. it does just that. No matter how absorbed Paris, Rome, with so-called cosmopolitan who mindful of this subtleties each '°> ce Yet music a healthy unit, think of the broken of touch and tone to make If singer I remarked that I’d like to go with her, as I loved that / the arithmetical side, he will give the chord of C minor with a performer may be in the feeling of music, he must couldn’t read the menu. That’s no good! a a note with its the rca the emotional content of equal value one half-step own individual color. To facilitate sings, he sings noth- work. “So you know it, too?” asked Mme. Homer, and life-giving pulse through which below each note of e have perfect control of himself in order to communi- knows only the words of what he ) the should . 'V tridid. and playing of these compositions one may flow. * miliar with such Continued on Poffe musical ( SEPTEMBER, 1946 "FORWARD MARCH WITH MUSIC” 485 482 "FOIWARD MARCH WITH 484 MUSIC” the ETUDE — ” g ”

Music and Culture purposes to which he objected on moral to use it for Culture On History time the tune Lilliburlero, Music and The Effect Of Music ^Not'long aft™ his often with no certainty, to the attributed though great (rained its enormous nrm„ Jferterl Antctiffe I went on to say that I had been present, at Salzburg, when Toscanini first gave it. “I’m sure the Salzburg Concert. Stage performance was a fine one,” laughed Mme. Homer, Dressing for the “but I’m certain it wasn’t Toscanini’s first—you see, view, that certain HE ANCIENT Greek ^tru- Gadski, Caruso, and I gave quite a nice performance well as cMtam mst and certain melodies, as with in 1910!” I assure you that I felt rather taken effect upon the him ments, had a good or evil Interview with T favorably An discussed » down! is character, is well-known and “I am often asked about the effect of music on the personal vrew of Jho^ or derided, according to the is always s ‘ b .armed forces, and my answer ll ’ P°® sonnet* men of our their acquaintance with UtJl/lJCUl who renew . more enthusiastic. It was remarkable to witness their re- communities >and ^ those days, days of smaller action to music—even more remarkable to observe had more unffiuenc Motion Picturos intimate communal life, music Fashion Editor, Fox-MoviEtone their instinctive feeling for the best. A vast group of difficult matter t<3 tr than it has to-day. Yet it is no fighting men is no different from any other large various kindsofmiKic some degree of influence of group—some like music and some don’t; some come melodies, on^nationalI and and still more of individual to concerts because they want to, and some come from those day international movements almost APPERSON because they haven’t anything better to do. And often SECURED EXPRESSLY FOR THE ETUDE BY WINIFRED enough, sad to say, the entertainment given them was recorded histoiy Most of this influence appears in they got great music, have “sung on the minus side. But when events, but a careful reader was claimed by one writer to three kings only with regard to isolated It careful in watching feature greatly performed, the effect was electrifying. Even general men- and in any case its influence you are won- The artist should be these events a reflection of the out of their thrones,” your concerts are bound to think that shouting and whistling and sees in pictures for style news. Before copying the the bored ones woke up, did not believe That it was the influence of the music and make other people admire motion tality of the period. No commander who was great. derful; but if you want to artist like bunch of maniacs. One of a star in any particular film, the stamping their approval a allowed the min- words is evident from the fact that these a special effort. In other wardrobe in the influence of music would have not of the you, you may have to make to was Lily Pons. I crossed her path decide whether that is the way she wants of the best troupers army, singing a popular which were varied from time to time, were for the strangers who come to should strel Taillefer to lead the latter, words, you must dress her as a con- twice. Once, in Persia, where the average temperature of look in her setting, and if it will become William of Normandy at the Battle always purely nonsensical. This was not the case with play or sing. Though it may sound odd, you song, as did hear you decide to copy the clothes of was one hundred and thirty, and again in Cologne, influence, not, the King Enjoys His Own Again, you do not cert gown.. If she does Hastings. That this song had a great such a song as When can see the sense of it, for people whom still across the shpuld be ever so careful while the German shells were coming force and the per- with Malbrough ca va-t-en than your friends. stage and screen stars she of course, unsupported by military nor, or at any rate less so, know are so much more critical remem- Rhine. In Persia, Lily spent the day in the room re- princes not to add anything to the costume. She must is indubitable. Most all these cases, however, the music had some appe'ar “dressed up” on a concert sonality of the Conqueror, guerre. In One should never are already drama- served for heat-stroke cases because she doesn’t stand had their “well dressed.” ber that motion picture clothes and leaders of the people in the Middle Ages influence. platform; but the artist should appear heat too well; but at concert time, she was all there! tized; they are a little larger than life, a little more minstrels and not alone for amusement or recent time, what had the words of bands and Coming to vast screen. If Her husband, Mr. Kostelanetz, did the kindest thing pre- flamboyant, to attract the eye on that edification. One authority, for instance, Tipperary in them to encourage the British soldiers Correct Clothes for the Stage GI’s; organ- artistic simplified for each per- imaginable. Not only did he play to the he castle, anything, they should be scribed among the defensive appurtenances of a in the first World War? Similarly, Conan Doyle tells should not from them, and gave them ” Concert gowns should be practical, and ized his orchestra among • tc • i — i-r, rvtavHal f»nt.hnQlfl.KTT1S sonality. how a spectator of a battle in which Russian soldiers designed to appear lift playing with him. To this accompaniment, wrinkle too easily. They should be ^professional women to study the of minstrel Blondel sought I would advise the The popular story of how the won a position “singing lustily from start to finish.” artist has completed her wild. sang for hours after the . the ad- Lily sang, and the boys went In Cologne, she round the fresh fashion magazines faithfully, not neglecting his master, Richard Lionheart, by going When the spectator inquired what were the words of generally devoted to the to a different accompaniment—that of enemy cannon. toilet. A whole evening is vertisements. As a matter of fact, department store prisons of Europe singing a song composed by that song which could be so inspiring he was told they should look as well Lily told me a curious thing. All through her singing a giving of a concert, and the gown or near one’s home town will help music in the service of detective advertisements in monarch, suggests were “Ivan’s in the garden picking cabbages,” repeated evening, as at the beginning. I put career, she suffered so from before-performance nerv- IN AQUA BLUE CREPE at the end of the distinguish what is a trend, and what is a fad. work more than in that of politics, but indirectly this VYVYAN DONNER to ousness that she became actively nauseated. But the ad infinitum. considerable emphasis on color in fashions. Gay, color- home town for liberation of Watch the motion pictures in your song, by leading to the discovery and verse a sermon shuns," while neutral GI’s cured her! Since singing for them, she has ap- No doubt “a finds him whom ful frocks are more pleasing to the eye, these styles really look in definite effect upon the history WORKING in the style industry for many fashions in action. See how Richard, had a very in religious and social matters, including those of * FTER faded. proached her performances without a qualm! but tones may have a tendency to look 'whether or not the lines are comfortable, England and mediaeval Europe. A little earlier than Z\ years, I find that a natural flair for clothes is motion, and million of national and international politics, a tune and its ap- styles. If you want excitement in “If someone were to give me about five dol- to cultivate Beware of tricky practical for the concert stage. this, Richard was not yet King of England but XJL rare. The average concert artist has and when purtenance, the instruments which introduce it to the fine accessories. In my lars, I would reorganize the operatic world. I’d have student your clothes rely on color, and only Duke of Aquitaine, music was used against him it. It can be done; but the artist and music it voices, has an for Fox Movietone, a great opera that everyone could patronize. I’d have public or recall to their minds and in “Fashion Forecasts” that I produce Dressing the Hair by one of his underlords who, with others, revolted should make a detailed study of the correct style two orchestras, with plenty of time for rehearsals, even more attractive and potent influence. show trends, instead of fads, because platform, because part of one’s I am careful to against him. This was Bertrand de Born, who com- dress for the concert are It is so hard to make women realize that they should and I’d have all rehearsals on the stage. I’d send my novelties, no matter how ingenious or becoming, bined the qualities of a soldier and a minstrel, making success depends upon the right gowns. with their costumes. No matter years, study tradi- in an unbelievably short time,* dress their hair to go young artists abroad for a few to course, and apt to flood the country use of this latter to interest his soldiers in his aims An artist’s gown should be attractive, of what she may think, there is more than one becoming tion. I’d do away with the star system and the reper- and everybody else will be wearing them. and to encourage them to deeds of valor. definitely becoming. Your own friends that come to tory system. I’d prepare the most fluent performance The popular soldiers’ song in Germany during the of a given work, with the right people in the right Band Questions Answered late war, Wir fahren nach England had an early prede- parts, and then repeat it three or four times a week, cessor about a thousand years ago when Flemish sol- until people got to know it. It’s fun to dream up revo- diers joined political leaders in the hope of gaining L MJifLm ). ttevJli lutions of this kind—I love music!” f 2 land or booty and sang a long ditty with the constant refrain, Hop, hop; Willeken, hop! Is It Too Late To Begin? England is mine and thine! Q. I am a soldier twenty-two years old and have always been deeply interested in music. Although I have never had Both words and music, it is said, were such as to en- New Keys to Practice the advantage of formal study I believe I have the qualifica- courage the young adventurers and the influence of tions to become a capable musician. I play the saxophone and Flanders, exercised in other ways in later centuries, trumpet by ear. Do you believe I could eventually learn to L, JU« Waiton upon English history was begun with music. play well enough to become a member of a good dance band? —Pvt. W. J. B.. California. On the other hand the Britons and some of the VIII. earlier settlers from the Continent were encouraged A. This is most difficult to answer in the affirmative Sometimes your hands, wrists, and fingers will feel by the music of both minstrels and monks to defend especially since you have no musical background and tired and sore after unaccustomed technical practice. their land against later comers, and for a long time are unable to read music. However, if you will seek the This is not to be confused with nervous tension, stiff- one of the means of rousing the Welsh to defend them- instruction and advice of a competent teacher, work elasticity. first long walk or the selves against the ness, or lack of The Saxons was that of the music of long and faithfully, it is possible you might realize first horseback ride of the season would have the same voice or harp or both. your ambition. Too often persons with limited back- muscles. When Martin Luther effect on the determined to bring about ground lack the necessary perseverance to succeed. At However, if the forearm feels strained, you are not reformation of Christianity in Europe he employed your age, technique and playing skills are not usually playing correctly, for the forearm should take no feel- music very largely for this purpose, not, of course, so acquired with the same speed and ease as that of a ing part in your technical activities. It should be only much for didactic or apologetical purposes as to arouse younger person. an anesthetized link to connect the elastic force of the spirit of the people who were not directly con- the upper arm with the fingers, into which the upper cerned with these matters. And with his music he did A Point in firmness. more and somewhat Playing the Xylophone arm passes differently than he intended. His When you cannot get the effect you want, play the moral, and therefore political, control of the German Q’ * should like some information regarding the playing of e xylophone. piece without the pedal, bringing out all the melody people was almost complete. In four-mallet compositions should one ploy Ignaz von Dollinger the directly over the resonators in the middle of the bar. or on the lines and connecting all legato tones. In this way you great philosopher and reformer of last tips century ’said nearer the lower part? R. M., Kansas. find out just how to use, or swing, or rub, your fingers that “in his hands the soul and mind of the German The bars result. people should be played as the area directly to produce the desired Then add the pedal were as the lyre in the hand of the ” near artist a over the resonators pro- and the interpretation will be doubly interesting. simile that is particularly as possible, since this area appropriate in view’ of duces the best pro- matter bad your instrument is, remember Luther’s knowledge tone and clarifies harmonic Institute Courtesy ol the New York Dress Institute No how and use of music. the York Press Institute Courtesy ol the New York Dress gression. Courtesy of the New York Dress Institute Courtesy ol the New that you can gauge intervals on any piano. And span- Oliver Cromwell, too, The area off the “resonating center" is in- knew the power of music DESIGNED FOR THE OPERA CONCERT COSTUME BY HATTIE CARNEGIE and clined to be dry are THE THEATER OR OPERA RECITAL GOWN BY HATTIE CARNEGIE ning the proper interval is what keeps up your con- therefore put it under a control that and unmusical. However, there FOR made it serve passages with Uneven Hemline White Faille with Gold Embroidery trol, accuracy, and much of your dexterity. his .purposes. He was and chords which prohibit all Multi-color Brocade Black Tulle with Bands of Cording Beige Crepe Gown himself a capable musician and practically Tunic Evening Coot in our mallets of Practice the last part of your composition first—to so knew how to make rules that prevented to be struck in the resonating center Photos 6y Frankcl-Smith the misuse the bars. avoid fatigue and aid your memory. of the art by those who were This is especially true in and awkward unskilled or who wished rapid WITH MUSIC 487 scale passages. SEPTEMBER, 1946 "FORWARD MARCH 486 "FORWARD MARCH WITH MUSIC THE ETUDE — ” —

Music and Culture

Music and Culture

Report to the Nation

A Conference with

^Idiulu QJJt, man

Founder and Director of The Goldman Band Leading American Authority an Bands

SECURED EXPRESSLY FOR THE ETUDE BY GUNNAR ASKLUND

any American who has ever played in a band, /Wened to a Dr Edwin Frank'o Goldman needs no Introduction fo September to December of 1945, Dr. Goldman made a tour of the Pacific band or simply admired bands. From Shows. What he found there, as tar as music ,s concerned has Military Area, under the auspices of USO-Camp months. With as few preliminaries as possible The: fcTUDE subject ot national newspaper controversy for been the DR. EDWIN FRANKO GOLDMAN

formance tradition, as any civilian conductor. It is material, lar symphony orchestras, playing to full houses during possible today to find potential leadership m ' occupied Japan, I <« -^ ROM the Philippines and i of the year) our boys crowded to hear the as that of West Point. Let us make use brought back a number of impressions, but by ten months , music, as high 1 Drcti Institute |H Army native Metropolitan Band. On the day that this ex- train it, use it as the means of building up X far the strongest of them is that the American of it, SIN.PSON cellent organization played for me, they gave splendidly music. RECITAL GOWN BY ADELE Army Bands I found there are in a terrible condition. conducted, splendidly rehearsed, and splendidly in- place, there should be a Department of the New xorn vivas and cities I visited, I did “In third Courtesy oj FOR A STUDENT Model with Long Sleeves In the forty camps, stations, GOWN Bed Faille two strumented renditions of the “Tannhauser” Overture Music in the Army, just as there is a special depart- CONCERT GOWNS BY ADELE SIMPSON not find one really good band. Sometimes I put TWO Tulle, Net, and Lame Suite. for medicine, and law. Such a depart- Baby Blue together, and still I did not have a and a Glazounoff ment, or section, Blue Crepe Draped Models for earrings, or and three bands Beige and Electric Tlny clef conditions like this are shameful. It is had for define the size, instrumentation, and duties sustained in every P^^- band with proper instrumentation. Army “Now, ment should has a il st pins or clips, complete cloth). This bodice make effective our soldiers to have so low a grade of music. It is had Under the present system. Post music blue lame (metal clefs in large sizes conditions were simply shocking. I was all the of the bands. enough, the gleaming ; the treble musical to wear her hair. Strangely a bar of hum with the musicians, in the Army, but in civilian the musical sympathies of the Com- wav for her Bracelets simulate more shocked by them because of an interview I had for not only depends chiefly on that women make about new so realistic that you music, the men aiost frequent complaint quarter and eighth notes after the end of life who go into the Army compelled to regard their manding Officer. If he is indifferent to which is clef, and had with General Pershing, shortly them look older, vi -r and gold are the coiffures is that they make the rhythm. Both m said to stay there as a negative waste of time. It is bad for the don’t play. If he likes music to the point of having look can almost hum World I. At that time, General Pershing coiffure will make a woman irularly effective War mat- seldom true. The old designs. The gold is pat of England, nation to be forced to play second fiddle, musically, to men play fifteen hours a day, they do that. Such not believe this used in these me that, after hearing the military bands dated. If you do lit colors. The standards. older because it is blue, brown, and the quality foreign cultures. It is bad for our prestige to allow ters should be fixed according to musical decolletage. . black, gray Germany, he was ashamed of of the photographs that were , deb with and France, and statement, look at some graceful dress for a concert more discreet y with gray foreign especially conquered countries to see for the type of music played should be fixed ac- see for This is a most silver models shimmer of the American hands and determined to do some- — — Again, four or five years ago. You will piano stool in and the high should he a taken of you floats out from the with dark toi , themselves just how slipshod our musical methods are. musical standards. And there than you because the skirt pastel tints, as well as thing about them. General Pershing actually did take cording to pictures will always look older performs her pro- progressive vourself Those net, as the young pianist increased them in “What is to be done about it? A number of things! thorough system of checking-up on the styles have changed; clouds of colors. steps to improve Army bands. He today simply because hair yet completely mas- are gram. If the student has not as to forty-five; he Directly upon my return home, I submitted a report abilities of the musicians. your hair dress to go with the size from a minimum of twenty-eight and you should change walking on and off the stage, and Donner's Gown of findings suggestions to President Tru- wonder, perhaps, that such conditions can tered the art of Vyvycm asked Walter Damrosch to report on ways and means my and my “You may her to be present mode. her bows, this type of dress will help man, to General Eisenhower, and to Secretary of War exist in the Army of a country like ours, that has shown taking that I wear In my Ph°t0B™p of betterment; and he set up machinery for training The evening dress development over the graceful in movement. nwcic ot^aqua bjj after World War I ended, all these Patterson. These reports have been answered, and such remarkable interest in hand a Samuel Chapman Orlglital. It is schools. But— for the Music Student pe ^ drifted back promise has been made that steps toward improvement past years. Our schools and colleges have fine bands; The Recited Dress lines, with the skirt dr > promising measures dissolved. The system crepe in simple fluid in them. Then how mu- directly a and that entire system is wrong. will be taken. But mere promise is not enough! Some- the young folks are eager to play accompanying photograph shows a teen age Costume Jewelry up toward a dramatic embroidered motif to what it had been— An thing must be done, and done quickly, lest there de- explain the gap that exists between public interest a concert. She is wearing grapes, and leaves provi e “Army bands are badly put together. Instrumenta- to sic student about to play at jewelry has been de- the waist. A bunch of when to Much of our present costume plain slee thrown together any velop a repetition of the situation that prevailed after and military accomplishment? What happens youthful gown which can be made in multi-color. The tion is deplorable. Players are a charming, and in mind, and if properly sole trimming done into this effective signed with a musical motif overbalance a group that needs General Pershing’s efforts at the end of the First the enthusiastic young civilian player gets double purpose. Not only is it a most neckline a V. which way; ten cornets serve a to all ages. Whether you are a are short, and the Well, one an- it will worn, it is becoming outfits too many World War. For this reason, I hereby make appeal to strange military musical atmosphere? to perform at a recital; but beautiful, becaus no more than five or six; some have costume in which array of clip-pins, I would rather be chic than “prom.’ This music fan or not, this glittering reeds, and all readers of The Etude. I shall outline to you what I swer is that he doesn’t like it! As I said before, many of all at the high school at any age, a brasses, and others too few; some, too many be the envy distinctive accents for you can be bright and interesting duty billowy brooches, and bracelets, provide able to discover, believe should be done. I am preparing Petition Lists good players do their best to dodge Army band of baby blue, with a full bell shaped done to you. others none at all. As far as I was dress is The musical theme has been cleverly does not matter what time has all answer is— long torso bodice ot all occasions. standards for determining anything! for patriotic citizens of musical taste to sign and send for fear it will harm them. The over- skirt of blue tulle topped by a there are no fixed to Washington, demanding that official action is wrong. And the system must be Nor is this all. Some of the bandmasters had not the be taken that the system rectify the musical conditions outlined steps for launching that first notion of training their men, and some of the to in our Army. changed. I have just men could not even read music. Among the men them- “Here, then, are the reforms I propose. Army Band- change. should report of findings and suggestions selves, band service is considered a sort of grim joke masters be commissioned officers. At present, “Following the my Secretary Patterson, the Secretary re- I know personally of many excellent players who took they are not. They are warrant officers, with no chance which I sent to lest of promotion. Army musicians are selected, as I un- plied as follows; diff6fen^ care to hide the fact that they were musicians, the rear, red it in your face while you play. my appearance from into one of the Army bands whose stand- derstand it, on the basis of an unchecked application ‘My dear Dr. Goldman: «TP YOU could only see smaller mirror they be put piano teacher, places behind me and then adji my themselves fill out. your letter of 6 December 1945 with attached I often my mother, who was my the ards are such as to spoil the background they had al- which they They are asked what ‘I have How • from do As In a Mirror se« i looked condition of the warning, until she decided to on the music-rack so I could built! they can play; no one tests or supervises the abilities letter of 21 November, regarding the X repeated this -shouldered. At ready it myself and different angles. At times I wa md which you visited on your recent trip it! Then she let me do “In Osaka, X found an American Army band cf they report. Men who toot a bit on a horn not only U. S. Army bands something about For another casually put a small- by J^eilie A! obunbin other times I was almost a h back. can but do get band assignment, even though they to the Far East. continued it still farther. She fifty-three who had not assembled, practiced, or played I to be swaying of the piano and iet it piece of music, I noticed hesid secmed know nothing whatever of music. they are ‘in’ ‘As a former field officer, I am fully cognizant of the size mirror on the music-rack my in three months! They were kept busy driving trucks Once going to practice one and swinging, l the band, they get seniority rating and, the basis for good Army bands, not only for ceremonial and speak for itself. She knew I was even more than my myself and delousing buildings. The men themselves were dis- — on need time for my music, especially caught I could play from memory. the in the more difficult With the various uses of mine -s i in of nothing more than the passing of time, they can be- morale purposes, but also as a cultural factor in the or two of my pieces, which my almost couraged. They couldn’t get back into playing form I looked into parts. Too, while not in use with the pedals, that I the frowned when my feet becoming at I i come bandmasters! Let’s change this. Let’s commission entertainment field. No doubt the rapid growth of First I smiled and then I so interested in wh there less than half a year. I tried out a number of Army would shift from one place to and was amusing until I began another, including being forgot d then our bandmasters (as they do in foreign armies) let’s S. Army during World War II made it impossible that mirror. What I saw what I was playing. I and bands in Manila, but could get no desirable concert , U. see that wrapped around the feet of the piano become think who would seat. My feet >11 exs ier to give chance of dignified promotion, and let’s to develop as fine bands as you and I would have liked to think what people might that listeners would find it st: what instrumentation whatever. In the end, in order to play them a aloud the time for seemed to be doing almost everything but than the of while I was playing. I had counted tap-dancing. remain Interested in what the rather to our own boys, I had to use a native Philippine Band. base such promotion on ability only. to see, although in many cases, bands of type next inspection with this would not sound well My was directed toward my hands'. ncrsistently the Air Forces Band, and my music. Knowing that they might be hearing. I con And it was an excellent one! You can imagine how “My second step, then, deals with making sure of the U. S. Army Band, Army closed The mirror revealed that at mirrors public, -I had kept my mouth times they seemed to be ces in the their such ability. should have a thorough and com- the Combat Infantry Band do, I believe, represent while playing In my efforts to improve my app so mortified I felt to be able to bring American men We face and jaw. I more like the hands of a dramatic become mouth, director of r might in band music. The time of your but had kept on moving my a band while playing; I wondered wh favorite band selections only by means of a foreign petent school jor the training of band musicians and the best American or orchestra. of the and hideous faces while I was From its place on a stand at the spirit the East was hardly an auspicious one to had been making funny keyboard formal at the piano that I wot Id sp >il the band! bandmasters. Tooting a horn won’t do. Our Army visit to Far . level, the mirror showed that concern my wrists were anything worried "It is all bandsmen should know music. Certainly, those who hear good Army band music, for during your stay the music being played. Howeve: th , not pleasant to have to report that, through parts of my but easy and graceful. When ; °f Then I became curious about how other they were not sagging sincere friend conquered Japan, the musical conditions were so su- aspire to become bandmasters should be as well volume of discharges reached a point where all or- was soon banished when I h ard , I leaned distressingly, they were swinging might appear while playing the piano. my hands around posi- equipped with theory, harmony, counterpoint, orches- ganizations, including bands, were not at their top body in mine comment about my pla perior to those of our victorious Army as to be floor so I could see my feet. a carefree manner. the small mirror on the your music tively insulting! In Tokyo (where there are four regu- tration, instrumentation, history of music, and per- efficiency. (.Continued on Page 535) continued beating I made use of the without any dlstra This revealed to me that my foot full-length mirror to check up on forget about you while listen SEPTEMBER, 1946 "FORWARD MARCH WITH MUSIC 489 "FORWARD MARCH WITH MUSIC" Music in the Home Appalachian Copland: Spring; Orchestral Library The Boston. Symphony Orches- A Marvelous of Fleisher Music Collection of Orches- tra, direction Serge Kousse- "The Edwin A. Free Library of Philadelphia.” A vitzky. Victor set 1046. tral Music in The Home Pages, 1055. Music in the Siegmeister: Ozark Suite; Descriptive Catalogue, Volume Two. The Minneapolis Symphony Or- Price, $12.00. chestra, direction Dimitri Mitro- Bach: Brandenburg Concer- A. Fleisher, a Bookshelf set X-262. Over twenty years ago Mr. Edwin Music Lover’s and Bach (arr. poulos. Columbia The Etude tos Nos. 3 and 4, and music patron of Philadelphia, de- Prelude Brahms: Symphony No. 1; manufacturer Plck-Mangiagalli) : he that as one of his musical philanthropies Unaccompanied Violin So- Records The Hollywood Bowl Symphony cided from New develop a different and much needed kind of Sym- of Orchestra, direction of Leopold would nata No. 6; The Boston Wealth available to the A musical library, in order to make conducted by Stokowski. Victor set DV 4. phony Orchestra, public various orchestral and ensemble works Victor set (Ports of Call) is a Mediter- American Any book here Serge Koussevitzky. Thert’s Escales inaccessible. For years he had been support- reviewed may gives otherwise travelogue—the music us tonal young be secured from 1050 . orchestra of boys and „ , ranean an extremely fine No. 78-J “U Sicily, Tunis-Nefta, and ing THE ETUDE MUSIC Cantata - Palermo, major Bach: choir of nurtures of men many of whom have been graduated to the MAGAZINE at the Wearied Soul, Th The scoring is rich in color, plus Thou My Mack Mafk'PeeJ- Valencia Spain. of the land. Mr. Fleisher realized that there price given (tenor , orchestras Lucius Metz Ravel. This is postage. Bethlehem with L peter of Debussy and a works in manuscript miniscent of valuable orchestra. Victor was a vast number (baritone), and when performed with subtlety unless the Harrell delightful score which the public could not possibly hear heard it tends to be garish made. 1045 - (Men- but as the parts and the score were . -_- Israel , nuance, proper copies of Elijah U Yp and Sacred Songs: through its relief pro- B..utrfuBeautiful AAre an The United States Government, The Messiah-How quality to Aaron delssohn); a quiet rhapsodic established a project in 1934, which continued Alleluia There^s gram, the Feet (Handel); Appalachian Spring, which contemporary and Brea mnland's ballet, until 1943, to copy unpublished works by Passion-Only Bleed Martha Graham. Matthew T omposed especially for composers. Franklin H. Price, Librarian of The Free in B minor-Laudamus he C^acLman Teach); Mass score, but in poetic beauty in his interesting introduction by (R 'lljeretlilh l nee great Library of Philadelphia, Ipt Every Tongue Adore TC is not a Li MmM gratifying one. As heard persons engaged on this project Dorothy Maynor and sweetness it is a says: “The number of N?coTai-Bach-0’Connell); Graham and her they copied nearly theater with Miss eventually exceeded one hundred; Victor Orchest;ra fn the soprano) with of its charm, for there unpublished compositions, none of which suc- with Phda^ loses much . two thousand s strikingly (in the last) dancers it point in the story of Mr. Gershwin Sylvan Levin, and its beauty and sweet- purchased. Practically all of the lead- Hadley’s resignation, due to ill health, by Eugene Oi substantiation of could have been After Mr. Blue which his biographers seem Orchestra, conducted fs no abroad coop- Boston Sym- cessful Rhapsody in delphia Graham's curious ballet work. As ing American composers and many from Dr. Serge Koussevitzky, conductor of the into 1043. ness in Miss Ferde Grofe, pianist, was fought dv. Victor set . their works and its fes- to miss. Mr. it. it appeals, as Delius’ lending original scores so that phony, developed this magnificent center on the Brandenburg °™"e Koussevitzky performs erated by Mr. Gershwin was working orchestra in the , counsel at the time The poetic qualities and and made available for performance. that it has taken a permanent place in Amer- Symphony and appeals for its lovely might be copied tivals so valuable structural and or- part of the Boston the Tale of rhapsody and made very is a small S A fine recording. scores were copied on durable rag paper, but ican musical history. The author of “The design. clarity of line, tonal coloring. The Gershwin’s original an admirable Us delicate lively chestral changes in Mr. allows for quality in his on transparent master sheets, so that which is an especially virile and summer festival simulates a folk parts were made Tanglewood,” ablest orchestrators of modern recording made at the 1945 Siegmeister three-quarters of a mil- was born Mr. Grofe is one of the ^ood appealed to us in it was possible to make some recording of this notable accomplishment, Massachusetts, w Suite” which has at Tanglewood, Lenox “Ozark assumed the cost of paper, Bristol, Rhode Island. He is times. Dr^Kousse as recorded here we fail lion reprints. Mr. Fleisher eighty-two years ago in thinnish in the string tone. concert, but heard and but appeal. One ink, and all supplies, as well as transportation a former Pulitzer Prize winner. as a romantic , substantiation of that vitzkv tends to treat Bach to find a the working cantata not-too-wcll recorded insurance charges. The Library furnished About Music the Sinfonia from the conscious in this Writing and his use of is made the equipment. as a slow orchestration, and only quarters and 331. “Christ lag in Todesbanden” version of the crude performance have been bor- Gershwin “Algerized” and Critic.” By Max Graf. Pages, alien to comes off Materials for public “Composer third concerto is quite section—Saturday Night— Norton and Co., Inc. ment to the the final symphony orchestras and broadcasting sta- Price, $3.75. Publisher, W. W. is given a more pity that the per- rowed by Gershwin,” By David Ewen. intentions. The Sinfonia records. It seems a loan of “The Story of George music critic is that of a kind of Bach’s for well on tions here and abroad. Details relating to the The office of the than the concerto and which Mltropoulos gave Pages, 211. Price, $2.50. Publishers, Henry Holt and his gifts to persuasive reading formance of this suite obtained from Franklin H. Price, musical weigher. His task it is to employ recorded mde captured at this music may be reason, should have been could not have been Ben- Company. good, the bad, and the in- this Four„ on the radio Librarian of The Free Library of Philadelphia, discriminate between the a separate record face. The disappoints. public upon the pendently on the time. This one Franklin Parkway, Philadelphia, Pa. Horatio Alger (1834-1899), Harvard graduate, Uni- different, and then to elucidate the the fine solo P^ymg of music jamin Concerto is enhanced by Stokowski is duplicating a lot hundred immensely such judgments are made. He and George Mr tarian Minister, wrote over one aesthetic reasons why flutists, Georges Laurent times for the phono- depress, but at of the two has made in former books for boys, which supplied the initiative condemn or praise, inspire or here nor m the othei he Sym- Children popular may Madison, but in neither of the Brahms First Stories of the Masters for how With all his diorisms he admirablead- graph. In the case for a whole generation of Americans by pointing all times he must enlighten. do we encounter the reveals a more straight- he seeks to reach concerto phony, the present set Ruttkay. “Mozart” and “Tchai- even the humblest may rise to great heights. George must never fail to interest the public style that can be found pre- “Chopin.” By George herence to classical of the score than his East Side, very fact that he dares to t forward treatment kovsky.” By Waldo Mayo. Three books with hand- Gershwin, born in New York’s teeming with helpful opinions. The performances of these works by Precision of of in the There is an admirable Each vol- musical heights over the hard of critic presupposes rare gifts of nicety arrangement Photo ly John Alfred Ptver vious ones. some colored illustrations by Andre Dugo. climbed up to surprising play the role (Columbia). The feeling the Busch Players albeit a more romantic a quarter by seven Tin Alley. Mr. Ewen has written as well as long and profound study into Sixth Solo Vloll ®°‘ TRAUBEL purpose here, ume is forty-five pages (eight and cobble stones of Pan perception, of the Prelude from the HELEN admitted by most con- Gersh- technique of the subject to but 1 music than is inches.) Price, $1.75 each. Publishers, very readable story of the highly gifted Mr. art, the history, and the disparaged by the purist, £ for the and one-half a nata may be orchestra plays will, after the of sweeping The Hollywood Bowl The Hyperion Press (Duell, Sloan & Pearce, Inc.) win’s struggles and triumphs which be criticized. there is a type chamber ensemble is in ductors must be admitted instrument. The Eastern orchestras. is little days of our country, admits to orchestral the solo not rank with our best pattern of Alger, inspire many. There one Unfortunately, in the earlier this music which and over the whole thing but does grandeur to keeping with Mozart’s time tone in the rc for children that we can boast of many learned effective as it is, is a there is a dispersion of These are very pleasing works designed despite the fact But the result, as charm that is especially Moreover, treatment. there is an aura of old-world ^o°dwinds. ^The of discernment, wisdom, modern manner. noticeable especially in the and make durable gift books. and brilliant critics—men reclothing of Bach in a more the fact that tonally Mr. Busch duction, musical auspi- appealing despite plastic matenai literary gifts—the great body of Choir makes an is extremely lifelike and on fairness, and noted Bethlehem Bach desired. recording given The cantatas. leaves much to be criticism in the past in the United States was the composer’s finest all surface sound. cious debut with one of Der Freischiitz Overture; NBC Symphony free from TYanbel Festival qualified to prob- Weber: Hele > Berkshire ambitious amateurs, in no sense bigness to it which was Wagner: Lohengrin— Elsa’s Traum; over to The performance has a direction of Arturo Toscanini. Victor disc Thayer, Huneker, accepted on its own Orchestra, Orchestra A. DeWolfe Howe. present worthwhile opinions. Dwight, true of Bach’s time, but (soprano) with the Philharmonic-Symphony “The Tale of Tanglewood.” By M. ably not English 11-9172. Col Finck, Henderson, Gilman, and their follow- is regrettable that an by Artur Rodzinski. 101. Price, $2.00. Publisher, The Vanguard Krehbiel, it is a fine one. It Stripes Forever; and Strauss: of New York, conducted Pages, terms the Sousa: The Stars and definite and distinguished impressions, -but will undoubtedly enhance Press. ers left text was used, but this Tritsch-Tratsch Polka; NBC Symphony Orchestra, disc 12321-D. tioImi listeners. (The soloists Chamber Scene; they were few. the rendition to many 11-9188. Wagner: Lohengrin-Bridal value of direction of Arturo Toscanini. Victor disc of the first to provide a of dict with the Fhm Mr. Graf’s book is one especially good in matters Lehar: Gold and Silver Traubel and Kurt Baum (tenor) A delightfully told chronicle of one of the most in- . Fidelis; and are \°^r etj often Sousa: Semper criticism, from the time in the early artistic neatness, Mr. mMetz York, con musical history of musical Farrell emerges with Romberg and his Orchestra. Victor monic-Symphony Orchestra of New teresting, impressive, and significant summer told enthusiast will want to Waltz; Sigmund eighteenth century when Johann Adolf Scheibe his pitch. No Bach Columbia set X-261 in the history of the art. Herman Mel- wavers in 11-9221. by Artur Rodzinski. - developments which disc and world what he thought of the works of Bach, dite alia giovine in the summer of 1850, the Pa Toscanini’s performance of the Weber classic is the Verdi: La Traviata—Ah ville and Nathaniel Hawthorne, change in her er quote below: singing reveals some and Robert R Stockbridge in the Berkshire Mountains we MisTMaynor’s perfect approach to music combining as it does stylistic ponete; Licia Albanese (soprano) while visiting Tongue Adore Thee which Fri voice; in the Now Let Every conducted b> of Massachusetts, on a picnic were driven to seek be admired by the whole ful e classicism with romantic feeling. It is one of the finest (baritone) with Victor Orchestra, “This great man would war, the voice is , for Victor prior to the refuge in crevice of the rocks of Monument Moun- agreeableness and did he not she sang things the noted conductor has done for the phono- Weissmann. Victor disc 11-9173. ,, a nation, had he more ncmUy. he:• vote the other selections, made in Trail Hawthorne thereupon by while in graph. Though he plays the Sousa March and the There is admirable musical intelligence tain, during a thunderstorm. keep naturalness away from his compositions critic has called a flute-like what one due , “Tanglewood Tales for Boys has taken on Strauss Polka with remarkable precision and singing of Elsa’s Traum. and her part in the conceived his memorable employing bombastic and intricate devices and is somewhat ™e™°- Johann This quality-which seems - Girls,” was published in 1853. This added judges quality. somehow these performances seem too in- there is also a vocal maturity which to us and which darkening beauty with overelaborate art. He the Mendelssohn and Handel fervor, tional is quite fitting to Isolde. a of romantic interest to the spot, which made to his fingers. Mass tensified for their own good. Both are splendidly re- suited to Elsa than to Bruennhilde and touch the difficulties of his music according excerpt from Bach’s B minor selections and the in ma it famous. are difficult to per- soprano). The corded. Baum, the Czech tenor, sings admirably His compositions, therefore, usually sung by a mezzo whose very dis- (the latter is with somewhat alien Mrs. Elizabeth Sprague Coolidge, he demands that singers and instru- has the right spirit but the Romberg handles his Sousa less formality. This ways, but his Italianate style is form, as familiar Mozart Alleluia tinctive contributions to American musical centers has their throats and instru- in all of the type of performance seems more in keeping. The Lehar Wagner. mentalists perform with allow for perfect control musical move- pace does not have always been highly idealistic, started a same feats he can perform on the Matthew Passion air suffers Waltz is light-weight music but Romberg has the The continued assertion that we do not ments the passage work. The St. ment in 1915, by giving Sunday afternoon concerts in All the requisite lilt. Fine recording. Albanes clavier. This, of course, is impossible. not seem to be singers today is certainly contradicted in the _ diction, but diction does at Pittsfield, Massa- from poor I 10 the music room of her home grace notes, and all that all all, this ibert: Escales; The Philharmonic-Symphony Or- Merrill duets between ornaments, all the little with Miss Maynor Taken m performance of the two some of the most eminent a long suit of chusetts. She persuaded as agrements are written out in full. musicality on the part of the chestra of New York, conducted by Artur Rodzinski. and Alfredo’s father from the second act are known set reveals a growth in ensemble groups of famous players to join with her. are deprived of beauty, chosen unhackneyed Columbia set X-263. Traviata.” singing w Therefore his compositions and the fact that she has This is beautiful and artistic Everything touched was illumined with a notable soprano, she of harmony, and of clarity of melody, since the it to the listener. deserves the highest praise. material recommends . nr_ light of culture. In 1918 she inaugurated the first Berk- Tartmi: Air and song is unrecognizable. All voices must work with Concerto in A minor; and Kern: Show Boat—Excerpts; Original cast developed into Mozart: shire Festival of Chamber Music. This is (violin) With each other, all with the same weight, so that it in G, Opus 2; Adolf Busch chestra of the Broadway revival. Columbia. first conducted from Sonata ”1 the Berkshire Symphonic Festivals, Continued Page 500) Columbia set 609. operetta s impossible to recognize ( on the Busch Chamber Players. Here are the hit songs of Kern's finest by the late Henry Hadley. GEORGE GERSHWIN understanding ® Colum Mr Busch plays with stylistic by the cast of the present Broadway revival. _ in which the RECORDS splen 491 Mozart’s most ingratiating concertos, has contrived a well arranged set in a "FORWARD MARCH WITH MUSIC” arresting entrance for SEPTEMBER, 1946 composer provides a strikingly recorded memento of a great operetta revival. "FORWARD MARCH WITH ETUDE 490 MUSIC’’ THE . ” —

t Music and Study Menuhin was one year old, his ( HEN Yehudi parents often took him to concerts because they couldn’t afford a sitter to take care of W baby would sit there quietly, listen- him at home. The crying. Two years later his Music and Study ing to the music, never and a toy bow. Yehudi father bought him a toy violin had seen it played in concerts, tried to “play” it as he Menuhin’s Magic Bow tone he dropped it Yehudi and when the violin didn’t give a Movement scolding him, his Too Much disgustedly on the floor. Instead of Table violin and Yehudi Doesn’t the kind of technique you advo- father bought him a quarter-size move- Round cate produce excessive body and arm lessons. “But my parents”—Menuhin pupils Teacher’s began to take ment at the piano, so much so that The —“never hinted that I might amount to some- are criticized severely for their distracting recalls I did.” mannerisms in playing?—U. B., Colorado. soft I was simply told to practice, and VUec/uberg 17. Do I use enough pedal, not only thing. by Joseph age of seven, Menuhin played the Mendelssohn for v and pp, but for color change? At the Concerto with the San Francisco Symphony spontaneous activities of children Conducted by Do I treat “reminiscences,” that Violin The 18. is, people who went wild. filled with before an audience of 9,000 magazines, are almost always excessive, returning or repeated phrases and to The New Yorker and other he had his debut at Carnegie Hall. Joseph Wechsberg, a frequent contributor dash. Why, then, should we sensitively and variedly? When he was ten bounce, zip, themes, hated the movement New York music critics, most of whom article on " The Claque in teachers deliberately restrict If a phrase is unsatisfactory, The in July 1946, with a sprightly 19 . would recognized the first appeared in The Etude activity as cuer very word “child prodigy,” immediately in such a complex physical ,u a change of fingering help it? Note. intelligence and sensibility.” sensitive. -Editor’s As to exaggeration in j boy’s “exceptional musical of Menuhin's gifts is keen and piano playing? Doc. 20. Do I work carefully toward the high- Grand Opera.” His appraisal neces-_ Mus. in 1927. The same year, in Berlin, Yehudi older students, this is absolutely point of the phrase? This was freedom est played the three great “B” violin concertos— sary at first in order to attain Pianist the phrase into Menuhin Noted 21. Do I cut up too many Philharmonic a life of real leisure. muscular coordinations Bach, Beethoven and Brahms—with the in the funny papers and led of the larger fragmentary groups? practice secretly in the cellar of the house • short per- had to on the concert atro- , n/r TMnrmtnr under Bruno Walter. After this famous Yehudi Menuhin reappeared which have become tensed or even MUSIC taucdiui Orchestra his orthodox family didnt When and 22 Is the txme quality I use suited to the hoy in velvet Jaffa, Palestine, because a mature, broad-shoul- or nonusage. formance the pink-cheeked, fair-haired to stage, in 1937, he had become phied from malusage phrase? Does the playing ‘frivolous’ music. They sent him kind of physical lifted up and kissed by a like his had been spared the emo- the teacher’s chief job in knee breeches found himself for twelve dered, robust young man who What is (technical) approach I employ Talmud school where he had to sit still make with a wild, white mane. “Today, of an adolescent child prodigy. He teaching children? Isn’t it to help them frail, little man to fly his kite for tional turmoils the phrase sound well-molded there hours a day. His only recreation was world. He played the piano, and to and you have once again proved to me that embarked on his first tour around the enjoy themselves at Yehudi, between lessons. He always longed to free? said. His eyes were a few minutes concerts in sixty-three cities and the tools in order to play is a God in Heaven,” the old man one hundred and ten furnish them all- instrument but never got around to it. When tests (by no means 23 Do i aV0id stressing or deliberately Albert Einstein. learn an all sold out. The critics freely and happily? So what if they do Although the shining with tears. His name was dreams had thirteen countries. They were especially to to play he used to say that his I are applicable articulating (a) p mg or dissonant fascinate their listeners; I began London Times, a paper not cus- move about excessively for a while? inclusive) Other great violinists come true in me.” went overboard. The many of the .-u finally compositions, tones, 'hi syncopat tones? overstatement, said . It is have never had difficulty in routing out slow singing has often ad- tomarily given to violent for rapid and n< :os Menuhin motion equally valuable 24 After ] ong .strong am I careful simple and final word ‘perfection excess movement or reducing lost items are mitted that he owes all easy to write the playing to play shorter notes with less volume more of that “wonderful in youngsters, after the right brilliant pieces. the wise against his performance.” No be able to his success to automatic. The hope you will 0 f tone? his stature as man and principles have become I sincerely his parents. child” stuff. Menuhin had for that’s guidance of the teacher soon, T ggpecially In my treat- parents had been! only ones who give me trouble are study with a good 25 Am Even when he was fam- artist now. How right his to Correspondents with this Depart- make sure steady prog- repeated melodic notes, gifted children. And why do we have the only way to ment of or as merit are requested to limit Letters ous the world over a them? Simply because, being Words. ress. similar notes located near each other? First World Tour tussle with to One Hundred and Fifty child prodigy, both did gifted musically and mentally, they are 26. If there is a series of melody tones of surrounded by the An Interpretative Check-Up everything in their pow- Yehudi went through Europe blessed with a superabundance same value do I employ a “bow- and usually the to let Yehudi entire family—father, mother, sisters Hephzibah er never _ of vitality. It takes a lot of planning, piece simply, richly, arm" curve in order to avoid mo- secretary. At times 1. Do I begin a become aware that he Yaltah, and an accompanist, and persistence to school this and mechunical single-tone Paris effort and straight-forwardly? notonous was in any way differ- this accumulation of talent created problems. In physical exuberance in the paths of good with a commanding articulation? pianos, one each please don’t curb your youngsters 2. Do I play it ent from other children. they rented a house and had three diffi- So, piano playing! I find it almost as of tone and dynamics I use this bow-arm, elbow-tip accompanist. In a severely. Let them rejoice in the' enough scale 27. Do They knew that ambi- for Hephzibah, Yaltah, and the sheer animal spirits too cult to channel these it convincingly? to assure the mu , leal articula- the violin. Every physical lift and “kick” which piano to project curve tious exploitation has fourth room Yehudi was practicing as to direct the supernormal musical long, moving full them. To children (and 3. Have I discovered the tion of all phrase groups? a youthful morning the three pianos and his violin would go children. playing gives ruined many and mental powers of talented - the piece? really forte, pianos their wits. After adults as well) playing the piano must rhythmic pulse of 28. Are my fortes talent. Until he was blast, scaring the neighbors out of to face the prob- Wouldn’t you prefer all indications by the so forth? walk, or for a bicycle offer physical exhilaration and bodily re- 4. Do I respect really piano, and grown up he never gave lunch the caravan would go for a lem of curbing exaggeratedly free move- and econom- music, laxation as well as emotional release. If composer as to tempo, dynamics, 29 Do I use the damper pedal interview, never knew ride in the Bois. “No one would talk about to be compelled to slave an ment rather than very puny I shut off the vi- of practicing you don’t it does not, its function is a phrasing? ically enough? Do the meaning of money, Yehudi says. “After five hours for months or years limbering up one of one indeed. 5. Do I pay constant attention to bal- brations of conflicting harmonies? never heard such words feel like talking about music.” those pathetic cases of tight constricted In the end it all comes to this: you ancing the elements of activity and “career” or “success.” One day Georges Enesco, the famous Rumanian players? We meet these baffling cases all as must choose whether you want your stu- rest in phrase and motive enuncia- Yehudi, and his young- violinist and composer, came to the house while Yehudi the time, both children and adults. They dents to play with hard, clawed fingers tion and answer? Sonatas? Hephzibah and and his sister Hephzibah were playing a Beethoven are among the thousands of frustrated Which er sisters perpendicularly pushing, I tied down to bar lines? Do I the of it. Enesco listened permitted and stiff arms, 6. Am Yaltah, grew up- much Sonata together, just for fun beings who have never been the thor- hitting, and yanking the keys, or whether unmusically accent first beats or give Will you give ie for other children of for a bit and went over to see father Menuhin. taught to use the large muscle masses sonata form? like or ough study of s< ie you want them to feel gentle key-contact, other unnecessary and musically dis- families, ex- “Why don’t you let Yehudi and Hephzibah appear freely and swingingly, but have been Which sonatas old studied before well-to-do brushing, drawing the music meter accents? Father Menuhin was doubtful. caressing, rupting . Texas. parents in a concert?” doomed by criminal methods which re- Beethoven Is at plcu L. A., cept that their together from the instrument. If you choose this 7. Do I guard against playing the left see a brother doesn’t play concerts with his sister. It— sult in fixed claw-like fingers, and rigid never let them “A latter objective you will find that free hand before the right especially on not? Hephzibah is an ac- It is truly sad movie or listen to the it’s not being done.” “Why ironclad hands and arms. glad untrammelled movement is at first ex- the first beats of measures? That’s a very apt question; I’m They’ll get along fine. And you'll note the number of letters sent to me radio, and that they complished pianist. to it un- The lost motion can easily be 8. it. teachers think of The Etude ask- pedient. In slow poetic pieces are there places you asked Most traveled more. They had need one piano less in this house.” from correspondents course reduced later without danger of impair- where I make sudden tasteless changes necessary to plan a good sonata Hephzibah Menuhin were an immediate ing how to cure bad cases of stiffness and playmates, picnics, bi- Yehudi and pupil’s playing mechanism. are too timid or years they were the greatest contraction. ing the of p and //or fast and slow? for their students, or and hated to practice music. success, and for a few ar- hearts. People instinctively feel cycles, liked ice-cream, 9. the pupils Menuhin touches their attraction on the concert stage. It the positive side, I can point to On other hand, in rapid pieces lazy to do so. Consequently, schedule didn’t permit him to attend brother-and-sister On grade music behind the sense of style, Yehudi’s concert (usually classics) can I make rive technically advanced his devotion to good though a new world had opened to them hundreds of teachers everywhere who Interpretation more at a school. The children were taught by their was as On. or ap- the absence of sentimentality, the pure warmth of his regular applied the simple, effective phrase or measure contrasts without the least understanding Even when he something they were able to discover together. have intelligently religious feelings mother and later had private tutors. its de- tone. It has been said that he inspires enunciated in these account of the housing shortage I am of / and p? preciation sonata form or weekly understood each other so well that we were sound principles On of the atmosphere made $100,000 a year, Yehudi was given a “We compelled to live in a small town where on some in his audiences, that there is the hushed would be pages and whose students do not play 10. Do my crescendos start late and softly velopment. They hav en fed allowance. His greatest thrill was to really like one person,” Menuhin said. “We there is no opportunity to study with a good cathedral he plays. Hard-boiled music critics twenty-five-cent mannerisms. The pupils enough, and my accellerandos then perhaps of a when playing back to back yet each would know exactly the with exaggerated teacher. Although I am a serious student delib- easy third-rate sona secretly in bed with a flashlight. perhaps use such words as “divine” and “heavenly” to describe read prizes hours day, I find erately enough? and feelings and intentions. It was sheer joy to of these teachers win the highest and practice four a that a Haydn or Mozart i nata, child play only twenty other’s easy-going, healthy, husky Menuhin’s parents let the I soon reach the “end of my rope” with the 11. Bee- a performance by this of style and and the best “ratings”; they are con- Do I avoid making interminably long a movement of one f the easier long stretches of re- play with Hephzibah. She has a fine sense you give player. concerts a year. In between were pieces I am studying. Can me some have young man with the build of a baseball I like sidered tonally, musically, and technically retards, and long-winded unconvinc- are lucky to place in the Santa is the most disciplined woman I’ve ever known. general aids in interpretation? I know how thoven Sonatas. The with just playing laxation and fun. The Menuhin ing Such a Menuhin has never been satisfied trees and tops in their communities. They are the difficult it is to give such “absent” treat- diminuendos? lent diet! California, echoed to think of her as an English garden, the had even this insuf “is so close to hu- Cruz Mountains, near Los Gatos, impossible it is offer the a piece. very well. “Music,” he says, happy teachers; and most important of ment and how to sug- 12. After a diminuendo do I revitalize usually dulls and tinker- hedges beautifully shaped, the lawn clean cut. Yaltah the haphazard experienci to develop one- with happy laughter. Yehudi was reading gestions to anyone you have not heard play, tone en- manity that one must go to humanity tropical garden, where all, they have the happy pupils. and phrase when it ,'er frustrates become a reminds me of a blooming but I need help so badly that I writing threatens to pupil's zest and for automobile engines. If he hadn't am self as musician.” Ever since he was a little child he ing with movie, I, along with the fade? form. a grows wild. I am somewhere between them.” Recently, at a anyhow, on the chance that you will be joyment of thii iportant he would probably now be in Detroit. everything has been close to “music and humanity.” His first violinist, he says, rest of the audience, was startled and able to give a new lease to my musical life. 13. Do I return to a you have tempo immediately Why not be ;? After the was three his father and mother spoke Hebrew —W. E. N., Minnesota. musical recollection was hearing his father sing Until he amused by the spectacle of a young boy after a retard? moderately dim" Hebrew now, but he Folk Songs for the Children assigned i d almost forgotten a few sad, haunted Hebrew songs Moshe Menuhin had grown at home. He has four or five) who was leaving the 14. Are there one of the broke up the team. In London Yehudi had (about or more points of com- cult sonatinas, . to some fluent French, German, Italian, and Russian. The war can Is to offer up with in Palestine. speaks theater with his mother. Right from the The best I do this check- plete repose in see fallen in love with an Australian girl, Nola Ruby the piece? Do I play outstanding oni for good examples, Yehudi was seventeen his parents did some- list of interpretation points which When front of the house, along the entire are these with sufficient (two Nicholas, and married her after a short, violent court- calm to com- Frost's "Six Classical Sonatinas" thing unheard of. They canceled all his concert appear- the aisle to the door, he in- “musts” 'for all my students. If you municate Wise Parental Guidance spirit, married the length of the reposeful mood? Beethoveni offers. To bewildered ship. Hephzibah, in good team each, of Haydn. Mozai t. and a ances, turning down fabulous making his exit by turning will conscientiously apply each of these 15. Do re ‘ Menuhin’s great grandfather, in Russia, had been stayed sisted on I subdue the stronger lovely P said, want our boy to have brother of Yehudi’s wife and during the war tests to inside Then switch to some of the Yehu- managers they simply “We somersaults. Neither the pleas of his twenty-nine your pieces, I am fingers “Clas- famed chief-rabbi who composed devout hymns. Australia. of my hands in carefree years before he belongs to the with her husband in certain you will discover not only order to Haydn sonatas from Podolsky’s age of sixteen two happy, mother nor the chuckles of the audience what strengthen assign di’s father ran away to America at the become a happy father. The Menuhins the top melody and this, his sisters and a crowd of friends he rode Yehudi has “ails” them, but how to improve the slcal Sonatas.” Vol. 1. After the violin. world.” With deterred his uninhibited exuberance. He them. solid the because he wasn’t allowed to play ( on Page 532) bass bottom? and played music, went on hikes, read have two children, their Continued to As you see, each question can be two or three Haydn Sonatas, lessons in his life. He horseback, swam, simply chose not to walk out, and bum turned 16. Does my E-fla “My father had only three accompaniment give and amounts of energy. But did into a positive point of pianistic in- the familiar Mozart C major up enormous rich baslc not 493 support at all several "FORWARD MARCH WITH MUSIC he enjoy himself! terpretation. times? (K282) Sonatas, folio' ved by SEPTEMBER, 1946 525) ( Continued oon Page 492 "FORWARD MARCH WITH MUSIC” THE ETUDE ” —

Music and Study

Music and, Study ,

Song 'Publishing a Popular considerations are: The publisher’s next Will the people dance to it? Will hands play it? Can singers “ range too wide? Will both girls it ? is the and strictly a man’s song? Is it An Interview with men sing it? Is it strictly Is the title quickly discernible a woman’s song? or eight bars to find out would you have to hear what the the first four bars of the Kresa gong was about? Will chorus Helmy the listener? Arranger entice Music Editor and Chief Your Song Company Publishing Irving Berlin Music of postage to send your song to As it is a waste a are you to do? legitimate publisher, what There are your song. (1) Go BY AMABEL COMFORT only two ways to publish to New SECURED EXPRESSLY FOR THE ETUDE have the means to York, and if you do not support job, and then start yourself, get a part time calling You may have to keep on the popular publishers. call- ADELINA PATTI NELLIE MELBA months to a year before the LILLIAN NORDICA LILLI LEHMANN OST amateur popular song writers fail with ing on them from six pub- blame know your face, and take their brain children, and invariably lishers will begin to you are con- dozen hit writers who this misfortune on hard luck. They seriously. I could name a are M those heard were once warming the benches PEOPLE of today know little of the great OUNG vinced that their songs are better than well known now who struggle thinking New York popular publishing sopranos that their grandparents heard. Yet over the radio, and finally give up the of the outer offices of the getting a of the most exquisite and finished ex- Yesterday against their crop of unknown writers are sit- many of that evil forces conspired firms, just as a new Y Great Sopranos of bel canto lived and accomplished their best ting there right now. Some of them will fall by the ponents of the best in the period from 1850 to 1920. For instance, As editor and chief arranger for one wayside, and some will become famous, but that will work America, I have sopranos who were great favorites with the audi- known publishers of popular music in depend entirely upon the courage and stamina of the three A Review by cases the their day are mere names to present day many tales of woe. However, in most ences of heard writer. Lind, song writer. So often he opera and concert goers, Christine Nilsson, Jenny fault lies with the amateur (2) The second way is much easier on you, and if cut to fame and Malibran; and since at the time when they won re- thinks -that writing a song is a short you have written that “hit” song, it will come to the he writes were no such things as phonographs and fortune. His friends and family think that a song called It’s a Sin to nown there ejCathrop surface. Do you remember beau- understand why the pub- records there is no way of estimating just how “hit” songs, and he can’t Tell a Lie? It was written by an unknown amateur in The amateur their voices were, how they would compare with lishers return his manuscripts unopened. song to every small and big tiful Well Known Critic and Writer Baltimore. He gave the about that that music publishing is an industry, those of later days. One famous soprano of does not realize time band leader, and asked them to play it whenever now cannot be “crashed” just because he has time, Adelina Patti, was indeed heard by a few and that it they could. He went to the local radio stations, and one or more of her many “farewell tours.” days, song that he thinks is good. living on it. and make those appearances for which in those a asked them to perform the song. Very little happened the stage and slammed it down where she wished one of these, at a concert in the Metropolitan establishing a European reputation, there on. exploiting his song, and On had a thoroughly trained voice and without first Returned Unopened for a while; but he kept an act from “La Traviata” Lilli Lehmann Songs Opera House she included soprano was little chance. the people in Baltimore kept hearing it. The song grew prided herself that although a great dramatic bitter experiences in costume, still slim, vivacious, piquant; but, although The publishing industry has had In re- coloratura as well as any lighter on its own merit, and people started to send excessive she could execute ago, publishers would try over her voice was true, flexible, and she made no A Brilliant Era with amateurs. Years local stores. During one season she demanded that quests for it. A demand was created at the the voice which voiced singer. submitted. If they found that they could demands on it, it could not have been brilliant period which the Metropolitan each song about the song; but they the management put on one of the old Italian operas The most owner These stores knew nothing earlier generations. not publish the song, it was returned to the had charmed Traviata” that she has ever enjoyed was when the members of the com- started to order it from their jobbers. Jobbers handle it was either “Norma” or “La — enclosed. Later, the publisher Mme. Abbey, wife of the impresario with whom Lillian with a rejection slip this ability. She had her pany included, Nellie Melba, Emma Eames, all published music. Two copies, five copies, twenty once might convince the public of song, and after it had become a Mme. Patti had signed a number of contracts, little later, Marcella would put out a new convincing, this is important for Nordica, Emma Calve, and a copies, and fifty copies were ordered. A tremendous when wish and proved and success an amateur writer would start a law suit. He told of a visit to the lady’s Craig-y-nos castle Sophia Scalchi, the contralto (whose things. students to bear in mind, as showing the Sembrich, and song, the demand started. Publishers dream about such pending. There were a modern would say that measures four and five of his one of these contracts was voice one critic declared, had three distinct registers) — house secured the rights, necessity for thorough schooling, no matter what the rejected, were similar to measures Photo by De Beilis Btudios, Inc. A large New York publishing number of other guests and these all assembled in the one that had been singers, and these while among the men were the two De Reszkes and and put their whole organization behind It’s a Sin to vocal timbre. Too often one hears nine and ten of the publisher’s song. To my knowledge, HELMY KRESA drawing room before dinner, but remained standing year. amateurs, who cannot execute properly a trill or Pol Plangon. collected any Tell a Lie, and it became the biggest seller of the dressed and bejewelled, not I don’t believe that any one has ever until Mme. Patti, beautifully Mme. Melba was noted in her native Melbourne as these nuisance entrance. chromatic scale. money from these legal battles; but eral keys for radio singers, and swing bands must have swept down the stairs and made a dramatic singer when Remenyi and Isidore Starting Your Song at Home Our own Lillian Nordica was another example of an amateur concert suits have cluttered up many legal departments. This special dance orchestrations. When all of this material Mrs. Abbey had become rather bored with the demands said to have begun her op- Luckstone visited Australia on a concert tour. Mr. the publishers locally at your nearest leave. thorough training. She is is why manuscripts are now returned by is assembled, our “song pluggers” or “contact men” as You can “start” your song and asked her husband if they could not her number of times and greatly your career with coloratura roles before coming to Luckstone heard a radio station. Make a list of all of the places in this contract signed,” was the eratic unopened. they are also called, go to work on the song. They are “J.ust wait until I get admired her voice. To him she confided her longing still, big dramatic ones by which she is remembered, composers, new lyric writers, vicinity where popular music is played or, better that.” the There are always new the men who go out and get the “plugs” on the air. reply. “We cannot leave before sing in opera but her Scotch father would not hear can. such as Brunnhilde, Isolde, and many others. She had to song writing teams. How did they get there, and They “dine” the orchestra leaders, singers, sung. Ask them to use your song whenever they soprano whom some will remember was new program A German it as she was living at home she had no chance. budget. great success at the Metropolitan both in these roles of and couldn’t it be you? Well! maybe it can! directors, on down to the pianist Keep going on a small scale, a bus-fare visited the United States on a concert why in the corner tavern. and Materna. She However, she finally got to Paris, studied with Mar- will and in lyric ones. An Italian remarked at this time Our “song pluggers” have If your song Is as as you think it is, they retiring from opera. On one evening she been asked to concentrate good tour after chesi, her brilliant career was launched. Her voice The First Step singer that she was the only non-Italian singer at the opera and song that use it. It and the Liebestod at an orchestral con- on the we have picked, and to try to get it may even help the band leader was billed to sing the high notes clear and rich. She house whose Italian was perfect, and her French, too, was of rare beauty, her give you an outline of the inside mechanism before the public. All of this may to further local talent. Start to cover more territory, cert in Brooklyn. Let me cost the . publisher was equally successful in con- could and did—for in those days encores were aliowed- firm. successful writer of opportunity that presented anything was highly praised. She of a popular publishing A from $1,000 to $20,000 or more. Will it sell copies? The and use your ingenuity, because the When she came on the stage she “Faust” without showing the oratorio, and it was on what was probably sing the final trio in his latest creation. Let us assume publisher has his under your appearance. was plain, very stout, cert and songs walks in with fingers crossed, and the best that he you have been booking for may be right but a seductive She previous demands of the role, intended to be a farewell tour including Australia and slightest fatigue from that we like his new song, and accept it for immediate can do is to keep his faith in the song. nose. Watch play a one-nigbt and, as so many German women singers used to do, No one can tell the name bands that lonely sud- and then sing the entire number over again in equally little other “down under” places, that she met a publication. The song writer is pleased because his if a song will sell; but the best stand in had a whether stout or not, wore a bright red evening gown. way to find out is to your community. If you have splendid voice. She was not much of an actress, and numbers were not accepted by our firm. He have it played so leader, he her one forgot all den death. last three that the public can hear it. local success to report famous band But the moment she opened mouth to a in the Gulf of it is said that Jean De Reszke undertook to improve write it down on manu- In 1913 while on the S.S. Tasman sings or plays the song, and I The next time you hear a popular song will listen to you. this. The great rich voice, the dramatic fervor, swept on the radio, reef. She was landed her acting. She was heard plaintively asking, after a it, as the composer seldom Papua, the steamship ran upon a script paper. We copyright make a check and see if four Some a ban her audience away with her. At least vocally she must weeks later it is still funny things have happened. Many performance with him: “Was that better, Jean?” But arrange a piano part. It must be on Thursday Island, but suffered an attack of pneu- does this, and then I being played. If it is not, you can safely say or singer was band likes to have been a superb Isolde and Brunnhilde. that some made by one song. A her journey to Java where she people hardly expected opera singers to be actresses be a simple piano arrangement that is easy to play, publisher guessed wrong; sure o monia. She continued and every time he guesses identified by a song that they introduced. Be those days until Calve thrilled opera goers I could arrange it with died. Her death put an end to a project dear to her or actors in and will do the tune justice. wrong it costs him several thousand keep in has to spend A Dramatic Coloratura dollars. mind that the orchestra leader great music school with her wonderful performances of Carmen. So pop- lush harmonies, and give it a Kostelanetz setting, or so regime heart. She had hoped to found a money to have a This takes time, For some years during the German Opera Miller song arranged. this country, where young singers ular was this opera with her in the title role that she a complicated treatment that the late Glenn coast at the Metropolitan, under Dr. Leopold Damrosch, and a theater in Analyzing A Song you must not expect to hear your song over a sing the other roles in music publisher is in musicians might receive thorough training was given few opportunities to used; but who could play it? A at the Walter Damrosch and Anton Seidl, a very popular and other to coast network the next day. If you arrive repertoire, which was by no means limited. A few sell music, so simplicity in the piano ar- There are a, few things that her business to are helpful to the pub- stage interested Brunnhilde was Lilli Lehmann. In the Valkyr attire, where a big band leader is sincerely occasional performances of other operas were given is most important. lisher in analyzing a popular song, rangement (l) Does the • with long reddish golden wig, she was very handsome title in your song, keep crossed. Eventua Carmen, and a title page have appeal, and is it your fingers but the public, demanded Carmen and always The music is sent to an engraver, fresh? An old saying a and stately. was also a great singing actress, and put in a he will try like it, and She This as a rule does not turn out new way is always good. it out on his public. If they and since this meant a sold out house the manage- or cover is ordered. (2) Does the lyric a most particular that the stage be set just as she wished. fit the demand is created, its way, others. beautiful woman, (I to say that title-pages are melody and has it universal your first song is on ment was reluctant to stage A to our liking. am happy appeal? (3) Is your If it changed. At one dress the melodv your big and not she would insist that be The actual sheet music does original, and is there a troubles will begin. Your name value with a rich warm voice, a gifted actress, she is still not in my department.) “perfect marriage” between rehearsal she picked up a large simulated rock, by no VOICE the bank account but you on Page 526) popularize song. must have other material. lyric and the melody? (4) will temporarily increase; remembered admiringly. (Continued not a We if it is a rhythm song means light in weight, carried it to another part of ^t better start D'ess Orchestrations have to be made, and printed in sev- rhythmically up to date, or is it worrying about your next song. ^ ,«, “old fashioned?” 5 have a song to follow, (Continued on P09e 495 you SEPTEMBER, 1946 "FORWARD MARCH WITH MUSIC’’ 494 "FORWARD MARCH WITH MUSIC the etude 3 , 4 ” 56

inspiration. Before we can mation precedes feel ap, enthusiasm we must know Music and Study ureciation, and some. performer on the organ, feed our interest BE an accomplished about a thing. We in music o Music and Study thing speaking, is but one of the requisites our general information about technically hy increasing its As in every art, practice Glean from the many for the title of organist. remarkable possibilities. splendid T perfect, and a person may spend hours in such articles, and news stories about music makes new books, a perfection and yet not qualify as an which send a flash practice achieving word here, an idea there, of ilium, impetus to your and give new enthusiasm f ination or ^AnArganist, aside from the actual playing on the Study m must know other related matters such as Taking Up the “Slack” About Music have to be brought into the manuals, Reminders Husic does puPii’s best sound combina- registration (bringing out the at school, and at home, it cannot experiences be transposing (which is so necessary at times) if the other things tion) , taught in a vacuum as did not preludes to the improvising, playing interludes and gains by seeking to connect it with things exist. It hymn tunes (which adds so much to the tune), and familiar at the moment. The music study Service clerd f^ieder that are up the “slack” or any blank spaces in the Df a Church (yij ^_J\allirijn ddan second to the other interests taking need not play for it important and, in the long run, service. is fully as may of the pastoral prayer and the scripture the At the time prove of more importance to individual. But remain quietly in the reading, the tardy worshipers the basis of music study can be broadened to in- ambulatory. When this part, foyer, vestibule, or the in it. the one all pupils interested If they want only conclusion, these people could be made but clude the service has come to a out to teach ourselves (and challenging projects and of HETHER we set interest to the the ability to play songs accompaniments of pews. This brief interval is the selected should be one of special are ushered to their great deal of this even under certainly this is we must do a contribute to his the less difficult type, a worth- does the organist play at such or whether student, and one which would “slack!” What part guidance of a skillful teacher) , dealing the important to un- while skill for them. Whether with our- there is a break, or blank growth. In all music study it is times’ If he does nothing, W another, it is well for us to remember we try to teach with pupils, we reach a point of wisdom things we are doing have worth. selves or the service. If he fills-in with some organ sixth determiners in all learning that will derstand why the space 'in key. A simple way of constructing the augmented some of the basic because they we are ready to take the talent present and the satisfaction of long as we do them blindly, only when music he takes up that “slack,” to diminished seventh chord condition our progress as absolutely as any purely As chord would be to build a benefit, for we do do all we can with it. question is: “How many organists were assigned, we reap small all present. The from each other) and then musical or technical consideration. (all tones three half steps full concentration. the ‘slack’?” Not too many. readiness. know that a child them without using our Date can take up lower the bass note. Of course this is a short-cut way Consider the law of We Keeping Up to will such a break in the service, the organist previously, this article he is ready to learn. He may be ready At of teaching this chord; as said learns best when for Chopin study should be brought up to date; problem satis- Preparing Music it a short selection. That answers the harmony. of his own will or he may have been prepared by his play is not teaching the subject of studies protested to her should be made as timely as possible. Young peo- are many people to be ushered to the always to be interested at the A girl toiling on Czerny factorily if there teacher. Expecting him live in the present. Ex. wanted to be learning Chopin ple, more than adults, Today even then they probably would have court failure. But a consideration of ways teacher that she pews; although outset is to and Without lowering standards, some the selection. instead. “But when you can play these correctly is forever. music seated long before the conclusion of to and increase his interest in learning his music been win will with a modern flavor can be used, some with or three per- always neces- up to tempo,’’ admonished the teacher, “you would the organist do if only two is a time and energy saver. That it is not What of the Chopin rhythms of the South American countries. It might seated? Would he resort to the play- the nature of music, which does have gained the technic to play any sons needed to be sary is largely due to music with harmonies extem- you have been begging for. You are pre- be well to use even that a short piece or would he improvise more of its own motivation than do most subjects. numbers ing of play the very pieces you like.” satisfy the desire for the experimental and differ- for that moment or two, thus taking up Often the child hears music, is attracted, and comes paring yourself to poraneously ent. Any music study can grow too weighty if in the service? An organist must know how for the lesson wanting to learn. It is as simple the “slack” variety is neglected and if we forget to consider improvisations, otherwise he is not a and as profound as that many times. to make such the century in which we live. musician. For those who are at a loss, the But for other times tjie teacher will do well well-equipped Your own music should be used to make the presents simple though effective formula: to be on the alert to judge the mood of the following a pupil’s day more interesting. While the pupil indicated, are the tones of the key pupil as he comes to the lesson. One skillful The numerals, as practices to play or sing more beautifully, pedals: 2, 3, 4, 4 (raised), teacher who discovered this said that one pupil you, which are played on the 1, the teacher, should use the skill you have gained. in several keys to get the feel in particular had to be handled in this way. At 5 5, I. Try this formula music is brought into pupil’s times the boy was .alert, eager to show what a It is only as a of that which is being presented. the key in “push-over” anything was. He might be in a day that it takes on importance in his eyes. With the playing of these numerals of in simple sickeningly show-off mood to some, but to her he Pupils can also play or sing for each other. If the pedals, the hands will play the harmonies an organist was ripe for a lesson in some such technical prob- they want lesson help with their school music chord formation. It goes without saying, chords in lem such as those two-against-three passages parts they should have it. must know something about the simple person who is that he played so muddily. At other times the boy One teacher almost had heart failure at the harmony, otherwise he is just another able to play came to his lesson sullen or disgruntled. With- way her pupils would perform music at the drop able to play the organ, even though he is out comment she began the lesson by having of a hat. She would assign a number and a week Bach. Add the harmonies to the notes as indicated by seventh, 3, passing him play a longer study or a number that he or two later read in the local paper that they the numerals, thus: 1, tonic; 2, dominant The second example presents the use of played diminished seventh article is not liked. By the time he had finished he had had presented it on a program. Shuddering tonic; 4, subdominant; 4 (raised), tones. What are passing tones? This

other) ; tonic; book. himself out of his bad mood. inwardly, yet not wanting to shake their confi- (each tone is three half steps from the 5, teaching harmony. Consult any harmony for you. passing dence, she questioned them. They were always dominant seventh; 1, tonic. Here it is notated When passing and changing tones, chromatic Student 5, One must remember that musicianship, experience, The Moody full of excuses. They knew they should have and changing tones, appoggiaturas, suspensions, and and knowledge of harmony are the important factors This teacher said that perhaps all pupils come for a special lesson, let her help them Ex. f altered chords are added to this simple formula, the in improvising attractive music. One more formula in should be even tempered, but hers were not. select a number, but they how busy she results will be very pleasing. knew the pedal tones descend instead of ascend is as with most feel- which Some of her pupils who played was, and it came up so suddenly. Yes, the number follows: 8, tonic chord; 7, the major seventh chord on ups and downs of a -o- Ex. ing were those who had had gone all right; they even played an had the key; 6, the seventh chord on their sensitive reac- -ft- the third degree of mood. Instead of combating encore or two. decided she The teacher just of the key; tonic; 4, the seventh have, she observed them and the second degree 5, tions as she might had pupils without nerve in their bodies and a chord on the second degree of the key; 3, major chord tried to turn them to advantage. The same ap- saw to it that they had plenty of easily played TTT- on the sec- and practice. She on the third degree of the key; 2, the chord plied to her own moods material supplement in on hand. She tried to of the key which is changed to the dominant thought that other teachers and students would ond degree recital the things their impromptu appearances In another key it is this way: trained themselves to observe seventh; 1, the tonic. be helped if they lacked. their They were using and enjoying Ex. 2 the mental tone and adjust to it. She added a music, making it a part of their daily activity, Ex. note of caution, that it would require study and although it was not the way she wanted it, since people varied. One friend found his best she refused to take it too seriously. way to accomplishment when feeling listless, was Informal music activities do add incentive to plunge into the most difficult thing he knew, for practice as few will. Attractive thus forcing concentration. other things recitals and much to Remember that we have to be challenged public appearances mean pupils. They provide in the year’s to think in music or in anything else. We only high points study, give them a understanding of the think when confronted with some situation from new Do not hurry PROFESSOR JOHN THOMAS WILLIAMS WITH A PUPIL musical Simple, indeed, when one knows how. does not deliver us. If the pupil importance of the development of the which routine on, but rather play this formula in all the various Dr - Williams is Director of the School of gift aside from giving them experience in ap- is allowed to play on without being required to % Music the position of the at Wittenberg College, major keys. Of course, change carefully, he comes to a standstill and Springfield, Ohio. pearing before the public. think chord, but do not change the bass formula. may even lose ground. Try to give yourself or Music Playing the same bass formula but striving to make pupil something to challenge thought at each The girl was Study for Pleasure the impressed; she knew she hands is the next step, two would We need to of the some melody with the teach him to set some aim at the practice not get Chopin until she remind ourselves to keep abreast A second formula introduces two new chords: the lesson; was ready, but the Czerny new examples as follows: think. It will studies music constantly appearing to use it to advan- the sixth of the key in Measure seven, and period that will force him to be new seemed all important now. Later she chord on learned tage. music; it Ex. challenge, yet it must be attainable with to look on them Keep looking for attractive, suitable Measure eight the augmented sixth chord, which enough to gratefully as she mastered them in is available at every Many v'ho sixth of the reasonable application. and returned to them again and again level of attainment. chord takes as its pedal tone the lowered for relaxa- think they simply For some who have been away from music for a tion of her hands. She saw in have lost interest in music have There is a wide variety of forms which could be her experience the lost interest in have time, an aid in concentration may be found in economical means the studies provided playing the same old things they suggested, such as combining the formulas of Example for learn had on really memorizing a section of the music, in sight reading ing many technical skills. the piano for years. half a dozen or with Example of course the combina- When she saw Given 4 Example 5 6 ; the real attractive they without error, in learning a simple modulation from value she could learn quickly. selections that they could read easily, tion would be in the same key. Should you desire to key to a closely related one, or in transposing Remember to keep would find the music. Many one your enthusiasm for same old pleasure in their ORGAN pursue the subject further, the publication entitled the thin* people e a hymn a half -step lower. A long list of thought you would learn. In music, as in any would like to be interested in music again. > “How to Play Chords," would be found most interesting. other line, i ! J “ n7or do ’ not know what to play (Continued on Page 533) 496 "FORWARD MARCH WITH MUSIC" "FORWARD MARCH WITH MUSIC 497 THE ETUDE : t

purpose of promoting Music and Study written for the understanding interest in the music, should and increased provide Study people who Music and good reading for the arrive early. to all assisting organizations Acknowledgments and with simplicity persons should be made and directness flowery tendencies, and in listing avoiding the par-* personnel, actual instruments ticipating and positions stage can be indicated by printing on the names in a Tonight arrangement. For convenience Concert seating chart to “Band the procedure is ever appreciated. Embouchure this Dento-Facial Irregularity and audience, It satis, and answers such bothersome fies the curiosity ques that blonde boy?” and tions as “Who is “What instru' girl playing?” ment is the Smith Part Three ower HE TWO preceding articles have outlined the by William B. Oc The Day major anatomical features of the dento-facial complex, have discussed their functional im- When, at dress rehearsal, the conductor is T informed plications in wind instrument playing, and have shown that an Annual Church Bazaar or an important (Cheney sb.2>s., ms. 4. activities °nd pr p civic in one or more parts of the region by Cddwctud , throughout the nation will begin their musical S that irregularities Within a few days, high school bands and orchestras is being held on the same night as r ip^e aMngibh meeting the con- extent with adjust- integral parte our program and interfere to a considerable orations tor public performances. Since these activities form an often >f art c the respect for proper scheduling grows deep consideration. In the following , cert, and This final article will present evaluating results, they deserve our serious attention and ment to embouchure. means of and sugges^ success of the entire project responsibilities of the school music conductor terrifying. The which rep- histories of individuals who have Ham B. Tower very ably presents many " behind the scenes" a discussion of case the successful public performance. Mr. T°we resents countless hours of rehearsal and planning tions for the solution of the countless details necessary to and irregularities and who “complain” about dif- ..Jduylied, j ‘ dental dddyron (d). formerly taught at Hillman on 9 more materially and PLlb graduate of Central Michigan College of Education and “ investment can be jeopardized by this satisfactory musical per- veteran, is a N ficulty in the achievement of director of school music at Reed City, Michigan. oversight than by any other factor. He is at present the one formance. most every school a calendar of activities is In pre- The nature of the complaints presented by instru- year and the wise in jaw relationship are observed among ment is desired prior to studying an instrument, a con- pared early each music director will varies a great crepancies mentalists with adaptation problems treatment, the amount Principal before school opens these individuals, it is noticeable that even a slight sideration of the length of the choirs. contact the to resene individually peculiar. For purposes step three ten- sonorous chords and vibrant instrument deal and each is embou- and degree of correction possible, and the ease or diffi- HROUGH the parted curtain concert dates. It is still not enough shift in jaw positioning during adjustment to ensembles in a particular section the desirable to ask however, these complaints are listed here eornetists to sound the solid opening Use soloists and of discussion, the placement of the culty of maintaining the new relationship should be year old that December 1 or May 15 be saved for such chure makes more difficult of the program instead of alternately with group selec- events, order of the frequency with which they occur: (1) fanfare, and a “swoosh” of velvet reveals the- should follow in mouthpiece without increasing the pressure against made with the orthodontist. In the majority of cases T but the actual decision a detailed con- structures, (2) inability to school band playing the tions. tiring of the supporting highly satisfactory. However, on proud and confident high such items as the holiday and the lips and teeth. correction will be point demands par- sideration of athletic forward, (3) unsatisfactory adjust- the Annual Spring Concert. The importance of the last made shift the lower jaw is in excess of spirited opening music of nights of sizable Throughout this series of articles occasional reference occasion the amount of change needed the audience are those seasons, meeting clubs or lodges, and difficulty in adjustment filled to the last seat, is the scene of ticular attention, for among ment—reason unknown, (4) of advice is necessary. The auditorium, functions. It has been made to orthodontic treatment as a means reasonable expectations and other play the cornet or Anna play Annual Community should also be de- mouthpiece to the anterior part musical triumph long talked of, long remembered. who want to hear Charles of the instrumental which interfere “unsatisfactory adjustment- a whether or not the school activity removing dento-facial irregularities The complaints headed the flute and also those who like to hear the band termined program dentition, (5) inability to attain adequate range But, as an attack at dawn, this matter-of-minutes of the embouchure. Spacing of anterior teeth is one of reason unknown” are highly significant when the case be distributed to the civic organizations if with the ' play together. With alternate group and solo procedure is to and it control in tone production, and (6) inability of presentation is no incidental project dreamed up and conditions which can be quite successfully handled histories are examined. Six musicians complained of is not, the music department will do well to take the air the It is those with singular desires will merely wait through support the mouthpiece and to control the previous day or decided upon the week before. lips to It occurs rather commonly and unsatisfactory adaptation to embouchure but were un- initiative to see that they are informed well in advance. by the orthodontist. innumerable hours of concentrated effort “that other” number until the appearance of their stream. the result of correction should be considered when the large brass able to point out the cause of poor adjustment. Five extent which deter- favorite type of music. musicians complained about “tiring of the sup- and detailed organization; the of Six and woodwind instruments are involved. Movement of were brass instrumentalists and one played a clarinet. or not the objectives are to be accom- On the other hand, porting structures during- playing.” Some of these mines whether the widely spaced crowns together into tight contact With one exception all brass players had extreme re- when soloists and en- players also complained about pain and fatigue in the plished. allowing the pressure from the instrumental mouth- trusion of the lower jaw. Here again, the available order that a greater number of programs can be sembles appear as a teeth and supporting bone and, at times, pain and In piece to be transferred to adjacent teeth instead of the information emphasizes how unsatisfactory the re- triumphs and that usable procedures may be clarified, complete section of the fatigue in the muscles of the lip and the floor of the bone will prevent much early pain, fatigue, and tiring truded lower jaw is for brass instrument playing, and the following resume is presented: program, all listeners mouth. They consisted of one small brass, three large of supporting structures during playing. especially the small brass instruments. This fact is will be more inclined to brass, and two woodwind players. One large brass Six musicians complained of “inability to shift the clearly brought out when we realize that approximately Planning the Program accept the whole pro- player had mildly retruded lower jaw, and two had lower jaw forward.” All players, with one exception, * three-fifths of all musicians with lower jaw retrusion The white-screen silhouette of a ring-nosed Ubangi gram for pleasure. Con- mildly protruded lower jaws. All had marked anterior were brass instrumentalists and the majority played who were examined in this study adjusted poorly to beating the opening rhythm for Ravel’s Bolero may dolences to the people spacing and complained of the pain in the bone sup- the small brass instruments. embouchure. be required to stimulate interest at the beginning or subjected to the “Mulli- porting the teeth and of the early tiring and fatigue The remaining brass player with adaptation diffi- after intermission, but the audience has come to hear gan Stew” type of con- of the muscles of the floor of the mouth. One of the Orthodontic Correction Important culties had a mildly protruded lower jaw and a short the band’s best music and the desire demands respect. cert. two woodwind instrumentalists had widely spaced Difficulties in adjustment appear in proportion to upper lip. Although this individual did not indicate it Only more demanding are the needs of the students Programs may be teeth in a mildly protruded lower jaw and one had amount, or degree, of lower jaw retrusion. In gen- to be so, this combination has at times proven ineffi- participating in the school music activities, and for planned with or without lower incisors tipped sharply backwards in a mildly the players whose lower incisors strike three-quarters cient for brass instrument playing, and may have been these, the concert is planned. special theme or season- retruded lower jaw. Both complained of pain and dis- eral, clarinetist al significance to one inch behind the upper incisors adjust less well the cause in this case. The who complained 1.Music can be selected especially to challenge cer- as long as comfort to the supporting bony structures. For all in- those whose lower incisors strike one-half inch or of poor adjustment had a retruded lower jaw and some tain weak sections or individuals of the band; or it can the demands of unity dividuals, then, the adaptation problems center around than 2. behind the upper incisors. The retruded position incisor irregularity, neither of which should be trouble- serve to improve the listening attitude necessary for and balance are respect- the discomfort and pain of the teeth and the bone less 3. jaw is not in harmony with the anatomic some for woodwind playing. improving intonation; or for rhythmic training or ed. Should a motif be which supports them, and early fatigue and pain of of the lower requirements for brass embouchure. The instrumental- Within this grouping, then, the cause of poor ad- tongueing. It may also give prominence to generally decided upon, it can be the muscles of the floor of the mouth. This usually must shift his lower jaw forward to place the lower justment is not clearly known to the individuals who neglected instruments such as the alto clarinet or developed through as occurred after a short period of playing. For some the ist directly below the upper incisors and in the present the complaint. However, most of these in- baritone saxophone, thereby stimulating interest in many phases as common discomfort reduced the musical efficiency, for others incisors sense proper position to support the mouthpiece equally dividuals show types of dental and facial development them. The. music which is most difficult is seldom the and good taste actual playing was prevented for varying amounts dictate. Naval against both upper and lower lips and incisors during which are undesirable for the instruments which they most desirable for concert training, because the long A theme of time. The one small brass player in this group had allows the ushers to embouchure. For many, the jaw shift play. In most cases assistance in adjustment by means hours of technical drill and extra sectional rehearsals per- a normal jaw relationship with widely spaced incisor adjustment haps be to the ordinary manipulations necessary of orthodontic correction is the same as that offered for can eliminate all future possibilities for popularity of to local Sea teeth and complained only of early tiring of the lips when added renders adaptation highly unsatis- individuals with inability to shift the lower jaw for- that particular music. To test this fact, place before Scouts; auditorium while playing. during adaptation band members a number which the year before was decorations to include factory, and at times impossible. ward. prepared as contest or festival material after many rope halyards, stan- The Problem of Instability Although none of the individuals discussed here had The complaint, “difficulty in adjustment of the in- chions, and white sails THE UNIVERSITY OF correction, consideration of its mouthpiece to the front teeth,” came from weeks of concentrated drill. The typical reactions are MICHIGAN’S NOTABLE CONCERT TRIO In considering the dental conditions associated with received orthodontic a strumental (left to right) audible groans or expressions as of pain. bordering the stage, Donald Dickinson, Sedgewick Fields, Crisera to the instrumentalist is worth-while. The individuals having one of three types of dental irregu- and Raymond this complaint, it is apparent, with one exception, that advantage Concert music should be pleasant music, to the printed programs to be most disturbing to embouchure is that the lower larity. These include crowding and rotation of teeth, new marked spacing of the anterior teeth is common to factor majority of students and readily suitable to artistic in the form of a Ship’s log, and so forth. Basic front teeth strike far behind the upper front teeth in- protrusion of incisors of the upper jaw, and irregularity among As for time of day, the habits of each community all. The exception is found in the woodwind player interpretation. Its arrangements should be properly all considerations, though, is the back side of them. Correction of the associated with cross-bite of one or more upper front that the music must re- will industrial whose lower backward. Likewise, stead of on main be the determining factor. People of an incisors tip sharply related to the instrumentation for developing the maxi- the predominant attraction. with relationship of the lower incisors to the upper by mov- teeth inside the lower teeth. area which employs the majority of citizens on regulai the exception of the small brass instrumentalist, mum effectiveness of the best registers and ranges. The In organizing the program for printing, the ing the lower jaw forward, or by moving the teeth in Crowding and rotation of anterior, or front teeth, the music shifts will attend a concert at a different time from difficulties are associated with large brass and variety and representative styles of music should be titles sometimes need adjustment. For instance, one, the other, or both jaws into a better relationship was observed in fully one-third of all individuals ex- David that which suits an agricultural section where chores woodwind mouthpieces which often subject heavier selected with the total desired program effect kept well Bennett’s “Pigskin’Pageant” or all of the inability to support the may be musically desirable Though pressures playing. would reduce much amined. It occurred among all types of instrumentalists and early rising hours restrict all activities. against the lips and teeth during in mind. Too often the significance of unity and bal- while its name appears create relationship of the lower out pf place on a program of a In view of evident mouthpiece and a and was disturbing both to the woodwind and brass of such matters may also restrict the time-length these circumstances, it is completely ance are so obscure to conductors that they feel con- such numbers as Cesar Franck’s upper teeth similar or identical to that complained that the sharp Finale to Symphony t° that most of the complaints in this group are asso- teeth to the players. These individuals performance, the success program is decreased, tent to presume their presence whatever selections in D-minor. To revise of a development. correction is such titles, the conductor ciated with sup- found in normal jaw This corners of the rotated crowns irritated the lips as they mav a greater degree, by the physical uneasiness of students instability of the incisor teeth which are made. Unity and balance are, however, concrete write to Mr. Bennett for an most part highly successful. Ex- it is Opus number or for array port the lips of contact of possible and for the supported the instrumental mouthpiece. However, per- and audience. It requires intensely interesting during playing. The lack entities and are produced by following such points as mission to print a more usable an conditions, however, require a long and often the condition will be dis- name. Program notes, playing adjacent teeth and the retruded position of the lower treme difficult to determine when these of music to justify more than ninety minutes of difficult period of orthodontic treatment. When treat- turbing to embouchure. This is brought out by re- or listening. incisors allow the pressure from the mouthpiece to be Group numbers by those characteristics which crowding relative to adjustment transmitted directly to the supporting structures in- viewing all cases of most closely relate them. thirty-six individuals stead of being dispersed to closely contacting adjacent and non-adjustment. Of with Keep climactic selections in their The Place proper places BAND, teeth upper crowding, fourteen adjusted poorly; only five ORCHESTRA Requirements an indoor in the anterior part of the dental arch. This at the conclusion or just before the intermission. of a proper place for staging irregularity ° pressure of the teeth sets complained of the as the cause. Out of Let concert usually the point against the supporting bone and the major portion of the music be the full, and reduce all possibilities to BAND ORCHESTRA individuals mandibular crowding, CHORUS tha up local inflammatory processes causing pain and dis- D. Revslli. forty who showed melodic kind through which people can sit in leaving no choice however, Edited by William complete Edited by at all. In the event, comfort twelve adjusted poorly; only one complained of the William D. Revelli such rest of varying intensity. Although only mild dis- . relaxation and pleasure, enjoying the sheer beauty of choosing is possible, the decision will upon such points as the (Continued on Page 5 SEPTEMBER, 1946 "FORWARD MARCH WITH MUSIC 499 498 "FORWARD MARCH WITH " MUSIC the etude ” —

t6 tor Music from the lower Opportunities Workers of Army tests, what Music and Study to one inch apart ^stefthfSet FTER a MULTITUDE seemed Music and Study unsuccessfully for thr®e to be interminable weeks of basic training, and were not in position to open-bite the teetn in one of the Army’s crypto- Due to the nreVenting satis- L a rigid course playin„, iluant Sckuman A crowding lips during I found myself, as a member of the irregularity as the cause. Although anterior support the hure -phis in- graphic schools, to c°rlae disturbances in em- factory adjustment . of States Army Air Corps, aboard a transport and rotation is associated with mouthpiece United able to adapt to duty. While aboard that plane will be the direct cause of poor adaptation dividual was difficult Address bound for overseas bouchure it adapt remained From a Commencement delivered by Diane Regained th Ex-Soldier display it. trombone. However, full realization that my career as a pro- an number of individuals who a for him. to the How for only a small actory JuiUiard School of Music at came somewhat sat™° president of the the Forty I and continued to be from violinist had come to an abrupt end and of interiereiicee/ence Graduation Exercises of the Institute fessional Cross-Bite clarinetists complained^ First of months Protrusion and The two perhaps that it might be many or years before the teeth Art. ob- open-bite relationships to sical the opportunity to touch my in- of the incisors in the upper jaw was upper would again have Protrusion .these pomteto » I Six were brass players, ner of the mouth. At While heading toward my military destina- served in twelve individuals. we P ^ strument. Violin Technique teeth is His all or two adjoining that music a most difficult about my former life as a student brass and one _ SAID think and six were woodwind players. Although f inch T IS vocation tion I began to approximately one-quarter few who are at embouchure, only two com- lower by apart because only those the top of violin. I was comforted by the pleasant mem- players adjusted poorly to the the of the the instrumentalists shifted are successful. It is important the distinguished condition as the immediate cause of As the ooene“-bite profession for of my intimate associations with plained of the during adjustment, the °P I you ories the pro- and sliehtlv forward ‘ yourselves now your own notion it had been my good fortune problem. For these individuals clarify for of su . under whom adaptation owners of the mouth to c violinists associated with a mildly retruded it th« failure in music. Why have so many the many hours of pleasure and profit truded incisors were St2S individuals had difficulty cess and disap. to study, and hu. Samuel ClCjCjClU protruded half inch or more. These turned with bitterness to brought both as a student (j. lower jaw. In one case the lateral incisors pointed artists other walks which my music had me ^ of air into the central incisors in controlling the flow grudgingly accepted what they considered violinist. sharply along-side normally positioned the mouth durdur- of life or the and professional escape out the corner of was placed it tended to _ orchestral player or teacher. absolutely no opportunity and irritated the lip when the mouthpiece during play menial job of If yout While in the service I had the musculature tired jutted outward and ine the nlaying As success in music is based violin. The initial and laborious tasks against it. In the other all incisors ifficontrollaWe^ attitude towards on your to practice the lower jaw the condition became somewhat making the best The following two measures from this concerto amount of jaw shift needed to bring the ing a highly publicized solo performer were assigned me managed to make my hands However, bent on saving time and the be expected und r becoming the which uncomfortable posi- While this condition may statistical laborer than of a musician, I resolved to proceed with the and teeth forward resulted in an dwcussed chances, viewed from considerations alone, look more like those of a of that at my disposal, Ex.5 playing, the indmduals ^ for long periods of playing. Al- of long periods of join the disappointed and I was constantly aware of the fact “42 Etudes.” Although conscious of my imperfections tion unsatisfactory more serious than is are that you will embittered. and consequently, is complained of problems through the number of complaints examined here here exploitation in the star system can by violin technic which I had so painstakingly I overcame them one by one and after going though certain conditions, toen, an Commercial its that the points out the dis- usually expected. Under very serious study of t i n, i i information definitely handle but a few artists. If on the period of twenty-seven years was twenty of the Etudes I began a limited, the upper front teeth away very nature other acquired over a protrusion for brass in- open-bite relationship of the in major for violin advantages of upper incisor hand you approach music with a degree of humility definitely and rapidly disappearing. J. B. Viotti’s Concerto No. 23 G players strumentalists. On the other hand woodwind genuine desire to serve as best you are receiving my honorable discharge, I decided and piano. This concerto presented me with a wealth and with able, Upon were played over and over again until I had mastered do not complain of this condition. prospects for a useful and rewarding to regain my lost violin technic and re- of study material which, after being practicedjvery Expert Advice Needed then your life to attempt the playing of the turn both in perfect time and artis- relationship of the upper incisors inside professional musician. rewarded me with a sufficient A cross-bite order in music are unlimited and your chances for true suc- establish myself as a teacher and conscientiously, has ex- an open-bite relationship in tically. was observed in six of the individuals The correction of is have been able to accomplish technique, thereby making it possible for the lower diffi- cess bright. Your obligation to equip yourself to be The steps by which I amount of associated anatomical requirements is often The ensuing seven measures beginning amined. All had mildly protruded lower jaws to improve the you are capable of being and practical ones, and since the re- me to resume my professional playing. On the assump- caused by such ir- the best musicians and to this are simple small brass players and two cult or impossible. Mild conditions Concerto was a with this condition. Two self-evaluation a way of life. In have been so encouraging, I feel that other tion that every measure in the Viotti protrusion, rotation, tipping, make critical short, sults players adjusted poorly to embouchure. One regularities as crowding, con- phase of violin technic, I woodwind quality of the work you do in music will not be ex-service men and women who may now be definite exercise for some incisor of the teeth involved are often the brass instrumentalist had a single central or improper positioning difficulties as mine single measures or small groups result determined by the titles of the positions you hold but fronted by experiences and such diligently practiced lateral incisor and extreme conditions which crossed and the other had a single correctable. Mild once again assume the re- in order to overcome definite difficulties. For supporting rather by what you yourselves bring to the tasks at may profit by them and of them complained that the crossed position of from irregularities in growth of the bone opening crossed. Both sponsibility of returning to their music careers trun- instance, in the following six measures of the As with all irregu- hand. the single incisor removed support opposite the irregu- the teeth are poor treatment risks. need in music today, as always, for great cated by the war. solo were of inestimable value in practicing the sixth posi- instrumental orthodontic advice is needed to analyze We have larity and forced them to position the larities qualified groups of relationships performers and the present day organization of the tion and in interpreting clear and distinct Extreme ' mouthpiece unevenly against the lip. Both woodwind the approach to the condition. The Routine Begins SOLO em- concert world should not discourage anyone. The field triplets. satisfactory fb. i players complained that the irregularity of the lower can rarely be corrected enough for _ performer is bound to expand in our coun- the steps by which I regained my la xv For the practice of crossing strings with the use crossed-positions irritated bouchure and a change in the type of instrument for the solo The following are incisors resulting from their beginning as try as musical activity becomes more and more decen- violin technic and which enabled me after a period of of the half bow, the three measures, the lower lip as it rested against these teeth during played is probably advisable. the two tralized. Music is filled with opportunities for pioneer- months to give several concerts and obtain a well- con espressione shown in Ex. 7, were more than adequate playing. Here again the available information, al- From the information presented here and in two f that Carnegie irregularity that dental irregularities ing, but the pioneer must realize Hall paying position doing solo work. full played forte; also the though limited, helps to point out how the previous articles it is evident I was able to practice bows Ex. 7 hb. cor- is not America. For the first week I decided not to practice over one posi- of the front teeth affects adjustment to embouchure. can be 'regarded as liabilities which, ideally, need very important shift from the first to the third need in music today, as always, for great day. I took careful notice of the position rection if a satisfactory musical career is to be ex- “We have half hour a tion with the first finger, making sure that the shift our own school, must be violin and I also practiced placing Possibility of Adjustment pected. When orthodontic consultation and correction teachers, but teachers, as in in which I held the was an even one and made without jerking the hand those top-flight musicians. There must be no turning to the bow upon the strings without playing. Once feeling fourth fin- Removal of the dental irregularities which result in are not available it seems requisite that who into the higher position. In practicing the I commenced the anterior instrument playing pay attention to these teaching because of failure in another direction. Teach- sure that my position was a correct one, often the nemesis of the violin difficult adjustment of the mouthpiece to teach wind ger extension (very Again, knowing that the higher register on the profession. It is a great art. on the and A strings; later, I con- possible and practical. In the hands of undesirable dental relationships and their probable ing is more than a noble playing full bows D student) I practiced the entire passage, making sure teeth is quite , three lower strings of the violin offers difficulties as is branch of the mu- practicing full bows on the string graduating the competent orthodontist the alignment of crowded consequences in order to devise functional adjustments Furthermore, music education a tinued G that there would be no break when shifting to the first the open and to intonation, this portion of the Viotti Concerto fur- retrusion of protruded in- better suited to embouchure. Certainly these irregu- sical profession and certainly one of its most important to the E. The next step was to play on D play the trilled F-sharp note in the and rotated front teeth, the position in order to excellent practice in the sixth position on the teachers and D. These open nished normal relationships, and the repositioning larities should not go by unrecognized! branches. The need in our country for gifted A strings, then E and A, and G sixth measure. cisors into A and D strings: centers is strings I practiced very slowly and carefully at the of teeth in cross-bite is a highly satisfactory pro- willing to leave the large metropolitan The following passage gave me ample opportunity upper third, lower third of the bow, striv- cedure. Many times, however, movement of posterior enormous. middle and to practice intonation and shifting to the fifth position ex- full, round tone. teeth and changes in basic tooth arrangement must be “We have need in music today, as always, for ing at all times to produce a on the D string: field this initial foundation, I began made to facilitate correction of the anterior teeth. For ceptional orchestral musicians. We need in this After having laid Music Lover’s Bookshelf in the begin- Ex. 3 this reason the length of treatment is at times longer The Etude men and women able to cope with the trials of orches- practicing the Schradieck Scale Studies; position, first seem necessary. cynical. need people ning I attempted only the scales in the first than would at (Continued from Page 491) tral routine without becoming We laborers notes to the reported an “inability to attain ade- skilled with but one note to the bow; then two if Two individuals for our orchestras who are more than J'i mum Another passage which afforded extra study of trip- range and control in tone production,” due to assigned with as bow, later four and subsequently the entire scale quate the principal voice. In short, Bach is to music what perfunctorily executing the music lets is the following orches- through poor lip shape. Both were small brass instrumentalists little effort Briefly, we need more three octaves in the following manner: Lohenstein* is to poetry. Their inclination toward as possible. Out of the following ten measures, beginning with short upper lips. They blamed the short lip . O , and had bombast led them both from naturalness to artificiality, tral players who love music. attain range and tone with their for su- for the inability to from sublimity to want of clearness. With both one “We have need in music today, as always, instrument. Aside from these two cases the informa- more com- admires the laborious effort and the exceptional work perior composers and conductors. We need tion obtained in this study shows variations in lip to write expended in vain because they are not comfortable posers of first rank who are willing and able significance. view of the impor- form to be of little In reason.” for the specific needs of our time, especially teaching to The above passage was played very slowly at first, tance that has been placed upon lip form, it is quite material, fresh literature is Thereafter Mr. Graf traces the helpful as well as where the demand for increasing the tempo without sacrificing articulation possible that other methods of examination may reveal write with- the destructive criticisms of many men who have had great. We need more composers willing to intonation. findings not demonstrated here. more con- or a great formative influence upon musical history. out an eye to the box office. And we need following measures new Finally, reviewing the The extent of the ductors repertory both Conditions of the Lip musical erudition of a good critic eager to perform varied not regar must be enormous. He is a bridge between the com- and old. We badly need conductors who do Correction of the shape of the lip is almost impos- an poser, the artist, the the last 0- and the public. He cannot afford to be first performance of a new work as As not only my time but also the funds at my dis- • sible. Some Individuals, however, point out the advan- of flimsy second, fifth 0 made materials. Musical criticism, with the who are equally willing to give it a posal were limited, it became imperative that I re- exercises as means of obtaining better control w tage of a exception of the case of tenth. men occupying a few outstand- cover my technic within the shortest possible time, ^ -9 d etc. jn function of the lip musculature. Surgical interven- ing as always, posts in America, has been, on the whole, a very “And finally, we have need in music today, so I decided, although cognizant of the fact that my practical. As with many types attention to articulation, not over- tion is possible, but not poorly paid occupation. an au ie I paid particular However, your reviewer feels for an enlightened audience. We need progress must need be a progressive and logical one, of dentofacial irregularity the alternative of selecting j ^h looking the marks of expression. that with the astounding r demands growth of musical interest in which really cares about music, w hich to study carefully Mazas’ “75 Melodious Progressive an instrument where embouchure is not dependent degree In order to derive the maximum benefit out of these our country, we are approaching a time when best from performers and composers, some Studies.” I was completely amazed to realize the tech- can be exercised. This seems to the work very slowly at first, upon the irregularity of the music music crl ten measures, I executed them critic will call for a more just reward. technical competence on the part of all nical facility which I developed in a comparatively be the most reasonable approach to the lip problem. the speed until I felt that my finger dex- Mr. Graf’s work is abundant sp increasing the only one in its field, and unhackneyed programs with more short period of time. The tone which I produced was An “inability to support the mouthpiece and to con- and to decidedly accelerated. anyone aspiring to enter firm terity had been repaid me with a renewed ability to play octaves. this field the book is obviously given to the contemporary work. and pleasing and the bow presented no major trol the air stream" interfered with the adaptation to practicing been so methodical and so free a “must,” as it outlines the principles obstacles. My has three individuals of criticism for embouchure of who had an open-bite • » » * from the unnecessary worries that deluge the average two hundred years. For others interested After practicing became nec- relationship of the front teeth apart from the lower in music the Mazas Studies, it they will find this a singularly highest a essary — student that it is safe to say that I have received more readable and informa- •‘Next to theology I give to music the p| for me to make a very important decision teeth. One played the brass instruments and two the f nro vh- ^ benefit recent review saints whether or “42 For from my music than do many woodwind. The brass instrumentalist exhibited an and honor. And we see how David and the not to tackle Kreutzer’s Studies.” VIOLIN one students whose violin teachers, misled by their indi- wrought their godly into verse, rhyme who had not played the violin in over two and a Berkley open-bite relationship of the front teeth three-quarters * thoughts Edited by Harold Lohenstein was a bombastic dramatist half vidual pet principles, lead ( Continued on Page 530) of the seventeenth century. song.” Martin Luther. years this problem was truly one for controversy. 500 "FORWARD MARCH 501 WITH MUSIC the etude SEPTEMBER, 1946 "FORWARD MARCH WITH MUSIC” . .

HE IDEA of exaggeration as a useful principle Music and Study tonic on the major the piece is seems to be one which is probahi of piano practice over- in the major key, but if it is most students. Fundamentally, prac- based o looked by Study minor tonic the piece is T Music and the formation. We practice in order probably is simply habit course real ticing minor. Of a musician automatically correct, at. . least in does nit i ay compositions need to look at the final chord matter what becau? technical sense, so that no distractions to the music he listens and is aware for our conscious thought our subconscious How Start a Children s Glee of mav arise Piano Difficulties key—major or minor— play correctly. Overcoming the and to make us Even of modu thought still continues other keys as Club lations to these occur completely concentrated on our perform- Answers i! when we are and the course of the composition. we do is subconscious, Questions in h/ ninety per cent of what a 6 ance Q. 1. In the near future I am to start case of small children in school we can only think consciously of one thing nine to twelve in some because we group of children ages telling are to times begin by them to look yet we may actually be doing a dozen things an after-school singing group. We at at a time, By Exaggeration a week and there will the right-hand sharp or flat in playing several different notes in each meet for one hour the kev simultaneously— be about twenty boys and girls, all with a Conducted by signature: “The right-hand fingers, different time values, dif- sharp is using different real desire to sing. We expect to appear on J hand ti, therefore do is on the line different volumes of tone, making programs connected with the Recreation or sp ace ferent touches, want to use beautiful above—and this gives you the or diminuendos, accelerandos or retards, Department. We name of crescendos music—not popular music—music that is key; or character, the major and the right-hand pedaling correctly, thinking of mood and so beautiful that the public cannot help flat (J3t V/U is on fa, therefore you count in practicing is to make all these luj (^Lester cimd skillful QeLLnS, down Our aim but listen when we sing. I am a J

Music and Study NEW WINE IN GRINZING Strauss (son), Kai IMillocker, The fame of the Vienna waltz is due largely to agroup of about ten men— Josef Lanner, Johann Strauss (father), Johann apotheosis of the waltz, represented in Karl Zeller, Franz Genee, Oscar Straus, Franz Lehar, Robert Stolz, and Richard Strauss, the creator of the Pianist? NewWinein Grin- One-Armed Rosenkavalier.” Of this group Robert Stolz, now an American citizen, is the bestexemplar of the typical Viennese waltz. a “Der composers go tor embodies zing is suburb of Vienna, to which many artists and What Is the Outlook zing, recently published, the true spirit of this delightful form. 'Grin a Grade for recreation. 4. ROBERT STOLZ, Op. 746

Tempo di Valse Animatof J. =66) 5 5 A Conference with % H ' * 1 *1 A • 4 5 Z nr. , 5 ,

J-^aul en& iein Distinguished Piano Virtuoso

WEST SECURED EXPRESSLY FOR THE ETUDE BY STEPHE1S

performances of Paul Wittgenstein, the For some two decodes, the extraordinary extraordinary qualities o Mr of the musical wor d. The to have earned the homage TTade it possible second ,s that ghe ha of course is his sensitive artistry. The center in two causes. The first, the fact that he has lost his right this sensitive artistry despite was his express JoocA ; m , Vienna, of a thoroughly musical family. The ce,e ° r ' Paul Wittgenstein was born in , durmg recollections include visits which Joachim ^ areaf-unde Wittgenstein's earliest musical p distinauished

Russians, our right arm. He was taken prisoner by the Army at the Russian front. There he lost his

± usfrix. t » r* unlc ue music for one hand; and gradually his f tasks, Mr. Wittgenstein began arranging technical works espec.o//y to hhj the attention of composers who g/c Y wrote his new medium of expression earned him Mr.f Wittgenstein are Richard Sirauss, who have composed solo, orchestral, and chamber music for use Among those be better Franz Schmidt-who, says Mr. Wittgenstein deserves to n Godowsky. and the Austrian, Ta e7 public concerts of chamber as the first pianist ever to appear ,n known in this country. Mr. Wittgenstein ranks Wittgenstein ’ asked Mr. and^aL wounds taken by the second World War The Etude has TetaZtoUhe "toTofhand suggestmeansby enjoyment that exist for such disabled men, and to to comment on the possibilities for piano enjoyment. CDI ™ * ' which they can develop those possibilities for "Further, amateurs listened more intently by going to concerts and thus detaching themselves from their normal thoughts and occupations. Nowadays, people means impossible, of course— are spared the effort of playing themselves, of going by stating that the loss of an arm in the war! It is by no ET ME BEGIN radios and get “f to me, and it might have happened to out to concerts. They turn on their need not separate a person who loves the piano it happened not heard of any such case. Beethoven and Mozart, Bach and Schubert, Wagner the instrument of his choice. The ques- others—but I have JLU from leur salut en greatly. In “It seems much more likely that the hand and arm and Brahms delivered at home; ils font tion, naturally, is one that interests me the might affect pianistic auteuil their salute from an armchair) however, I must divide it into two wounds resulting from war / (they make order to discuss it, with (Strangely enough, though, I have not heard where they listen (if you can call it listening) there is the problem of the one- amateurs. categories: first, them profes- of any such cases, either!) What about the pianistic only half an ear to the music—which glides off armed artist, one who has already acquired possibilities of these amateurs? They have smaller like water from a duck's back. sional equipment and, possibly, professional status and technical resources; therefore they must set, them- who wishes to continue his work despite the loss of Certainly, the concertos for the The Classics at Home in second place, there is the problem of the selves easier tasks. an arm; of left hand, like those which Strauss and Ravel wrote convinced that the advantages disabled amateur, one who loves to play the piano and “Of course, I am Godowsky’s difficult compositions Still, by placing who might very logically wonder whether he is now for me, as well as radio far outweigh its disadvantages. for the left hand, are ruled out for an amateur. Any within the easy grasp of doomed to go through life without the pleasure of Beethoven’s Symphonies make to play them would prove this them at all, radio personal playing. attempt he might those who would otherwise not hear correct. For, in contrast to most classical formerly took a per- “Let us consider the one-armed artist first. The re- warning makes it too easy for those who works, these compositions consist almost entirely of And there quirements of a one-armed professional pianist are sonal part in acquiring musical knowledge. difficult passages only a few bars might be called state of things. more easily named than acquired. If he comes into — is still another disadvantage of this easy. Has the one-armed amateur, then, no possibility let us say, this category at all, it is to be supposed that he has The amateurs of other days who played, finding enjoyment in piano playing? arrangemen already mastered finished virtuoso technique; that is of Oh, yes, he Beethoven’s Quartets in four-handed has! There exists quite a number of pieces for whether these to say, from the purely technical or pianistic point of one learned to know them all, regardless of hand which even an amateur can play; the To-day, view, he must thoroughly have mastered the Etudes Six Pieces works were played frequently in public or not. for Left Hand alone by Saint-Saens, radio for of Czerny and dementi as well as those of Chopin. for instance. And people incline to depend entirely on the another possibility, which I cannot sufficiently What isn He must have at his disposal the classical as well as recom- making acquaintance with great music. mend, is the playing of piano-duets. doesn the romantic piano techniques. This, of course, lies played over the radio, isn’t known to them— “By of digression, Bruc behind him, during the days of his normal studies. way a it is greatly to be regretted exist. This partly explains why composers like the playing Europ , His present task, then, is to adapt the technique he that amateur of classical music in four- ner and Reger, long recognized as classics in hand arrangements has so ay already possesses to one-armed use. diminished. Before the are virtually unknown in' America. The radio p radio was invented, musical OP amateurs used to play the them only very rarely! Toscanini, the musical Double Energy and Work classical symphonies and chamber c0 music with four (minus the infallibility), doesn't choose t0 . ,T _ impossible to hands—used to play them, not t m “How is this to be done? It is quite merely hear them! their works; the amateurs, making no music demonstration Naturally, the knowledge acquired music, offer any detailed explanation without through such play- selves, have no initiative in seeking for the general sense, however, ing, together with an understanding of the compos at the keyboard. In most architec- the result is that the masterworks of these aiming at complete results with tonic structure of the compositions, aware t it may be said that enhanced the remain unknown. In saying this, I am well energy and pleasure they got from listening to only half the means, demands double the works at a con- I shall echo; facte find but little sympathetic , , partly in exaggerating the cert. Conversely, having heard a piece nowa s work! The work consists at a concert these are not what people want to hear modifying them. In other words, enhanced the pleasure of playing it, co old skills, partly in afterwards. Play- Still, I am sure that future judgments will has to go through a sort of ing a piece even once, as a duet, even the single playing hand if it’s not quite what I say. hypertrophy an overfeeding of the old exercises; at in the right tempo, is worth half a dozen one " a ^ — hearings "But to return to the playing of the it must be developed by new arid of the record! Of my own experience a^ the same time, I can say that amateur! Let duet-playing. An him investigate , jjer special ones. there are many pieces that I understood only c ®m after ishing number of classical symphonic and it would be, indeed, a strange coincidence for having played them in duet form, “But imperfect as the music works by three rendering may might well be played another professional pianist to have lost his right arm have been. on ”09 instead of four—without any ( Continued ^ na riy International Copyright Copyright MG’ MX I, IV secured "FORWARD 504 MARCH WITH MUSIC” the etude SEPTEMBER 1946 SOS * From here go back to the sign ($ ) and play to Fine ; then play TRIO. 507 THE ETUDE SEPTEMBER 1946 DANOE, 1NV / 3 HUNGARIAN ^ wiil H „„sari„ vi , lia ; 1 ar. an ements, his brilliant orchestral ff which tJm'es and later made then ^ 0^ RemSnJi, Brahms'ZJtoZnilllTiZte were prepared for the piano. Grade 5. JOHANNES BRAHMS

SOS September lut PRELUDE IN D MAJOR is from a set of twenty-four brought highly deserved distinction to Mr. Chasins. Grade 5. This composition works in modern style, which have

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This theme, which makes a very interesting short piano piece, is known to millions as the “the me” of the widely known radio production “Music for Tonight.” Grade 4. Slowly (J = 66) 3 K _ . DON GILLIS

Copyright 1045 by Theodore Pressar Co 512 secured Copyright British Copyright secured. British Copyright 1945 by Theodore Presser Co. etude 513 thb September 1946 Grade 2-3. DRIFTING IN THE MOONLIGHT Louie Swaying rhythm (JV- 100) fraiy^

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The Teacher’s Round Table

NEW CHORUSES (iContinued from Page 492) variety of selections listed below, and the introducing The wide complete Sonatas— song favorites, a post war marve| of BM| difficult Beethoven “Everybody’s Favorite of choruses, are especially useful for Church, t0 or one of Op. Songs,” catalogue School ° ° 1- 14, NO. 1; and so forth. the music world, Fes 0 No op. completely revolutionizing regular programs. 0P the entire sonata, Here are a few easy piano pieces which tival Events, Clinics and sure ’to assign the old type metronome Be I like: . . lWt has thor- J time^if the student content of analyzed the form and SONGS OF THE SOUTH reference heard in con- Hirschberg, ’Way Down South I will send you FREE copies others BM of any of wp sonatas and th records, he should have a Rovenger, Negro Lullaby the choruses listed below on receipt of your request. fand on schooling in sonata Bland-Rovenger, Carry Me Back to Old '^-Atet/ionomcL^ ° elementary ood Virginny S.A.T.B. S.A.T.B. f the merrier! There- Fletcher, Old Black Joe ELE (continued) °The more sonatas, Cat. No. Cat. No. memorization. Your Maier, Deep River J. d0 not insist on 103 Hail Gladdening Light. KASTALSKY-Ray 174 Psalm A good un- Fletcher, Nobody Knows de Trouble of the Harvest . u Stives are fourfold. (1) * “ !J! — ' ' GESSLE 104 *0 God Beneath Thy Guiding 175 Panis Angelicus R sonata form and style I’ve Seen (20c) derstanding of Hand (20c) TALLIS-Loftin of technical and Brice, Were You There? FRANCK-Strickling o) The development 105 Cantate Domino 176 Ave Verum (motet). acquainted Mills-Schaum, At a Georgia Camp WALTON facility. (3) Getting (Sing Unto the Lord). . . . HASSLER-Terry musical many sonatas as possible. (4) Meeting #•&' 106 in the Valley Beiow (20c). . . .Manney with as S.A. confidence in sight- Haven, Plantation Memories 107 Fearin' of the Judgment Day. .SWIFT Marked progress and Plantation 110' *The Lilac Tree Wagness, Serenade ie in persnickety about Eckstein, Pickaninny Serenade (Perspicacity) GARTLAN Braine 120 Let Freedom Ring. So don’t be too . " cruD.'.V" 112 Let Freedom Ring 121 lessons. Reserve that Giovanni, Banjoing the Polly-Wolly- SCHRAMM The World Is Yours. “perfect” sonata • schr^m! 115 God Save the People. .GENET-ELLIOTT 122 Brave -SCHRAMM repertoire of shorter Doodle New World fnr the memorized 116 Praise Jehovah (20c) (A Pan-American Hannah Smith, Uncle Remus Song) SCHRAMM (Psalm 117, 118) MOZART-Binder 123 Mon Petit Mari 117 O Saviour of the World .... GOSS-Ray (My Little Husband) MISCELLANEOUS 118 ‘The American Song (20c) HERNRIED Kasschau, American Tunes (Duets) MARTIN-SMITH S.A.B. American Tune 124 God, the All Powerful Eichhorn, An Old (20c) “America Sings' ' Program An Dacre-Schaum, A Bicycle Built for Two LWOFF-Wolton 144 Let Thy Shield From III folk’s recital (ages seven 125 Sweet Jesus, Guide My Feet. .MEEKER For my young Foster-Steiner, Oh Susanna ° ef nd “ s I planning a pro- ' WEBER-Springer to eleven) this year am 126 Brave New . World 146 Silent! “America Sings." Can you Miles, Minstrel Boy Night, Holy Night (With gram called (A Pan-American Song) SCHRAMM no harder than Hill Unison Choir) (10c) suggest some numbers Hayes, Billy Tune 127 Songs of Praise MOLLER-HOLST and three to help build the 163 To A Withered Rose grades two Lowenstein, The Hill Billy’s Broadcast GESSLER-MONTGOMERY N. M. C., Minnesota. (S.S.A.B.) program?— River Valley 128 BANGS-FALK Mitler, Red Sweet Spirit, Comfort Me! (12c) hundreds of good arrange- Schaum, Marines’ Hymn BRATTON-HERRICK You have Rosalind. Russell enjoys a Magnavox Rolling Hesse Miss 130 Lord, Lettest S.S.A. choose from. Schaum, The Caissons Go Photography: Paul Now Thou Thy ments of American songs to concert in her Beverly Hills home Servant (12c) course contains dozens, and Along KING 100 O Saviour of the Every piano World . 131 Come Now, Neath Jesus' . . GOSS Ray them. Foster -Howe, Jeannie - never needs ln ,he Boat music store shelves are filled with winding Cross (12c) *91 GRIEG-COULTER-Loftin Foster-Howe, Beautiful Dreamer Moller-Holst ,h Va can make good piano pieces from the no spring . . 132 Bless !" "ey “elow (20c).,.. You . just plug in the Lord, f Manney and it will run forever O My Soul inn.109* ’The like Richter, Star Spangled Banner Music for your every mood Lilac Tree (Perspicacity). .GARTLAN songs in many “regular” song books, GESSLER be obtained through i 114 Sunset .... “Merrily Sing,” These numbers may 136 I Will Lift Up Mine WALTON “America Sings,” We Eyes Unto 129 THte Etude. -never the Let Freedom Ring SCHRAMM Memories” (93 all-time popular the Publishers of slows down! Hills (12c) ERWIN-Harlow “Fireside New horizons in musical enjoyment are yours when you listen to 137 133 I Wait Alone Beside the no running Christe Eleison (12c) Sea down . . . precision beat perpetually GESSLER-SIMPSON JOSQUIN DES PRES-Bleck this superb radio-phonograph, the world’s great music lives again . 134 Magnavox. In 138 *uHymn of, Music When Soft Voices Die the Soviet Union (10c) “ never ALEXANDROV-UNTERMEYER TAYLOR-SHELLEY tonal clarity of a concert hall performance. wears 135 Cradle with the same ttueness and down! 141 Laudamus Te Song EISLER-BLAKE Piano Difficulties no moving PERGOLESI-Falk 140 The Overcominq parts...no motor...no I 143 Sing Owl gears...no oiling. Unto the Lord a New JOKL-TENNYSON lighthearted entertainment 142 Lacrimosa Whether it’s quiet relaxation or 3 (12c) SCHUBERT-Falk FRANCIS 147 A Christmas Exaggeration ab&oluteltf. unique! 145 WhereJr Willows Bend Song (12c) By (20c) . faithfully reflects your every mood. . .ELLIOTT you desire, Magnavox 149 Kde Su Kravy Moje CROKER-SCHOFIELD 148 Twilight (Slovak Folk-tune) (12c) KING-BLAKE (.Continued from Page 503) (20c) . . Schimmerllng 150 157 Two Czecho-Slovak has a flash-beat Come My Way, My Truth, Folk Songs signal Schimmerling a ° 2 C) WICKLINE may not be there at all and may furniture visual beat . will feeling ••• truly fine synchronized with an 152 Ode to 159 Aften Water (Old Scotch Song) If the interpretation is wrong it. Superb performance audible beat America i R pricnc difficult to create. In other words, it 155 AH Mah Sins (20c) Strickling be very obviously so when exaggerated, be Been Taken Away an existing feeling but 164 Oh, My is right is easy to modify Beloved like a misplaced retard, but if it and adjusts 156 Hernr ed (Caro create a non-existent one. Combining the wonders of radio science, F. M. louder or So"3 of The Russian Bell Idol) MOZART-Falk it will be apparent that the only fault is hard to softer Plains have 166 The Irishman COWELL if the student does not to (Meadowland) - ,. Lilts (12c) Finally, any degree. (20c! c. i a need for modification. Tone adjusts also: sharp to 177 automatic record changing with the best in furniture craftsmanship, mellow 158 " " W ’ April LUBIN benefit of a teacher, it should be ”"' “ From the teacher’s point of view it is the 5 his public perform- better a pas- pointed out that in homes. You'll 160 for the student to work out mu- Magnavox is designed to grace the finest DIALS T.T.B.B. it is better to be credited with the tempo 161 sage with an actually exaggerated inter- ances easily criticism of ex- G°d !M °'et). sical ideas with the sole in America’s leading stores. the 162 WALTON 108 7 pretation than understate it, because find a wide choice of models whole range from 40 to host The Mountain Girl (Boys Chorus) to 208 beats per minute y (Anthem) (12c). to be criticized for an 165 Th^rThe - t Holst a well in aggeration, than Irishman Lilts Manney thought out interpretation 167 (12c) COWELL uninteresting and unfeeling interpreta- Prices from $225. See, hear and compare Magnavox with Whispering Voice 111 The Lilac Tree (Perspicacity). .GARTLAN which the only fault is exaggeration at (L'Arlesienne apparent absence of ideas precision! Suite No. 119 Elegy (Satire) least tion due to the in 1) (12c) <;*,• (25c) shows a correct feeling which can ANY ' ' ' BIZETIZET Li- position S,r ' cklln you hear it, you 168 The Irish 3 of understatement. In good play- other radio-phonographs. Once doesn’t Girl (12c) SCHIMMERLING-GUITERMAN easily be modified. But if the interpreta- because need flat surface. Precision at 169 139 speak. any angle *Hymn of the Soviet Union tion ing the piano must is only slightly suggested the correct one. Look for 170 (10c) ALEXANDROV-UNTERMEYER won’t be satisfied until you own 171 " Robb Old Joe ' 151 Hallelu! WINKOPP HANDSOME Clark. j,) V \ (a patriotic novelty). CABINET. . . REAL 6^ 172 nearest Magnavox dealer MAHOGANY FINISH ^1 153 Dark Wings in the Night the name of your A LIFETIME PRECISION INSTRUMENT 173 . . . Fully Guaranteed Sti'USL;- (20c) WALTON 154 Song of the WALTON Answering Etude Adver- in your classified telephone directory. SULLIVAN-Strickling Nile Don't PRICHARD Let It Happen Again . tisements always pays LOVE STAYS an d in this heartthrobb.ng The Magnavox Co., Fort Wayne 4, Ind. rCheStra Following is the last thought .° oTailoble. and all people. . "Orchestra parts as silable. IS and delights the reader. song; a song for all time >5c each unless G. SCHIRMER me. otherwise specified 5 Your Dealer Can Supply Th ese Too! 3 East 43rd St., New York AVAILABLE 17, N.Y. Music Printing AT —Mnce /9/5 small cost YOUR LOCAL DEALER quantity — low broadcast SONGWRITERS • LYRICISTS ° f CRYSTAL RE8B music, MUSIC TEACHERS n a v o x «* C » Laboratories, hartroro. INC . co nn . 580 Fifth Avenue write to PHONOGRAPH New York 19, N. Y. m B - * L. MUSIC PRINT 4 Arcade "FORWARD l Birin p r0v., R. I. MARCH WITH MUSIC” ETUDE THE "FORWARD MARCH WITH MUSIC 525 SEPTEMBER, 1946 V 4 > " * - ”

mann, sent her an imperative cablegram Great Sopranos of bidding her sing no more new roles p^ach that year. Her Madame Butterfly, Zaza,. Yesterday Mignon, Manon, Marguerite, the Goose Voice Questions Girl, Tosca will long be remembered. She - •• • - - eethove _ ^ i , (.•Continued from. Page 495) was adored by her younger hearers, and railms “Gerryflappers” attended all perform- ances, wrote her notes and waited at the Emma Eames on the — in Century 3x1 it stage was a no- stage door to see their idol pass in and ticeable figure. Her Elsa, Marguerite, out. It soon became noticed that her de- Juliette were pictorially lovely. While her -Answered DR NICHOLAS DOUTY Many people partures from conventional renderings of think the three B's are voice did not have the velvety quality of Says a recent letter, "Century also the three roles were to be expected. She introduced i s to best. It is the logical Melba’s, it was clear, resonant, true, and be congratulated for thing much new business. In an interview given reminding every to select your favorites in Cen- well-trained. Her costumes were said al- ways during her first season here. Miss Farrar teacher that there is great music tury Edition. They are complete, au- to be specially designed for her by avail- able in the her first supplied an explanation for this. early grades." We thentic and beautifully printed and, husband the artist Julian Story. think that — Tl.-, 1'ln lii'winl' Throat namely Her second an examination of these numbers Method of Clearing The (?) to sing the arias that only the well of course, priced at I5(f husband was the baritone at your New a copy. A trained adult vocalist is capable of singing Emilio de Gogorza. a renowned teacher, but; dealer will bring enthusiastic where great singers when agreement n I have read without the strain. The family, friends, and “I saw many young students all being song, passed under their nostrils BACH Mme. Sembrich was engaged from you. u' t L sina a admirers of such a gifted girl, will always for her concealing a small bottle of first season taught to act the various roles in the “Kmdkerchief flock around her after every concert appear- 3378 Air for the G-String, C-4 it was said to protect the inhaled, to clear their Which they ance, to tell her 3417 Arioso in -3 same way, the same set of gestures at snmething how wonderful she is, and G, management from Melba’s growing — 3607 March, Anna ° wondered what this something 3488 de- Magdalena 0-2 » , „ u I often how marvelous it is that a girl of only four- Fugue No. 5, D-6 thna singing mands. She just this point they were to cross the Minuet #1, Anna Magdalena you tell me ? I do a lot of teen or 2400 Gavotte in B Minor -3 came to the Metropolitan G-2.. Bar/, Could fifteen can sing so beautifully, so stage, 3710 Minuet #2, Anna Magdalena found out what is good for 3257 Prelude in -3 without much at that moment to make a certain G-2 Bar/, hale never dramatically, and so expressively. Is it C, advance heralding but her 3608 Musette, Ct her Anna Magdalena, D-2,~ G. B. 3558 Toccata and Fugue in -6 BachD0cn H. L. fault then that at long last, she believes D Minor, success was gesture—for no apparent reason save 3711 Ecossaise, ' huskiness.— what instant and she became Eb-2 'Bolifc 3418 Two Part Invention No. F-4 a they say, and fancies herself 8, highly that the role was always acted in that 413 Sonatin. #29, G-2.....! potion, the to be a finished valued member of the company. Bee,ft?" know of no miraculous artist and a great 414 Sonatine #30 F-2 a —We prima donna? If any kind She way. I simply could not work in that bA.s of which, concealed m a hand- BEETHOVEN had a very large repertoire, 3235 The “«'*oven mere breathing and candid musician who knows something of ranging Doll’s Lament. G-2 throat." It sounds k could “clear the the use 1313 from Zerlina in way.” 1971 Gavotte. kerchief. of the voice ventures a word of ad- Bagatelle in 0, Op. 33, No. 6 . “Don Giovanni” to the C-2...... r sorcerer than like the art of the medieval vice, all her so-called 3328 Bagatelle in Eb, Op. -3 very She accordingly left 2264 Song of the Fatherland, more friends unite in a chorus 33, No. I. high and difficult Queen the studio and be- E6-2 g physician. The best way to 1186 Moonlight of the 2257 Watchman's Song, mat of the modern of abuse calling him an old fossil, and a well Sonata, C#m, -6 Night gan a different E-3... r healthily, simply, 375 in “The Magic Flute” kind of study, one which 628 throat clear is to live meaning but Rondo, Op. 51, No. I, C-3 and includ- Gypsy Rondo, G-3 keep the jealous old fool. Fortunately na- Hold!, avoiding those excesses which 3345 Rondo, Op. 51, No. G-3 ing Martha, Rosina she described as “from the roots.” “When 3712 Oxen Minuet, C-2... and carefully ture is kinder than man. It is quite unlikely 2, in “The Barber” al- idio- 3494 Si* Variations, 1177 Venetian Y n bring upon you any of those "Nel . .". Boat Song. tend to that you have permanently Cor . G-3 ways popular I saw a gesture made on the stage I tried might injured your voice. 398 Sonata, with her audiences, and common to all singers, such Op. 49, No. I, Gm-3 svneratic troubles You have learned a sad lesson through a bitter 400 Sonata, Op. many others. She to see why that particular one was made. 3713 Menuetto^A pharyngitis, and indigestion, 49, No. 2, G-3 was not only a gifted A^F-BbY as colds, catarrhs, experience and you must hasten to begin at 1341 Sonata Pathetique, I 3714 Tarantella, Dm-2 drink too much, or over- Cm-5 singer but played the violin studied great paintings and if I saw P/TklZl no not smoke heavily, the beginning. Dry your tears, find a good well and 3639 Tambourin, Em-3 Get plenty of sleep. In a word, live the teacher and work hard when she gave song recitals what seemed to me a posture adapted to eat 2. at the basic elements her art was Walh *‘ < rom Op. BRAHMS 9A, 2-3. .Schubert of voice production, breath control, vowel and even more noticeable a role, tried to take it.” 371617 U First Loss, Em-2 2447 than on the opera consonant3. formation, and Hungarian Dance No. I, Gm-5-S freedom of vocal e Happ '' Form « r stage. Then she went . F-2 2395 Hungarian Dance Such exquisite diction and to Germany ^and here, . Schumann emission. You will miss the No. 3, F-4-S phras- ^ | adulation of your 2203 Hungarian ing, as 2 Schumann Tones Arc Difficult acoustic bridge Dance No. 5,' F#m-5 combined with she said: “I found the teacher 74 n I u •""•’x. : r- Tenor Whose High audiences and the thrill that praise can only foundation upon provide space for the her admirable vocal I had MOrCh ' 2 A Tie plate is the 3249 Hungarian ' G -Schumann Dance No. 6, Db-6 23 m bring to you, but if you have a level method made been looking for, Mme. Lilli sSw idm rSe 1 ° n at a prominent conserva- head on 3336 Hungarian attendance at these con- Lehmann. £' ’ Schumann Q.—l have studied Dance No. 1, F-4 lift , Vu° ? your shoulders, and we think have, it provide anchor points V S d '*rs March 0-2. 1 feel that l have pro- you you the piano scale is built. It and must 3491 Intermezzo, Op. certs a real obligation “I could carry out my plan °L . Ttchaikowsky tory for two seasons and which 119, No! 3 C-5 for ambitious vocal with her 3718mi SweetI will come out all right. “Through rough places 2448 Dreams, C-2 'J^aiKowskyTschaikowskl as possible there. 1 would like Waltzes, I, 2, 8, 15, Op. -5 students and gressed as much 39, as well as the general the lessons were a delight. I would 896 Waltz,Walt* Op.nr. 39,'It M.No. o CL , to the stars” wrote one of the old Roman strings of different musical 8, Eb-3 .UciZikZlky continue study but do not have time nor must be not only strong—for it for all of the to philosophers. public. go through a scene as I had school. I would We hope most sincerely that the Ask your dealer for Century thought it resources to attend a residence music. If e can- sad time you are enduring at the moment will out and at the close Ask your at home. They say my voice is a lbs. of ten- lengths at the proper distance from not supply you, send she would criticize dealer for Century music. If like to study must withstand 40,000 your order direct to us. he cannot not last too long, and it The being to A. My chief diffi- that may prove at the Our complete catalog "Gerryflapper" Era it. ‘That was good, that supply you, send your order tenor, my range A listing over 3700 num- was bad, drop It direct to us. Our the upper last, to have been only a blessing in disguise. relation- culty is sustaining tones F, G, A. in it be abso- the bridge and in proper bers is FREE Heinrich and complete catalog listing sile stress—but must on request. Conried was director now we will do that over again.’ over 3700 numbers is at the One register. Please advise me how to work it out FREE on request. Metropolitan when can develop with such a last concert was the tenor work in The Boy Whose Voice is Changing impact of the CENTURY Geraldine Farrar teacher. Our alone. My lutely rigid. It cannot yield one ship to the point of MUSIC PUBLISHING daughter of lessons Messiah." I am willing to bum midnight CO. a famous Boston baseball were amusing too. ‘Don’t yell, ‘‘The 254 directed. W. R. H. Q —I am fourteen years old. For about a West 40th Street New York 18, player, made don’t squeak, CENTURY MUSIC oil if properly — inch, for, in percussion hammers. For in order N. Y. her highly successful debut sing.’ she might tell me.” PUBLISHING CO. year and a half my voice has reacted queerly, thousandth part of an as Juliette in While Farrar 254 West 40th Street but now I can sing quite well in the Gounod opera which was singing at the Met- New York 18, N. Y. A.—The tones you specify are almost always a soprano is doing, it would change the ten- to produce proper tone there one had not been ropolitan Oscar difficult for the tenor to produce range without much effort. I have a range of so LEARN AT HOME heard there for several sea- Hammerstein began his the most is no about eleven or thirteen notes *i n the treble sons. This four interesting especially if they are sustained. There at which young soprano years of opera in his 1 of the strings and point and only one point soon estab- secret about their production. They require a clef. If continue to sing high will it ruin my sion on each lished new Manhattan herself in popular favor. Opera House. Mme. well controlled breath, a free throat, tongue, voice? NEW She de- string be struck. WAY veloped Melba sang here during and voice which brings into —Would you advise me to take singing throw the entire scale out of tune. each must an extensive repertoire; indeed one season al- PIANO TRICKS! and jaw, a pose of resonances. Unless the lessons? TEACHES YOU the though she was no lsyue f play all the natural story goes that during longer in her prime. °, our bi -monthly Break Studies complicated and one of her brings muscles that control the actions of the vocal —I had hoped to become an opera singer So the plate must be made of the The design is In fact unintentional you clever arrangement- for building early seasons here comedy was sup- a exercises but since my voice has come back in a way, I her teacher, Lilli Leh- 0rUSe5 0f 8 opular son ES on the cur- cords have been developed by careful plied in a performance ??nt "h^t j .. wP through daily exercises. think difficult to execute. There are HOW to of P ra< e Enable-s during a rather long period of time, these high go some Do you material known, and that most SING “La Boheme” ' you to fill in new most rigid mn4 ,.r^ l* ? l , Frederic with modem-style breaks, novel this is all right? J. L. H. Freemantel, famous operatic concert sineer the too plump, no longer figures, boogie- sustained notes will remain difficult and haz- — eaCher toT 40 young, woogie effects and tricky ,‘ Tears, has discovered a pew embellishments ardous. They are the glory of the tenor voice which but few iron foundries capable of wav a , consumptive Mimi is cast iron. The very reasons °Wn h°me! If you can IMPROVE and small Alessandro tali! you* ciS now S^ToVn^ YOUR PLAYING INVALUABLE and with them he makes his greatest effects. A.—We have received many letters from PHONOGRAPH Bond as her lover. TO PIANISTS, RECORDS OF FREEMANTEL’S VOICE If you have progressed sufficiently far in your boys whose voices are changing, worried boys make cast iron unsuitable for many handling such a casting. For the Freemantel s Letter-Lessons, and TEACHERS actual voice on (A second section AND STUDENTS! studies to realize practically what we mean thirteen and fifteen years, who can- records, guide you every step of the wav of this article, deal- Single between Voice culture copies are 25 cents, stamps or coin. in 10 «nbr^aSKt ing with By by these things, practice either at home or not sing as well as they formerly did, and who it as the one final result must be uniform as to sYratdstrated so ,"',, aAd demon- g Mary Garden, Tetrazzini, f^criPtion. $2 for 10 industrial uses mark sovSf’ran^you cannot fail, if you ao Don- consecutive issues. Send the certainly im- your part. now tor the latest studio of a good teacher will do not know what to do about it. If you will S"Si alda, Saltzmann-Stevens, issue. Mention, if teacher. WRITE students. DPianists,ff teachers ami Edyth prove your singing. If there is any doubt in to look through several recent D FOR FREE DETAILS No obduatfin! Walker, A X L be kind enough suitable material for piano plates. texture and completely free from P P and Alice < , !STENSEN STUDIOS your find Even Nielsen will 757 gi g M T, mind as to what we mean, please issues of The Etude, you will find these ques- F If You Can't Sing a Note Studio,. Pep,. appear in a later 752 Kimball Hallu 2SBldg. 66. J Covina. CdU— Chicago 4, III. some W Fr issue.) one who can explain these things to you tions answered there to the best of our ability. pattern n W etho has done for It is heavy, it is brittle and it is shrinkage strains. So the Others prove t hl?YOn’ran n ? $ and put If are able “ ve you on the right road. you The normal procedure is to rest the voice until pou 1 to sing the difficult part in Handel’s until the ss? ssSF &.»iM tenor solo it is “settled” or in other words which the casting is made must “Messiah” difficult to cast in intricate patterns from freemantel voice institute acceptably, you must have some growing boy has become a young man. It is FREE voice and S W a y H Sample Record talent. hard to reconcile the boy to this apparent loss it is rigid, the most rigid of be designed with great care and a m W. 5?th StT N:: yo rk °9, N. Y. of time, but he can use it well by becoming a —but revealing how you can be taught “Your singing The Young Singer Who Has Sung With better musician, and by the study of languages, Music Teacher— and speaking materials and therefore it is used profound knowledge of the subject. Bless Her” by famous teachers through Too Mach Volume of Tone the piano or organ and by taking his part in all Educational Records. the usual high school and college curriculum Q.—I am fifteen years age and possess a the plate is a grey iron cast- of courses. exclusively in the Baldwin plates. Yes, Jk Write for record - dramatic nnouncinff Sent absolutely free soprano voice. Since 1 was twelve I 2.—In the April and June 1942 issues of ho™ h. have done solo work in church and around in It is indeed prm s Etude are articles detailing a method of The design of the plate is depend- ing. But what a casting! on of +fle design different The the back cover , ,t . appearing IISTIBICI-0-T0»tS • programs. My voice was overdevel- Music Readiness of this Ysue with nil' 90 S. Oil BUI im NUKUS- out. study for boys at that unfortunate period of Program oped for my age, and I used too much volume upon high quality their lives when the "Change of Voice" occurs. ent upon a number of inflexible con- the foundation of the scale and like pop.r, m aki„ when I sang, by Sister M. Xaveria, O.S.F., g * suitabl so that I was really straining my carefully Mus.M. Z Ta^gTfh, It might pay you to read them and voice. My singing lessons, AIvcrno College of Music, THE MOST mother started my whether or not you think part it is the product Milwaukee, Wis. but make up your mind tingencies. It must be in one piece every Baldwin Jazz piano l was so pig-headed that I would not do • MY MUSIC PICTURE music you will ever receive for S1.00— my the exercises suggested there would help you. BOOK* Break Sheets in the ROBERT WHIT- scales and. on my own I bought all the boys whose «“*• »» ho*. wumPS&S If you are one of the very few conform to the tonal require- of endless research and uncompro- • MY MUSIC COLOR BOOK -“s BREAK SHEET BOOK for PIANO. At your difficult opera pieces like Musetta's Waltz Song to 0 v*." n H? not change at this period, but who mty to ^ - usic count er or direct. Write for com- and voices do • MY MUSIC place this bright ^ 0ppor+u r,i«ti . the “Butterfly” aria. Day. Mu- LETTER ^ plete One Fine BOOK spot upon catalog. State or basses without a thel studio If teacher. sic gradually become tenors It mising insistence upon the best. walls. was always so easy that I thought ments of the instrument. must • MY MUSIC NOTE BOOK ROBERT for me are very fortunate. You will be WHITFORD PUBLICATIONS 1 could be "break" you • ‘MUSIC I® North different and instead of starting AND GUIDE BOOK Perry. Sq., Dept. 5E, Erie, Penna. able to use the exercises to which you have u from the beginning I coul/f reach the top h USIC Readiness Publishers of Exclusive Modern Piano Material” been accustomed. However it would be safer , T Program is intended nght away. to i^ '05 West I have some of the good tone physician and your build up musical concepts and Li h duality for you to consult your experiences feSS an s ° left me reprint for which I thankful, but I necessary to advertising to . ‘j without am a definite deci- comprehend the many abstract your address. Incidentallv^ho TRAIN »ng singing teacher before making , flat and ideas implied in the study of a+ '° n my range is smaller. The question of vocal rest at this time is music, and to de- copies of this ° f l9 ’°00,000 w, Is sion. A year or two velop fundamental playingand advertisement planned by it too late now to start again with another reading habits. She IT eacher the more normal prescription. be and really especially valuable to the "°- f° work as I was supposed to old to de- music teaching o. Please 3 —At fourteen no boy is enough Circular on request profesYri'Ya tell me. I feel that I have learned the pupils. These special secunn new lesson whether or not he has the voice, reprints—entirely • 9 almost too costly —D. cide Published devoid of for my future. S. or the personality to be- P$atfa>in by THE r+,Sln9 looks, SERAPHIC PRESS in quantity; therefore prompt ~are l!mi+ecl physique, the 1501 So. application is successful opera singer. He may keep Layton Blvd., desirabir strengthen organs— Tr‘ a Milwaukee 4, Wis. nl* the vocal , ~ U n -' reca ll this Shakespeare quota- come singing lessons—but by sound. *irm m,° of his mind as a spur to • ideal in the back correct silent and vocal exercises. f.,. Cromwell, I charge thee, fling away am- this d ®b«0 'utely guarantee complete satisfaction *' Pn; but five or six years of very hard PIANO • CINCINNATI ^Uj results^ no hy this his ambition, THE BALDWIN COMPANY 2, OHIO one for Vo»ee Book. FREE. Sent to sin fell the angels." Every under 17 . of vocal training must 526 ' rs unless nipned parent. sin at every form PEfiFfnCT wuec by ®er especially if she has a good work VOICE STUOiOS, IM. " Studio 5586, Kimball Hall Bldg., Chicago 4, ft™*’ he can make this tremendous FORWARD MARCH voice, overdeveloped for her years,, as elapse before WITH MUSIC” v reasonable hope of success. Makers of Baldwin ; . . Acrosonic ; ; ; Hamilton and Howard Pianos f is was, must decision with any THE ETUDE resist the same temptation. "FORWARD MARCH WITH MUSIC 527 SEPTEMBER, 1946 i — —

Riots his cane and waved it in the air at laugh- Musical Europe. In fact, he seemed to thriv? ing critics, calling, “Silence, them and even to cultivate silence!” them in (i This, on the European Continued from Page 483) Paris of 1923 notoriety the purpose of the continent, might 7a/ked was an is Most THE asset Tf What Two have been TAe reason for calling 0UL1LY the public could be induced * the police. to tell Rapid Course in h SHEFTE But New York wouldn’t riot “for a cent.” on the evening of the first performance cacophonic a composer’s works were It just snickered, or the success was assured. Piano Playing? and one critic claimed the members of the Jockey Club The twenty-th’re Modern in MUSIC that they “were trying to make a moun- Books, year old Antheil Cercle Imperiale went out and bought soon became the Mout enillt tain out of an Antheil.” shrill whistles so that the house soon was terrible of music, and hundreds purpose of the SHEFTE course came t The Antheil, however, reveals in an uproar. Wagner’s defenders tried see just how bad he number of that this got could make musil encourage a great .CIRCLES TODAY is to him $11,000 in publicity and a $40,000 to shout them down, with historic re- sound. At the Theatre Champs play the piano. . . . Elysees music lovers to offer from Sol Hurok for a tour of the sults. Two succeeding performances were his piano recital caused such a pande their longing to play the to satisfy United States of the “Ballet Mechani- equally disastrous. monium that people in the gallery nl' Bu they love — the simpler, more que,” with the curious orchestra provided. When Rossini’s incomparable and scin- up seats and dropped them down music to the popular music. Music of What all this has to with beautiful, tillating “Barber of Seville” first orchestra pit. melodious do was The police were called and type is taught in this enduring music, your editor has not the given, February 20, 1816, at the Teatro arrested- many of the light popular lovers of Surrealist the artistically. slightest idea. Argentino in Rome, it was a historic music. From a notoriety accurately and standpoint the method fiasco. Giovanni Paisiello, one of the recital was a glorious artistic success But most beloved of Italian composers, then this the descriptive was not his first offense. After manv Write TODAY for in his seventy-sixth year, had produced experiences with rioting Shefte Rapid Course. audiences, he de folder on the <4 an opera upon Beaumarchais’ story forty cided to try new tactics with his music .. years before. The public looked upon the which out-Schonberged V Schonberg. At a Music Publisher, Inc. Competitions heir 1 opera of the Forster ! cntuuf'Jjm''*!* "*** 01 twenty-four-year old Rossini Budapest concert he ordered the doors to Avenue, ChicaBO 4, III. as a piece of effrontery. There were a be closed and 216 South Wabash locked. Drawing a thirty- number of amusing mistakes in the per- two automatic FIRST of one thousand dol- from a holster, he placed A PRIZE formance, and the opera was greeted with it upon the lars, and a second prize of five hundred piano and proceeded to give °°ks loud guffaws. Rossini, conducting from a concert of dollars, are the awards in a composition e *er lheir Wn his works before an audience your published." rf ELECTRON O 50 the INCREASE contest announced by the Jewish Music ME £10 cembalo, started to applaud during scared into submission. Since Antheil as INCOME! Council Awards Committee, sponsored by * the uproar at the end of the first act. a youth had been a fighting “. flyer in • • effectively ELECTRIC the —Subsldffially —7uasantly the National Jewish Welfare Board to tell the desirabil- METRONOME FIVE YEAR The audience resented this bitterly U. Easily / and S. Air Corps, the situation musical ity and advantages of playing WRITTEN was omin- — Take Subscriptions for — encourage composers “to write a / 'V the premiere was turned into cruel band GUARANTEE a joke. ous. It followed the old journalistic works of Jewish content and which shall instrument." ( In the one defi- the etude music magazine 'n hundred and thirty years nition of news: "Man bites reflect the spirit of the Jewish people.” PR0FESSI0NAL MUSICIANS throughout dog.” Here, the particular — and America are praising the new since that memorable — Write for educational Franz Electric night, the opera pianist The contest is open to all composers, .. definite Metronome—the only metronome might shoot the audience. PA. 0 , operated by the pulse beat Doubt- CHESTNUT ST. PHILADELPHIA th - CUrrent of household has been given several 1712 without restrictions, and full details may value to Y0“ aCCUrate musicaI - tem thousand times less the amazed constructive P° Precision instrument that man can Magyars accepted this as or money Can 'h Tr ““V make secured writing to the Jewish Music “™ b“ ' G,ves a cIear and the receipts from be by V ’ resonan t click, from 40 to performances and orthodox American , 208 beats per minute Never recital procedure mechan,cal records of the Council Awards Committee, care of the adjustments—no springs to Largo al Factotum must However, wind—simply plug it in like Antheil hailed from 2"’, a rad-nd . Trenton,’ ..Students! National Jewish Welfare Board, 145 East ‘° ‘ deS red f P Si“ple daSsiC design run well over a million dollars. Teachers!. •....ri--*”" - black finish «se5x4x3-%". Rossini, New Jersey, For no vok doVvc^Ar m ' rather than from Chicago. 32nd Street, New York 16, N. Y. ' ’ Current 0nTy Tempo ad ustabl who was atntasic.” i e While running. indifferent to popular STYLIST i ; MONEY-BACK and mon- At a concert PIANO GUARANTFE-GUARANTFF frv>ry f given in Be a it at our expense, and if Carnegie Hall, not delighted with the results, your etary success, If your money refunded' was not bothered at all New music dealer by York, Donald i \e» does not carry the Franz Electric Metronome, Friede, a book pub- • Boogie-Woogie order direct from the fiasco at the first • Jazz • Swing • Jump performance. lisher, strived to work up a “synthetic” Instruction Book will on- THE COLUMBIA UNIVERSITY BAND The champion at Our NEW 100 paitp Piano modern musical riots riot all the fancy THE ELECTRONOME for a concert of Antheil’s works you to play Popular Songa with offers a first prize of one hundred dollars CORPORATION, 55 WALLACE STREET, is com- able NEW HAVEN, CONN. apparently the American composer- embellishments employed by the professional. of an original posed of extravagant discords, -- . to the winning composer pianist, et al. One Make Your Own Arrangements Add Notes- George Antheil, who stepped in the Rhythms- Modu- composition for full symphonic band. The audience put a handkerchief on Chords- Basses— Breaks Hhi.s- Radio Playing 1946; and full lations —Transposing— Orchestra and contest closes November 1, sparkling new -Introduction s-Kndings. etc. 1001 details may be secured by writing to Har- ear or corres- ideas all contained in one t><^k Not an * Simmons, 601 Journalism Building, course. You receive CAVANAUCjH o » n wood pondence N. Y. struction Manual which shows you step by step how Columbia University, New York 27, 0 popular to apply contents of this famous book to any ... Student. -AVjt* song. For Beginner. Medium or Advanced Order your book NOW! TODAY! Price $10.00 com- anywhere in the world. plete. Postpaid and insured A MUSICAL CREATIVE CONTEST Angeles, CAVANAUGH PIANO SCHOOLS for Youthful Composers of Los 475 Fifth Ave. Depf. E New York 17. N.Y. Depart- California, is announced by the the Bu- ment of Municipal Art through Angeles. reau of Music of the City of Los Cash prizes will be awarded each first cer- place winner, and honorable mention work in tificates for each second best choral, three classifications—orchestral, Decem- and vocal solo. The closing date is • • and thei/’ne details may be secured ber 1 and full is BY FAR ; from Charles Wakefield Cadman, General Room 190, AMERICA'S Chairman, Bureau of Music, OUTSTANDING Angeles 12, California. PIANO METHOD TODAY City Hall, Los A complete listing of Gospel ....that it is CLEAR! CORRECT! Music. Song books for every COMPLETE! THE TENTH ANNUAL COMPETI- church need including solos, Singing Teachers mailed on request TION of the Chicago Thousands of these two books have already been duets, quartets, and trios. W. Kimball Company • A HIN TLE F,NGERS Guild for the W. and teachers, and the I* 5 ® TO A book dollars, is an- parents, and to music educators VI SUPPLEMENTARY Send for your free of one hundred to youth, to ar " eS ^ copy now. be9 ' nner comb;n 'ng ROTE BOOKS prize and NOJE John is for the best set- praise the value of approach Thompson’s F T GRADE nounced. The award response has been amazing! Without exception they 0* ETUDES< La s a foundation selected n * in tech- ULLENAS PUB. CO. solo voice for a text THE FIRST GRADE SieH ting for their contribution to the music training BOOK. Makes Haste 'siovvly^ Note In addition to their educational appeal and Speller 60c by the composer himself. 60080 Award, the Guild guarantees publi- whole. For teachers and students, these books are espe- T E -" The only GRADE STUDIES. Designed Make THE ETUDE Your Marketing Place the program as a CON ®RADE B °0 K Foi'ows' music-writing book t^devdorth! winning manuscript. En- * exactly where Real cation of the on the f ' the outlook thehe First+ r f designed ° an ' sm enc0iJ ntemd Etude Advertisers Open the Doors to stimulate interest and broaden R^ Grade Book suspended to progress in ex- In the P must be mailed cially helpful as they $] qq second tries for the award actly the same Opportunities an(* H H R order as the 1 and 15, 1946, training provides. Mail the DE B ° - October opportunities which music OK Gives ‘PecwTmphisi, lessons RD RA between advantages and to technical‘7/ f at the keyboard DE VE C,TY secured from George LI development and STUD,ES - Fifty etudes details may be expression... t k f n? full These books are available, $] 00 Teaches Elementary ™m hete works of well-known PIANO College, 64 E. coupon today for your free sample copies. THE FOURTH GRADE Nota- composers 75e Graham, Chicago Musical BOOK. Emphasizes style tion, Time Values, _ MADE EASY Illinois. for them. and in- F° URTH < SWING Street, Chicago 5, teachers and students who send ADE Van Buren without obligation, to all music ETUDE i duces the :“ S- Twenty-fou~dut progressive- World's easiest system toaches Beginners or Advanced ,, young pupil d ' to ,es ln al1 ma Play like breaks, blue H GR Jse the ear as well i° r and minor keys Radio-Record Artists! I^eam runs, ADE BOOK - as the tricks, P ' eye ... basses, Woogie, intro AN ISM and MUSE . . . .. negro effects, chimes, Boogie HANbCIANSHIPHIP h E,FTH ends, off-coler, ridini march on apace in this Price GRADE modernistic, futuristic, weird styles, book $1.00 50 Cents TECHHI9UE. melody, effect hundred dollars is INSTRUMENT DIVISION, . Exer- jam-hat-blue choruses, etc. HUNDREDS of AN AWARD of one CONN BAND meet a definite Send for prices. Gray Company, Building, Elkhart, Indiana Free Booklet No. 6 and low offered by the H. W. C. G. Conn Ltd., 913 Conn Write! American 75c JEACHERS— Use new loose-leaf system. the auspices of the Books checked below. SLONE P< Inc under Without obligation, please send the FREE SCHOOL, 2001 Forbes St.. Pittsburgh 19, the composer ^ Guild of Organists, to “Music, The Emotional Outlet for Youth anthem submitted by any of the best _ “Fun and Popularity Through Music” 0bl ' 9ati ° n States ' THE United 7Ae WILLIS THOMPSON MAmTlTno!* JOH N composer residing in the MUSIC aid LEARN "SWING" MUSIC be in CO. NmT The text, which must 124 Qjjjpfc course to players of all Instruments—make your or Canada. — EAST FOURTH gemiints of "hot" breaks, choruses, obbligatos, selected by the com- Name STREET, name embellishments,6mlL^? etc. may be CINCINNATI figurations, blue notes, whole tones, , English, 2, OHIO STREET must be Emitted MODERN DAN6e ARRANGING poser. Manuscripts —— Duets, trios, quartettes and ensembles special choruses and full Address — than January 1, 1947; modulating to other keys—suspensions—anticipations not later Z organ the Amen- °NE STATE points—color effects—swingy backgrounds be secured from Zone —State. Write details may , - today. Fifth Ave City , 528 of Organis s, 630 ELMER B. FUCHS can Guild I am a Teacher, Student 335„ c „ York. "FORWARD East 19th St. Brooklyn 26. ft. Y. York 20, New MARCH WITH MUSIC” nue. New MUSIC” 529 THE ETUDE "FORWARD MARCH WITH SEPTEMBER, 1946 — .

How An Ex-Soldier Regained His Violin Technic * V i ii 1. 1 \ Questions jot i tk (iContinued from Page 501)

them to believe that they must cover a ing may be done to decided advantage certain number of pages from week to Inasmuch as I now have try a better per' -Answered HAROLD BERKLEY week regardless of the difficulties in- spective in connection with improving volved. myself technically X am practicing daily “Angled” Bowing fully take a pupil from the beginning stages Naturally the tremendous importance Paganini’s Perpetual Motion for More on the sole right through to artistry. I am glad you found my Some people may of the daily practicing of scales is not purpose of developing muscular r F d Alberta.— claim flexibil the April issue that the De» Beriot Method would do -.marks on "angled” bowing in to be overlooked. Now that my present ity of the left hand. It is this, but I think that a talented ambitious not to be denied of interest to you. It is a subtle and f Tm ETUDE student needs technic permits it, I devote a considerable that to play easily a much wider range of study Paganini’s Perpetual “ delicate point of technique, demon- Motion , material than De Beriot provides. There are a amount of time to them—particularly in “a tempo” throughout but difficult to make clear in print. But and to interpret crated number of good Methods from your letter and the sketches for beginners, of thirds and octaves, and also the broken the same as •t is evident the composer would * which the Laoureux Method and the “Primer have * enclosed that you have grasped the princi- chords for their corresponding scales. I indicated is a task Method” by Samuel Appelbaum »re two of the for the virtuoso. Now all you have to do is to work How- nle correctly. Dest. With shall never forget that one afternoon ever, the actual fingering you apply the principle subcon- these, and following them,, should of the Per- L it until come the 'cello are studies of Wohlfahrt, Kayser, Mazas, many years ago when I visited the fa- petual Motion is As the strings of the so within the scope of sciously. Kreutzer, and so on. In The Etude for February the thicker than those of the violin, the angle mous Brazilian pianist Alfredo Oswald, average violinist, and much 1945, on the Violinist’s Forum Page, there was by playing this bow and string can deviate further who at that time was teaching at the composition every between a discussion of a graded course of teaching day individual finger the right-angle, but not a lot further. A from material which you might find useful. And I Peabody Conservatory in Baltimore, Mr. dexterity and bow coordination deal depends on the sensitivity of the will be treat think you would be interested in my article, Oswald arm. It is. as you say, a fascinating told me that to become a pro- achieved. nlaver’s bow “The First Year,” which appeared in November and it is worth plenty of time and ficient musician one must keep regular Music finds subject, 1943. During 1945 there were a number of an- its most fertile field dur- company thought. swers in these columns concerning material with scales. ing peace times. Today our country needs for the elementary pupil. If you will look Prom my personal experience I feel good music more than Bow Crips ever before in its Concerning through your copies of The Etude for the last qualified to encourage former violinists history. It is, therefore, Pennsylvania.—Your letter is some- two or three years, I am sure you will find CROWNED the sacred duty E. M. S.. WITH THE LAURELS who during and I am at a loss to know what some useful hints. their military service have of those men and women musicians what obscure, who you wish to have; particularly OF TEACHERS’ not had the opportunity to play, sort of answer PRAISE assuring so willingly put aside their cherished statements but no art as the letter contains two Rich, them that they too, Insufficient Information resonant tone . . . by following the ad- in response getting better volume . . . responsive to their country’s call If your reference to action . . . smart to the question. vice here presented, with a very thin Miss M. G., Pennsylvania.—I am sorry, but styling! For over fifty years will be able to return colors, now that they have results by using your bow Gulbransen pianos have met returned to there is nothing I can tell you about your violin. the to a “professional or none at all means that you do not like In beauty of design... standard.” Personally, . ivilian grip exacting demands of piano a status, to continue to A mere transcription of the label gives no evi- teachers, music conservatories weave thick lapping on the bow, I thoroughly agree my efforts, I believe, have been well re- once more the a dence whatsoever on which an opinion can be colleges and universities. Their golden thread of culture you. The thin whalebone or silver wire enthusiastic acclaim is a trib- paid, with for X have played before one of the and commonly used is good, formed. And in your case you send only the else in ute to the integrity idealism of which the entire world lapping that is most If you value dignity and charm above all of the Gulbransen name. The finest last part of the label. The words mean “ ... of new post- music clubs in this state; I have finds itself for it protects the stick, but those clumsy rub- war e so impoverished today because Cremona in the year 17 ” The letters IHS pianos, improved through scientific a ‘ some people put on the stick are research by Gulbran- „‘ had my own radio program and I ber tubes that styling, see this new Everett Twenty, now Z also of the war. This they may best playing. are a religious symbol that was used by many furniture sen master craftsmen, are available do definitely a handicap to sensitive NOW. Today, as had the good fortune of securing a play- through of the old Italian makers. It is also to be found always both their individual and con- Gulbransens are "America’s ing position on fake labels that have been inserted in more display at your dealer’s. Here is contemporary Smartest Piano Fashions.” which remunerated me be- certed efforts in the realm on of music. . An Audition Necessary instruments; the fact that it appears yond my expectations. modem so truly life’s most beautiful is an and profound Miss M. E., Massachusetts.—Much as I should in your violin is no indication that yours modern at its best ... A style that will live forever! As a final piece of advice, the follow- path! like to give you a definite answer to your ques- old Italian instrument. But if you wish to know GULBRANSEN conscien- its value you should take or send it to one CO. Dept. E, 816 N. Kedzie, tion, I cannot do so. No one could Chip... 'a. HI. this page; for a tiously advise a student to make music her of the firms that advertise on of will give you career without hearing her play and knowing small fee any one them a reliable appraisal. a lot more about her than a letter can tell. You Special seem to be well advanced for your age, and Henning Violin you certainly have a mature approach to your A Wise Procedure Deep - studies, but these qualities are not sufficient Mellow - soulful L. W., Pennsylvania.—As you are unable to For a limited time you can pur- evidence on which to base a considered opin- 3lne chase take violin lessons for a year or so, I think Viotim3 this high-grade violin, with of high the ion. Why not wait until you are out qualities of the finest, at a price “Band Concert Tonight" you are doing a wise thing to take up the study Old far lower than ever school before you make up your mind? And & New asked for such an of theory and harmony. The more you know instrument; made possible by our as meanwhile practice as much and as well you play. $200 to $20,000 many years of experience in violin about music, the better you will Books makin (.Continued, from can, and hear all the good music you can. Write ~ Satisfaction guaranteed. Page 498) that will help you are “A Harmony Book for for GUSTAV We endeavor to sell choice instruments V. HENNING Beginners” and “The Art of Interweaving. Mel- trom our Information Box 405 Belfair, acoustical collection at prices considerably Washhflton fitness, attractiveness, capacity, together. The Maker Jacques Bocquay odies,” both by Preston Ware Orem. A standard below regular Amplified music, so often re- market value. Send for new and availability; and very valuable book on harmony is the catalogue. or finally, upon such quired by an Miss E. B., California.—Jacques Bocquay was overly large outdoor audi- “Theory of Tone Relations” by Percy Goetschi- subtleties as its usual popularity, one of the two best French makers in the early types ence, is difficult to You can obtain all three books from the of seats, justify. Any kitchen part of the 18th century. The other was Claude us. toMam, or the mode of ventilation. Etude. andSon radio presents a Italian publishers of The 3,ranciS 2)rale (SadlarJ. Acoustical more desirable reproduc- Pierray. His violins were rather more 207 South Wabash Ave. suitability is by far the most —Chicago 4 III. tion of music than the caustic cacophony in style than those of the other French makers Collector-Dealer SPECIALISTS IN VIOLINS, effective distinguishing death BOWS, REPAIRs’ etc characteristic to of the average of the time. The dates of his birth and A Collaborator Wanted SO CHIPPEWA CATALOGS and LITERATURE be speaker systems, and the ROAD, on REQUEST considered. Echo is disturbing are not known, but nearly all his violins are per- PUBLISHERS in all lack bf balance E. J. G., Pennsylvania.—I admire your TUCKAHOE, NEW YORK OF "VIOLINS and VIOLINISTS" gradations pick-up distorts any sem- dated in the seventeen-twenties and seventeen- America's only journal of its presence, and severance and ambition in working to develop devoted to the violin “dead blance of good music. thirties. According to condition and workman- Specimen Copy 25 12 areas, ’ violins that are superior to the Old (f— issues for $2.50 as well as points modem of concentrated To keep ship, they are priced today between three hun- volume, wind currents from carrying Masters, and I wish you the best of luck. But are distinctly uncomfortable dred and fifty and six hundred and fifty dollars. to off sheets of I am afraid I cannot recommend anyone who the listener. music, some type of clips Reverberation, to a certain are would collaborate with you financially. The S. SENSATIONAL needed; the conductor’s scores must A Better WM. HAYNES COMPANY GUITAR point, is desirable, but Violin Needed profession of business broker is rather outside beyond rather be protected CHART strict limitations by a shielded stand top or Miss D. A., Ohio. Yes, Fritz Kreisler has my line of country. I would suggest that you v it, too, is distracting. — Flutes of Distinction s names; readings; symbols; diagrams clips to weight made a with Lyon and Healy of Chicago »J i , AND finqerinas the edges of sheet; record of his Liebesleid, and it is a very communicate ft ALL chords below 6th fret. Sub-chart Since echo is caused each Sgives 1-4 s nf 04 by the reflecting sur- fine Wurlitzer Co. of New York. STERLING * ub ’*h •'*» »» Positions and only music and characteristic record of his playing. or The Rudolph SILVER — GOLD — 5mm ?"S V‘ »f 5ll chords Dll faces of stands with heavy bases PLATINUM let S lclure of smooth, hard-finished Your CHART* laW S » GUITARIST'S DREAM walls are teacher is right in saying that you should In beauty of tone... Added inducement NATIONALLY dependable. If the concert is night, Catalog £i.££Z‘ FAMniic ceilings, or proscenium at own it; it will on request CHORD CHART on reverse side. arches, such help you to develop your own Price • siz- lights Student back guarantee. *S|0fl-Mo5evu^ Money" of at least An Ambitious *D0N’T MISS THIS ONE able surfaces twice the usual wattage sense of rhythm and style. (2) I think you T should be broken Minnesota.—You have certainly 08 Massachusetts Avenue, Boston by strips are should Miss J. R-. richer, deeper tone quality is engineered into the new IS, Mass. CAROL MUSIC CHART CO. — of required and a diffusing element have a better violin, even if getting one time you have A LEFFERTS BOX 21 curtain or rough lattice-work. done very well for the length of —BROOKLYN, 25, N. Y. “Dead should does mean that you cannot take lessons for a spots” or cover the bulbs. Too often the un- studied, and your enthusiasm for the violin is clear, vibrant tone you never dreamed sound foci are in most little while. You are with plenty of Everett— a cases covered young, If you keep this enthusiasm, and Protects caused by light bulbs are merely strung time for infectious. an excessive curve of wall study ahead of you. When you resume and as carefully as you pos- music from or overhead and your practice as much possible in a graceful console of this size! ceiling and if these the performers soon find lessons, the better violin will help you to play very well by the dirt or Keep cannot be avoided, do sibly can, you should EVERY Sheet of Music spots dancing more easily all the your teacher damage. the flow of curvature along with the printed things time you have finished high school. It will be may be obstructed wants. But don't • notes. A lighting let up on your practice while then to decide whether you want at Your Finger-Tips by deflecting shields fixture for each stand you time enough See the smartly styled series 20 Everetts, Richly styled. or, at ceilings, are not taking lessons! What a pity you by is not satisfactory to make a career of music. Beautifully short hanging curtains. either, for the ten- for the next Contemporary, Louis XV and Queen Anne TONKabinct drawer-trays dency will not be able to take lessons crafted. is to play individually, of carefully, on display.* Examine Everett’s costly permit easy filing “ the concert is to instead Another Imitation so! But if you practice really now • ; keep sheet be out of Strad. year or doors, cooperatively, purity of your By makers music neat, orderly, safe, the problems and following or even see- Rev. C. and pay close attention to the features — the “grand piano” size sound- of involved are no fewer H. G., Texas.—The label in your vio- Nationally findablc. Every sheet is mg the m and the quality of your tone, you always though conductor, becomes difficult. W0rded as Stradivarius labels intonation ing board, its latest type action, its bril- they cause very . worded his Known at your finger-tips. a different +v!\ bad habits. After Tonk At your type of ad- The that is all are not likely to get into any Furniture. justment. conclusion to be drawn from these I can tell you about the instru- liant scale — and other advancements that dealer's. Tonk Mfg. Co. In the selection of ent. have finished the Wohlfahrt studies you music for last The chances against its being genuine you instance, few remarks is and third books of more than ever identify Everett as the the solidity and carrying that the uncertain- re astronomical. should work on the second quali- ties There are many thousands the first Sizes ties of weather Kayser Studies, Op. 20. Following 1 standard of comparison in fine : and become and disturbances make Violins around, the pianos. restrictive factors; each bearing a similar label, second interest of it at of Mazas, you should take the i styles for unwise to are not worth book p the audience present con- fifty dollars. And there are is more difficult any important comes Kreutzer. And there m to main- violins book. After these I Homes, tain certs out of doors. of excellent quality which are know because of distractions eied you have at least a year’s work! Let me Schools, which are Desired in these words. If you wish to have U r iCtable concert deportment and eti- Vl ° you get on. Good luck! .Bands, aS th6y are nu ^ aPPra i sed you should communicate how etc. merous; quette are untv,in EVERETT and ^hrhythmsth the results of good training one of the violin in requiring careful interpre- firms that advertise tation habits and this magazine. FINE PIANOS SINCE 1883 usually become mechanical attitudes which have been from created the newly injected since the very beginnings of in- fear of not keeping A Complete 530 ( Continued Violin Course * South on Page 535) A postal card to the Everett Piano Company, Haven t SS C ''FORWARD MARCH S ” New Jersey.—There is no Violin WITH MUSIC” Metv, odo l^' Michigan, will bring you the name of your nearest Everett dealer. THE ETUDE that I know of which would success- MARCH WITH MUSIC” 531 SEPTEMBER, 1946 ''FORWARD “ ^

glitter of the old days. People Yehudi Menuhin’s sat quietly Latest in Albums their eyes closed, thinking the Series of Masterpiece Piano perhaps of the horrible years gone Magic Bow by. During the second movement many were v weeping ,.v\ JOAQUIN ALBUM Si TURINA ( Continued from Page 493) Menuhin played in Amsterdam, Brus- Other piano solos: sels, and was the first collections in this outstanding series for seven-year-old daughter Zamira, and a American artist ‘ - ** to appear at Prague’s Smetana Hall, 1. C. DEBUSSY RAVEL I six-year-old son Krov. Evidently people “i 7. M. couldn’t bear to look at 2. I. expect a former child prodigy to have my audience” ALBENIZ 8. A. SCRIABINE he remembers. “They were sitting E. V. prodigies of his own, for every once in as if j n DOHNANY 9. I. STRAVINSKY a trance. They had that tired, a while parents ask Menuhin how to fright- E. GRANADOS— 12 Spanish Dances 10. S. PROKOFIEFF ened look that I ve seen bring up their “gifted” musical children. on people all S. 12 Etudes (Op. 8) RACHMANINOFF 13 Preludes (Op. 1 1. A. SCRIABINE— over Europe. But as I — 32) “My own children got their first musical played they seemed (Op. II) S. RACHMANINOFF 12. A. SCRIABINE—24 Preludes to relax.” Last — 10 Preludes [Op. 23) impressions through the voice,” answers November he scored an- other “first” when he accepted Menuhin. “My wife and I would sing for an invita- Price $1.00 Each tion to give a few them the songs we knew. Let children concerts in Moscow compositions. enthusiasm Each album contains selections of the composer's most important listen to folk songs, American and for- The of his Russian audiences were deafening. eign ones. That will broaden their mu- “They yell louder than our own sailors and soldiers,” sical outlook, develop their taste and Yehudi Available at C* says. your Music Dealer or direct from f IS ! o: ! $ !? • S-'i* ^ sense of rhythm. Above all, never do any- Back in London, • • 20. N. Y.[ thing to stimulate artificially a child’s Menuhin recorded the EDWARD B. MARKS MUSIC CORPORATION • RCA Bldg. Radio City New York JOHN musical solo M. score WILLIAMS ambition. I was never told, ‘You for the film, must “The Magic Bow,” founded practice—or you won’t amount to any- on the life of Nicolo Z^TwfiTbe apparent in pieces like Paganini. When he returned thing.’ And I had plenty of other in- to America A major Polonaise by Chopin and his wife asked him the FAMOUS terests besides music. If my own children whether he’d had any Gavotte in B minor from his Sec- Reminders About Music Study Bach’s like music and want to study for their hair-raising adventures. transcribed by ond Sonata for violin, enjoyment, “Not hair-raising,” that’s fine. But I wouldn’t- do Menuhin said. Saint-Saens. ( Continued from Page 496) “Heart-raising.” anything to make them professional mu- He opened his violin case at the table is good exercise and Playing sicians.” showed her a letter. He still carries fact mental study in mental reading. In that would give them pleasure. Use this A final word of caution is not to over- this letter It was Georges Enesco who around in his case, together is always BOOKS taught done anywhere and at any time, knowledge to keep up your interest. Write emphasize periods of slow progress or his Menuhin that to become a good violinist with most treasured possessions, his excellent helpful. A good musician and an for suggestions from your publisher. It failure. Sometimes it is well even to drop one has to do more than to play Guarnerius and Stradivarius violins. the It reader said that she read all the Mozart will enable you to give more pleasure to a problem that we have tried to solve. violin well. Enesco made him was written by an Army chaplain after read the a Sonatas for piano when she was confined your family and friends who enjoy music. When we come back to it later we may GRADE-BY-GRADE concert biographies of composers and musicians, Menuhin gave' for troops overseas. of weeks. This to her bed over a period Remember that it is the balance be- find that it is readily understood. To go studied with him the history of music, “Dear Mr. Menuhin” (said the chap- where PIANO COURSE woman, when at a dinner party tween pleasure in your music now, and on to something that we can do is lain) harmony, and counterpoint. , “my men are preparing for combat. Menuhin’s several musicians were entertained, played preparation for more pleasure and bene- sometimes to progress faster. We should programs If they could never fall below a high stand- have the Lord of the Uni- part of a Sonata as it at sight the second piano fit in the future, which measures the enjoy each evidence of progress ard. For encores he often chooses the verse speak to them through the music written as a piano duo by Wilhelm success of your music study. Music is comes. As we learn to adapt the methods PROPER TEACHING SEQUENCE difficult solo sonatas of Bach instead of Beethoven, Paganini, and Bach, as of was Friedemann Bach, one of the gifted sons calls today in giving of others to our individual purpose, need, done answering so many glittering bravura trifles. “American au- for them by you last evening, theirs an definite of Johann Sebastian, together with a new interest in life, in taking away age, and ability we shall see diences have grown up. Today I wouldn’t would be a greater strength and a strong- composition the good VERY FIRST PIANO artist guest who had used the loneliness, boredom. But the music les- progress in the remaking of BOOK 75 think of playing the old standbys which er determination to fight the forces of teachers. as a recital number. can and should do more; it can take pattern set for us by our Pupil’s musical evil son vocabulary and playing experiences you once had to include in your programs in the world. Wherever I go I shall to learn, Any one wishing to become a good us a step in advance. The clear aim When we insure a readiness are limited to Middle if you wanted a full house.” be strengthened as I recall the EASY FOR THOSE C — four notes up and four moments reader should make it a habit to read a interest and respect. challenge thought, are conscious of the spent achieved, wins our notes down. A few years ago he created a musical listening to your violin. It was as study, pour little each day. In homes where The not be a large aim but it must worth and importance of our PIANO sensation though I It need WHO HAVE STUDIED when he restored to the world had worshipped in one of God’s musicians, pour it out in j Etude is read each month, be definite. We shall not make that gain in inspiration that we may THE HAPPY HOUR the so-called “lost” concerto by Robert great temples.” music timely and "Doubling" on the marimba multiplies BOOK 1.00 adult and young, have at hand a wide unless we have set out to make it. It may later expression, make Schumann. Searching in neglected musical pleasure of those who Pupil enlarges his musical vocabulary. cor- choice of reading material of all grades. which was a part of each day, music study becomes the Plays and ners for be a point driven home forgotten masterpieces piano . . . Easy for reads notes on has be- This music become a precious boon, absorbing adventure, one which is a have studied the the entire grand staff, altho playing come an may grasped only tentatively before. Theoriz- an obsession with Menuhin. He all play, the marimba may is confined to five-finger How to Improve Your just as books in some homes have proved and be- little different for each person and pianists to position. rediscovered” the ing ends and skill is acquired Adelaide concerto by uniquely his anywhere to add life, lift to be the source of brilliant careers. The part of our ex- the more prized because it is be carried Mozart and the B-minor concerto comes an unforgettable FIRST GRADE PIANO by reading of solos and duets, piano duos own. and sparkle to any kind of gathering BOOK 1.00 Elgar which had disappeared Sight Reading perience. from the and quartettes, piano with various that expresses Pupil learns all the major scales, concert and — a lifelong companion the tonic, dominant programs. ( Continued from. Page 484) kinds of string ensembles, gives a reader Investigate. and sub-dominant chords in each key. every musical mood. notation opportunities memorable experiences. A Grinding Routine as is found in Schumann’s for “Scenes from Reading music at sight should be one J. c. DEAGAN, INC. Childhood” , ADVANCED FIRST GRADE After twenty-three and his “Fan- BOOK years of III. 1.00 the con- tasie Pieces.” study of the first objectives of music study. 1770 Berteau Ave. Chicago 13, Biidges the cert stage, A of Rachmaninoff’s gap usually found between first and sec- Menuhin has become used to the G minor Prelude would bring a realiza- ond grade books. grinding routine of hotel rooms, tion of symphonic effects in piano music. practice, Pullman cars, more practice, .... SECOND THIRD concerts, encores, FOURTH FIFTH GRADE BOOKS. Each 1.00 autographs, and catch- Three Impulses Involved ing the 1:18 plane. Last year he played Reading music more than three hundred at sight is a process ef- PEDAL All contain carefully times. Less fected Publishing a Popular Song BRINGS THE PIANO chosen selections each than a third by three impulses namely: sensa- were paid appearances: the 15 COMPOSITIONS FOR THE PIANO preceded by explanatory and tion, recognition, and action. With good analytical text others were benefit concerts PROPER REACH! with for the readers, the INTO By LEOPOLD WOLFSOHN practice suggestions and American reaction to these three im- ( Continued from Page 494) procedures. and British Red Cross Intriguing Melodies and Harmonies and pulses is New other charities, almost simultaneous. A slow in- Linger. Ideal for Studio, Concert and performances for that WRITE FOR COPIES " effective response of any one of these will will be tagged a “one hit writer.” We t&e 'Zfoutujf ’Ptiaaa Student and Entertainment. "ON EXAMINATION American troops overseas. He played in cause a lack of have 1st to 2nd Grade the Aleutian Islands, coordination of mind and lots of them in Tin Pan Alley. What the Panama .3 0 Canal fingers aid to teaching and better practising. ONCE UPON A TIME Zone, in or mental and physical opera- should you write? I don’t know. As an THE South American outposts, 3 0 Hawaii tions which Ped-Lar assures a proper, comfortable sitting position JOY WALTZ and the West Indies. immediately reflects on A beginner seems to have a better In San Juan, Puerto encourages the young student and RUSSIAN LULLABY 3 5 rhythm and tempo. or chance Rico, he played hot A reader adult with a novelty song, than a heavy 3 0 BOSTON .jazz for an Army •makes study more interesting. GOOD FELLOWS MARCH MUSIC pupil, may be helped read- love song. through . COMPANY such an- . Cast ' The local Does anybody know the THE WANDERING MINSTREL .30 “ Arm Paper wrote, also prevents dangling-foot damage to 6 y ing troubles Ped-Lar \1* boyiston srngfft •** by silent playing above the swer? I boston t 7, mass. The ghosts of Bach, thought that I did until Nick 2nd to 3rd Grade Beethoven, and keys the piano. Brahms before attempting an audible read- Kenny walked day, and SAILORS HORNPIPE 40 probably whirled in their into my office one graves ing. He sits asked You will want every one of your young piano MINUET 40 when Yehudi Menuhin’s at the piano with the music me to write a piano part for a new New MAIL ORDER Stradivarius before him students to have the Ped-Lar for REMEMBRANCE 5 0 CATALOG -M946 gave out with the ” and, without touching the that he and his brother Charles St. Louis Blues better home practising. Try it in 50 keys, plays it Kenny HUNGARIA Helpful When Paris was just as it should be played had just finished. The song was suggestions for teachers and students liberated he flew there. your own studio. Medium difficult, to concert grade as to rhythm, accent fact, called Three years ago General and timing; in There Is a Gold Mine in The Sky. 1 40 de Gaulle had just ST. KANSAS CITY, MO Sturdily built of ply wood and LOVE SONG as he would like it to played. In thought AWMAIN promised Menuhin be it was the worst song that I BOLERO 5 0 NAME- that he would be metal parts, it should last for years. the such practice at $10.00 each. ¥ first artist the larger muscles are ac* ever me Ped-Lar ORIENTALE 60 to play heard. ar- in the free capital of I nearly refused to Please send Satisfaction guaranteed. France. stimulated to workable action by direct, ra nge 60 STREET. At the Paris it because I honestly felt that it check enclosed. IDYL Opera, accompanied simple * Money order or A few seconds to attach or re- by the Conservatoire and precisely- timed movements would hurt SERENADE 5 0 orchestra, Menuhin Nick Kenny’s name. He had I move. CITY played which carry the hands into the correct een Q] Send C O D REVERIE 5 0 ZONE.. ..STATE.. the Mendelssohn Concerto a good friend of mine for many which positions for the fingers the • had to pick up : been banned for five years, and I ® NAME LEOPOLD WOLFSOHN EDITIONS ' years. I was notes. was very much concerned. there The result is more freedom in Hotel Ansonia, Broadway at 73rd St., New York City that night. * " The uniforms of the 41 turned out -the biggest | address execution aiid less note to be — doughboys mingled hesitancy in e er with the evening of that year, so don’t ask me. 532 reading. The efficacy of such preliminary — "FORWARD " MARCH WITH MUSIC 533 MARCH WITH MUSIC SEPT "FORWARD THE ETUDE EMBER, 1946

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What Is The Outlook For A an out-of-town concert or music camp Nation Report To The usually proves to be very sucecssful. The most One-Armed Pianist? desirable arrangement of all is from Page 489) to have an interested organization spon- 0Continued Tomorrow! AMERICAN sor the concert and handle all advertis- Prepare NOW For (.Continued, from Page 504) ing and ticket sales. This not only re- Shepherd’s Lullaby leases the performers for concentration violation of the original, and without any (3) sufficient justi- Henrv ‘Wnwever, there is, I feel, on the music need for overwhelming piano technique. Valse Caprice (4) but also gives them the Valdemar remarks to seek methods CONSERVATORY . _ in your feeling of being supported ^Jlttencl is simply to leave Vaise Sentimental and appre- One way to proceed (3) Spaulding ant, I intend 8 the situation, ciated out one of the notes of the octave (not Venetian Serenade (O Sole ".C-rortng —a knowledge which is invaluable Mio), to call a meeting of the near future to the morale and attitude band. really necessary from a musical point of Arr. R. Hoffman Department of the C^oniervatory agencies in the War Advertising a l/Yludic »rMUSIC view). In most cases, the one-armed Voices at Even (3) 'Lie need not be spectacular if Krentzlin in the development of Army player would have to take the Primo part. Waltz in E-flat (4) interested the reputation of the band is at all good CHICAGO 61st Brahms-Woods formulate a program which SEASON isic to and the danger of overly dramatic Playing the great symphonic and cham- Waltzing Nymphs (3) Spaulding lyjour Own —J'J'iome rectify the conditions which you in Founded ber music classics in duet arrangement Six Bagatelles (Collection) "j^uld schemes is as great as any other. It is, in 1886 by John J. Hattstaedt, today The American Conserva- (4) ...Berger after all, the tory of Music serves a double purpose. Besides afford- Advanced Grades deplore. cheapest commodity that is considered outstanding among institutions for music edu- regards, l am ing the players pleasure (a pleasure Album Leaf ‘With kind requires the most pressured advertising. cation in this (6) country. Its graduates are to be found occupying positions Spross ‘Sincerely yours, of which I, A few newspaper articles with pictures honor personally, count among the Etude, Op. 10, No. 1 (8), and responsibility in every department of music. (Signed) ‘Robert P. Patterson, greatest of my musical life), it provides Chopin-Godowsky of the activities of concert preparation; Secretary of War’ possible for you to take practical music •a knowledge of the works which is in- Etude, Op. 10, No. 2 (8), a goodly number of a large “respectable” Uncle Sam makes it Member of the National Association could agree more heartily of Schools of Music finitely greater, more intimate, and more Chopin-Godowsky “I wish X poster; printed postal cards to parents correspondence, even though you are thousands of the growth of lessons by lasting than that acquired by merely Etude, Op. the Secretary that and supporting citizens; and announce- The Faculty One 10, No. 3 (8), with — hundred and thirty Professional and Teaching Engagements volume of discharges from your teacher. artist teachers, many of national passive listening. Chopin recommended Army and the ments at assemblies and organization miles away and in- Graduates of the Conservatory have Chopin-Godowsky the ternational reputation, including pian- the lamentable condi- been much in demand as teachers and the playing of classical music, in duet Etude, Op. 10, No. 5 ere causes for meetings during the week preceding the ists : Heniot (8), W Levy, Rudolph Reuter, Al- also in (prepared by able, len concert, opera, radio, orchestra, form, to That they may have had concise, comprehensive lessons Spencer, Edward Collins, Kurt lyceum and his pupils—but Chopin, of tions I found. concert date all serve toward good ad- Definite, a meek, choir work. The News Bul- Chopin-Godowsky W Louise Robyn, Earl Blair, letin course, I gladly admit. But no Edwin containing a list of about 300 suc- thought only of two-handed pi- Etude, Op. 10, No. 6 (8) their influence, vertising procedure. illustrated and clearly explained—always Gemmer, Merle West, and oth- cessful graduates recognized teachers) ers holding responsible anists. men went in or came ; Voice: Theodore Harrison. Charles positions May I be allowed to join my in- matter how fast the Dress rehearsals become important if LaBerge, in Universities, Colleges, Con- Chopin-Godowsky over and over again. Louis Rousseau, Frances Grund, servatories, and significant know how to read before you to study and refer to B hred Wise; Public Schools will be little voice to that of the Etude, Op. 10, No. 7 (8), out musicians should the band is to play in a place in which Violin: John Weicher, sent upon request. Herbert Butler, great master! being taken into Scott Willits, Stella Rob- His advice is doubly ap- Chopin-Godowsky music, at least, before they do not ordinarily practice. Two such erts ; Organists: Tuition Frank Van Dusen, Ed- is reasonable in keeping with the plicable to final para- is left to guess work. ward Eigenschenk times one-armed players: deprived Etude, Op. 10, No. 9 (8), band! It is the Secretary's rehearsals is a minimum; one to lessen Nothing ; Theory: Leo Sower- and may be paid in convenient in- a by, John Palmer, stallments. of most other active Something is Jeanne Boyd, Irwin Complete particulars given in musical pleasures, Chopin-Godowsky graph that is encouraging. the strangeness of the sound and the Fischer. School Music C. Dissinger, catalog which will be lesson. If there is any- — Ann mailed on request. they should certainly cultivate this examination paper accompanies every Trimingham, Russell Harvey. one. Etude, Op. 10,- No. 11 (8), to be done! second to allow for being comfortable An Students’ Self Help—The management By such means, presupposing, done, Accredited of course, that ‘something’ is done to the surroundings. An ex- it is explained to you in detail by our Courses are offered in Piano, makes every endeavor to assist needy Chopin-Godowsky “When or “used” thing you don't understand Vocal, Violin, students a small amount of technique Organ, Orchestral Instru- to find part-time employment. and prac- Etude, Op. 10, No. 12 (8) mind you; not investigated or planned— cellent substitute for the second re- ments, Public School Many find work Music, Children’s as teachers, accom- ticing, even the one-armed amateur will revival not only of Army experienced teachers. Piano Work, Class Piano, Musical Theory. panists or part-time positions working Chopin-Godowsky you will see a hearsal, or a better third, is the presen- for see that he can still commercial houses, etc. find great enjoyment Etude, Op. 25, No. 1 but of civilian music as well. for school children Degrees—Bachelor of Music, Bachelor (8) music, tation of a matinee of in personal music-making.” Music Education, Master of Music Dormitories—Students reside at the Con- Chopin-Godowsky Young musicians will enter the Army of certain grades (as from the fourth and Master servatory said of our Piano course— of Music Education are con* Dormitory, at other desirablS The following list of piano pieces for Etude, Op. the training available PADEREWSKI ferred by authority of the dormitories and private boarding 25, No. 4 (8) eager to receive through the eighth) with a very small State of Illi- houses the left nois and recognized as a at moderate rates. Particulars on hand alone or for the right hand will be improved. In will additions to the pedagog- guarantee of request. Chopin-Godowsky there. Public taste admission charge. This performance is one of the most important accomplishment. alone was "It Students enrolled at any time. not submitted by Mr. Wittgen- Etude, Op. will occupy the 25, No. 7 (8) the Army itself, music furnish the funds for many of the ex- literature on pianoforte playing published for years. stein but was prepared by Mr. ical Milton it deserves and that it gets in the guest artist; it reliable For free catalog address John R. Hattstaedt Chopin-Godowsky position — penses, such as for "As an excellent guide for students and solid and , President Harding, by request. Etude, Op. 25, No. 12 (8) foreign armies, even those of our enemies. the evening performance of dis- very popular, relieves advice for feachers, it is bound to become will raised Chopin-Godowsky Army entertainment levels be turbingly impatient and quickly tired pianist, 581 Pieces more so as it bears the stamp of a real Kimball Hall, Chicago III. for the Left Hand Alone Isolde and the 4, (6) Ravina instead of underrated. Best of all, our youngsters; and it furnishes an ideal op- Easier Grades accomplished musician and experienced pedagogue." Londonderry Air (5) ... .Arr. which ranks ‘first’ talk to those Bridle Thompson beloved United States, portunity for an informal Paths ( 2 ) ....Huerter Nocturne in E-flat (8) accept its op- chances in in- A Left Chopin-Wurm in so many activities, will students about their own Hand Complaint (1) ...... Richter Nocturne (8) Scriabine portunity to develop something good strumental music. Various instruments Merry Swiss Boy (2) Schmitt Prayer from “Othello” facili- for them Restless (9) in general culture, in employment may be exhibited and played BACHELOR OF MUSIC Moments (2) Huerter DEGREE OF SCHOOLS-COLLEGES Rossini-Strakosch ties, training, in experience. That is a contact many stu- BALDWIN-WALLACE Spring Breezes (2%) in and through such you have completed a course Franklyn Prelude (6) You are awarded a diploma when CONSERVATORY Scriabine a goal which every loyal citizen and will become anxious to join instru- OF MUSIC Summer Moon (2) Huerter dents Serenade (8) Goria heartily continue study Department and the Board of SCHOOL BEREA, OHIO (suburb of Cleveland) Tom Thumb every music lover must desire as ment classes or inspired to to the satisfaction of the Instruction OF Waltz (2) Schmitt Sextette Affiliated with first from “Lucia” (10) CONVERSE COLLEGE MUSIC a class Liberal Arts College. Five Little as I do.” more seriously. Degree of Bachelor Four and five year courses leading Tunes for Five Little are also authorized to issue the Edwin Gerschefski, Dean, Spartansburg, to degrees. Faculty Directors. We S. C. of Artist Teachers. Send for Donizetti-Leschetizky performances in nearby cities catalogue or informa- Fingers (Collection) 1 Repeat tion to: ( ) Adair Solfeggietto with our requirements. These Department (6) Bach-Felton invaluable experience for of Music upon those who comply KNOX of Music ALBERT HIEMENSCHNEIDER. Dean, Medium Grades provide also Galesburg, Berea. Ohio Song Illinois without Words (6) Spross advertising for the and an Thomas W. Williams, Chairman Annie Laurie (3) Arr. the band and good Harmony, History of Music, Advanced Composition COLLEGE Catalogue Henry Valse d’ Adele QT0 sent upon request. Deep River (7) Zichy and school. In its finest de- (4) Arr. Orem Suite community be voice or instru- for The Left Hand Alone (8) practice course. The latter may CONSERVATORY MILLIKIN Drawing Room Study velopment, a worthy concert may be pre- advanced CONSERVATORY OF MUSC (4) . . Greulich OF MUSIC Godowsky on a lengthy hours. SHENANDOAH Wade E. Miller, Prea. DECATUR. Festival Polonaise (3) at several places mental. Each subject carries 30 semester ILLINOIS Krentzlin Pieces For the sented Courses leading to Lovely Right Hand Alone “Band Concert Toniqht” „ Offers thoro training in Dorothy c4) tour. the B. Mus and B. Mus. Ed. degrees. Rates music. Courses leading to Weber-Sartorio Medium Grades Bachelor of Music many reasonable. In the heart of the Shenandoah Degree. Diploma and Certifi- March (4) Finally, we must consider the te ,n la Lemont Forest splendid opportunities in the no Voic Vio,in ' Organ, Echoes are Valley, Dayton, Virginia. ’, ?’ Public School (3) Bliss Remember there ^ w , March of the Midgets details, such as organiza- Music Methods and Music Kindergarten Methods (3) Rowe Valse ( Continued from Page 530) small essential (4) Lemont techniques, make a very comfortable income. Bulletin Melody (3%) and ushering music field to sent free upon request Valdemar The tion of ushers Winding Road (3) Bliss repaint- W. ST. CLARE, MINTURN, Monarch of All (3) of instruments and you how. Mail the coupon today. Director Spaulding Advanced Grades the polishing Let us show OSMOPOLITAN On the Lagoon (5) podium, arranging for clear- Egeeline Capriccio foot- ing of the Robin (6) Ganz strumental music study. The visible transport- SCHOOL OF' Adair (3) Arr. Henry away the decorations; the MUSIC Lullaby (4) tapping and head waving must be detect- ing 43rd Romance Gainsborg from the con- year. Accredited. Offers (3) Krentzlin ing of instruments to and courses in BOSTON Prelude-Etude (6) ed long before the concert date if it is EXTENSION CONSERVATORY all branches of Music. UNIVERSITY Sextette from “Lucia” Foote out and in the uni- UNIVERSITY Certificates, diplomas and (3y2 )..Arr. Orem Prelude cert hall; checking 765 Oakwood Blvd., Chicago 15, Illinois de- (6) Huss to be corrected; for at the time of per- have been Dept. A-54 grees. Desirable boarding ac- forms which previously > formance, concen- commodations. Located in down- Coffer/e attention becomes so of newspa- town musical cleaned; inviting attendance center. trated upon the music that all such hab- Offering complete courses in Piano, Voice. Organ meeting guest artist or EXTENSION CONSERVATORY. Dept. A-542 Box E, 306 S. Wabash Violin. critics; and UNIVERSITY Ave., Cello, Brass. Woodwinds, and Percussion instru- its make unchecked. per Chicago 15, Illinois. Chicago, ments. Public School Mothers To their appearance for their 765 Oakwood Blvd., 111. Music, Composition Church The Front! conductors, and arranging Music Musicology. Chorus. Glee Club, Playing information regarding course I have marked Orchestra Band positions are also products of Please send me catalog, sample lessons and full Faculty includes members of Boston Symphony Bache- pleasurable visit. I A professional music school lors and Masters Degrees in all previous feet or with an X below. D E D | M musical subjects. Dorms training and crossed that all Hl in an attractive college town. Catalog. COLLEGE OF MUSIC. 73 I it may be added O Blagden 1 St.. Boston! 1 conclusion Thorough instruction in all branches of Theodore t)3irown In Violin music. Special train- humped shoulders require early and con- required Piano, Teacher’s Normal Course Harmony ing in band and choir direction. 46 artist teachers, unsur- attention to details Cornet Trumpet Cuitar passed HAVE taught for stant the careful Piano, Student’s Course — equipment (200 practice rooms, 23 modem organs, about correction. It is well to remember | etc ) twenty years of commit- Advanced Cornet Mandolin course. I assisting Mus. Beginner’s 1_] Degrees: Mus K.. School Mus B., A.B.. with music major. now, asked each mother to come conductor and H Public School — Catalog. and have given that re- of the Voice Saxophone Frank H. Shaw, Dir., Box 596, Oberlin, Ohio. recitals, of to habits are not eliminated by sat- Public School Mus.—Advanced the studio and try for a hundred-fold in the Choral Conducting Reed Organ I course, each year. the duet over straint, tee is repaid Advanced Composition This year I hap- me. but are replaced by other habits. per- Clarinet Banjo pened and each one did very well. results of a truly successful Ear Training & Sight Singing 0 to think of a new idea and Instead of students isfying Dance Band Arranging thought The repeatedly cautioning is finished History of Music I’d recital proved to be a great suc- the evening pass it on. not to do formance. When cess. The do this or that, have them locked in their A* anxiety to help her child do well instruments are Adult or Nvenile. CHICAGO °Ur recital was to be that routine of and the Name MUSICAL given on which is proper. Tuning COLLEGE made erfo eF® each mother play her best, and the feelings of the P ™ Founded 1867 by Dr. F. Z.egfeld Mothers Day, May the places, the RUDOLPH GANZ, President 12, we thought it results rehearsals should be the same as for highlight were most gratifying to us all. unforgettably Street No. )EGREES 0F B.MUS., B.MUS.ED., would be a novel idea for the are those which M k i M.MUS., M. MUS. ED. the mothers to concert as well as seating arrange- Assoclation Several parents that experiences. Finally then, and National Association of Schools of Music play duets with their made the remark school State....) ALL RRANCHM children. I knew ments. their City ALL BRANCHES OF MUSIC. SPECIAL INSTRUCTION this was their first has devoted his FOR CHILDREN AND NON-PROFESSIONALS of seven mothers who were recital, too, so it was the conductor who dependable Ticket sales contests to If so, how many pupils have you? Do you Address Registrar, a big event for all. are stimulated by countless de- Are you teaching now?. 60 E. Van Buren St., Chicago 5, Illinois musicians and Needless to say, the attention to these when I asked them, they which very time and Have you studied Harmony? fathers can be especially effective if ’ becomes Teacher’s Certificate? were delighted. came to hear the mothers and “Band Concert Tonight hold a The children were desirable tails, Music? • thrilled, children play! opportunities are offered the the reward Would you like to earn the Degree of Bachelor of experience unequalled in 534 winners. Selling done by pairs or teams an "FORWARD MARCH WITH MUSIC” complete satisfaction. with such incentives as being guests of of THE ETUDE 535 SEPTEMBER, 1946 —

Junior Etude Contest Folk Song Recital BiCKERTON three at- HELEN Etude wiU award you enter on upper left corner the Junior of your Faculty month for the neatest paper, and Member of the Artist cjCieonora Silt prizes each put your address on upper llj Mt™ tive of the Voice Department r or essays and for answers right corner of your paper. h best stories Write Brilliant American soprano of radio, concert, and Contest is open to all boys and on one side of paper only. Do nuzzles with the Chicago Sym- earliest folk years of age. not use typewriters and do not have oratorio, who has appeared HE early autumn recital by Miss of the songs were sung under eighteen any- Apollo lis one copy your work phony Orchestra, Chicago Bach Chorus, Black’s pupils was to be a re- by children of Israel in their wan- fifteen to eighteen years of for you. Glass A, Essay must Club, and other leading organizations. arranged for derings and are mentioned ’ twelve to fifteen; Class C, contain not over one hun- T cital of folk songs in the . class b, dred and fifty words and must be re- piano, and some of the performers Bible. One time when they were held twelve years. aider ceived at the Junior Etude Office, 1712 were to tell the audience about folk- captive in Persia they sang about of prize winners will appear on Teach- Names Chestnut Street, Philadelphia (1) Pa., by Instruction from eminent Artist being captive; “How shall future issue of The Etude. , songs before playing them. we sing , in a the his page 22nd of September. Results of con- talented students at will ers is available to Roy was the first on the program, the song of the Lord in a strange next best contributors re- test will appear rue thirty in December. Subject for of their comprise land? Upon the rivers mention, essay Sherwood, from the beginning and began: “Folk songs of Babylon we vive honorable contest this month: “The Advan- sat and wept: age and class In which tages of Regular Certificate, Diploma, Degree some of the earliest forms known in on the willows we put your name, Practice.” studies. music, but they are not large com- hung our harps.” courses in Piano, Voice, Violin, Organ, certain rhythms Harry positions written in Then took up the tale, say- Cello, Wind Instruments, Public School Music, Conducting, or patterns such as we know in other ing, “Many folk songs COSTUME HONEA were brought Theory, Composition. Dormitory accommodations at moderate pieces. Often they were not written to our country from the Old World. RECITAL PATH cost. Courses for veterans under G.I. Bill of Rights. Fall Semes- at all, but were sung by people who The people who came over in small free catalog, write Arthur ELIZABETH A.GEST were glad or sad, then other people ships when America was being settled ter opens September 15. For who felt the same way would repeat could not bring many of their be- Wildman, Musical Director, 412 South Michigan Avenue, them. Thus they were handed down longings with them, but they could Chicago 5, Illinois. from generation to generation, and bring their songs in their memories, many have come to us in this way.” and these they continued to sing Here Sally took up the tale. “Some after they arrived, and taught them MUSIC SCHOOL A Fairy Tale to their children and grandchildren. by Ella Mae Starrh Many of the early settlers came from SHERWOOD* of Schools of Music Musical Transportation Association I Member of National England and brought English folk- Once there was a beautiful fairy who to pick them up, and holding them up to Game songs. Some well-known ones are dwelt in a cottage made of wildrose petals the sun, read what was written upon and by Alan A. Brown Bobbie Shaftoe, from England; The precious vines, on the side of a them. These thought-wishes and hopes, ARE YOU a Music Teacher mountain in a great green Fill in the blanks in the following song- Campbells Are Coming, from Scot- forest. Now being full of love and gratitude, had no SOUTH who wishes to enrich her teaching this fairy was very happy titles with words signifying a means of land (the Campbells, WATKINS because she power to die, but took unto themselves of course, were CAROLINA Or a student who transportation, a method of getting from MUSIC CLOT equipment? was among the green trees where th'e sun- other shapes and lived on forever. They people, not animals!); All Through De to become a teacher? If so, shine was filtering one place to another. The player filling wishes through the branches. can not be seen, because our vision is the Night, from Wales; Londonderry Paul for catalogue and full in- in the most titles in a given number of Expressed write She thought lovely thoughts when she much too weak; they can not be heard, In Music Some Aims in Music Air, from Ireland. Songs were also My Aim UNIVERSITY our TEACHER walked daily in the green forest, and in minutes is the winner. formation about for our hearing is much too dull; but brought over from France, in the Contest CHICAGO time 1, On a Built for Two; Sweden, (Prize winner in Class B) she began to prick her thoughts out they sometimes can be felt, and 2, TRAINING COURSE. we know aims to be Volga Song; 3, with Italy, and many other countries, My aim in music is for character develop- Mary Weaver, North Carolina, on. the leaves of the trees, and send them not what is stirring our hearts to nobler a THE SCHOOL OF ment. In a recent article in The Etude the at sight. into the air Fringe on Top; 4, The Dutch- which you will hear in the program able to read anything to float hither and thither. aims. “There is AILE following statement was made: aims to help DILLER-QU man; 5, Captain Jinks of Helen Minucci, Arizona, And it came to pass that people began Is it music in our hearts? the we have prepared.” Harry took his spiritual essence in music which inspires ex- statement people appreciate music. Music School of Music Marines; 6, Wait for the 7, seat and Doris continued: “The Ne- alted lives." The great truth of this other stands in lives of the great masters. Jersey, aims to of the Bumble Bee; 8, The out the Dolores Dravecki, New 66 East 80th Street gro slaves in this country gave us cultural under- courses in Piano. Quiz No. 13 My aim in music is also for a is food for the soul. Offers accredited Go Rolling Along; 9, We the prove that music New York 21, N. Y. some very moving songs, such as standing. Music may be thought of as the School Musical Schneider, Pennsylvania, aims Voice, Violin, Organ, Public Cities and Towns Ocean Blue; 10, On of Song; greatest of all ttie tine arts. A better under- Marianne Swing Low, Sweet Chariot. Even the in the most Music, Theory, and Orchestral In- 11, Hand Me Down my - standing of music aids in a better social knowl- to touch every small nook X- In what town was Beethoven — Cane; born? symphony orchestra? Indians ago. 12, Swing Low, Sweet gave us some lovely melo- edge of the world today and long hardened hearts. struments. 2. In what city did ; 13, The Conservatory Bach teach Latin? 7. What American city is said to have My aim in music Is also a professional voca- Philadelphia Old Gray — - dies. Since America is not as old a McFadden, Ohio, aims to be- ; 14, Show Catherine 3. In what city was Handel’s Oratorio, had the first church organ? tion. From the great cosmopolitan cities to the Confers degrees of B.M., A.B., Of Music Founded 1877 15, I’ve Been - country as the European countries, the “All Girl Orchestra and “The Messiah,” first Workin’ on the smallest hamlets there is a place for more long to performed? 8. What American city is said to have and M.M. 216 South 20th Street 16, — through Georgia. our folk song writers are clouded persons who will bring a means of enjoyment Choir.” 4. In what city did Mendelssohn estab- had the first singing society? not Faculty Maria Ererman Drake, Managing Director (Answers and knowledge of music. California, aims to Distinguished lish a conservatory of music? on this page) in obscurity and we know who many Audrey Cereghino, Faculty headed by 9. In what city was the first music book John D. McLain, Jr. (Age 14), instruments that artists are the Olga Samar-off, Musical Director 5. In what American city did Dvof&k printed in America? of them were, such as Stephen Fos- Arkansas realize inspired music is per- Bulletin Courses leading to Degrees serve as director through which Address Registrar for of a conservatory 10. In what city did Brahms spend the ter. Foster did write his songs, but C: Prize Winners in Classes A and formed. of music? last third of his life? Meet the Rests because DePAUL UNIVERSITY they were so universally Shirley Homfeld, (Age 16), California. Carolina, aims to be 6. city Betty Jo Hall, North What has the oldest American ( Ansivers on next page) OF MUSIC loved and known and are of a simple Sally Ann (Age 8) Georgia. SCHOOL THE MANNES Sapp , a good listener. folk to Room 401, 64 East Lake Street song type, they can he classed as Norma Mae Bethea, Indiana, aims Chicago, Illinois MUSIC SCHOOL folk songs. Every one loves Foster’s a broad cultural background. acquire Professionals • Amateurs • Children The Job of Fingering song, Honorable A Iention for Essays: California, aims to My Old Kentucky Home, and Shirley Homfeld, Class and Individual Instruction iMayne -Miller, Wilma Slover, Hazel Jean friends, it makes happiness to herself, her Write for Catalogue by Gladys Hutchinson no difference to the singer Lyons, Beverly Hays, Joyce Pickard, Pansye bring Butler, ard, world. Directors whether he lived down south, or out Shirley Swope, Nancy Homey and the . DAVID & CLARA MANNES, Fingering is to teach 74th STREET NEW YORK 21. N. Y. one of the things in We must look where we are going, Isabel Rives, Helen Sandell. Shirley David, Nebraska, aims 1 157 EAST west, or up north or down east, be- Dorothy Osborn, piano Joan Booth. Preston Suit. Betty Lou Searcy, Your Child playing that must be done in fingering passages, instead of public school music. Has cause that song makes people feel Mary Sc’hmldt, Ann Martin, Edwina Mc- advantage of piano study with well, because with good fingering, looking only Noy, Pennsylvania, aims to the Send $1.00 for at one note at a time. kindly Mullan, Bonnie Nevins, Annette Pieslak, Laura Merriel Van a member of the toward their own homes, come for music DRILLS passages seem easy and smooth; but When we look where we are going Peck, Betty Rose Sipe. Nancy Silverman, have little children RHYTHMIC wherever they may be. Yankee Miriam Feldman, Jack Linden, Carole Schrank, NATIONAL GUILD with the wrong fingering they seem we arrange our fingerng so we have lessons. RHYTHM LESSON ONE BOOKLET Doodle is from Betty Jean Petra*. Freddie Turner, Lydia aims hard a gay song that came Lewis, District of Columbia, PIANO TEACHERS and clumsy. enough fingers to get there without Wheitsel, Nancy Miller. Dolores of and Among the rests the days of George Washington.” proud of her. Inc. we often meet to make her parents bumps or breaks, or putting thumbs every student suitable I EXPLANATORY BOOKLET Upon the music Nancy sat District of Columbia, aims A goal of achievement for staff, continued, as Doris Renee Council, advancement. | under on black keys or disconnecting his to his age and Two look so very down; (Send answers to letters in care of teacher and is giving (NOT A CONTEST) IV EFFA ELLIS PERFIELD Letter Box List much alike “Many of the great composers to be a music tones that should not be discon- Junior Etude) Are Members St. IParkAve.) New York City The Whole Rest and the have used folk from father piano lessons. The Better Teachers If 103 East 86th Half. song melodies center Letters have been received from nected. Lear Junior Etude: aims to be like her music Chapters in every large music various countries Sally Ann Sapp 50TH in their symphonies I enjoy The Etude very much and find it FOR INFORMATION WRITE YEAR the following, which, we regret, our Remember this—there are only OF Like hats upon two and other compositions. Perhaps a helps me a great deal in my music. I am teacher. four gentlemen studying be IRL ALLISON, M. A. flKfene Ike&tre limited space does not permit pub- signs that give us permission to both piano and violin. I would L Star making. Students seeking professional engagements Who FOUNDER AND PRESIDENT pro- meet a lady fair; good way to describe folksongs is to 1 ha receive letters from other girls coached by Stage, Screen, Radio and presented in disconnect It? ppy. for showing to B’ way-Hollywood Talent Scouts and lishing ; one tone from the next who are AUSTIN, TEXAS ductions Half merely interested in music. Box 1113 public. B’way also Summer Stock. Spring course opening. nods and tips the say they are things people sing about Y. one, and these four signs brim; From your friend, SEC’Y SHUBERT. 17S0 BROADWAY, N. June Anderson; Jack Linden; are : a rest, Shirley Beck- Whole lifts his hat with instead Carol J. Jack (Age 17), er; care. of talk about. So that you *»° Barbara Carter; Betty Ford; Christine a staccato mark, the Things.™ a half end of a slur Utah * for two andn a; Neff; Charlotte Wilkinson; ^ plarinet lessons Thelma Jean and may become more familiar with folk- ye in The Etude Arnold; Emilu Bart; the end of a phrase. If none of to10 read the music Betty Maier; Patricia years.lll I tvelove * contests. Ann Cohea; Marcell Answers to Musical songs we have today’s pro- trying for the nf Mierowsky; Carrol J. these four marks Transportation planned Qkb^laniJnstilutF (Duatr appear it means 13 d the band, and I ^)b? Miller; Nita Smith; June Mandel; Ronald Answers lo Quiz No. Play cfaSneTSf 1, Bicycle; 2, Boat; gram of folk songs in various grades Inf school\oori I plays, Pierolo; Freddie Turner; the tone must not be released until 3, Surrey; 4, Flying- y Girl scouts, land for J. C. Jones; Ruth ian° *or of Music Degree, Artist Diploma 5, Horse; 1, Bonn, Germany; Leipsig, Ger- play P .° Some day I Bachelor of Music Degree, Master Mariner; Jean Roberts; Patricia Ann Wil- we 6, Wagon; 7, Flight; of difficulty, some some 2, „rad e class. have the next one ready to take 8, Caisl solos and r e Xthh kins; Constance Gaudette; hiany; 3 Leipsig; 5, f player. Dolores Lewis- 10 , Dublin, Ireland; 4, an accomplished Mus. D-, Director 3411 Euclid Ave., Cleveland, O. - Wings; 11 duets, me BERYL RUBINSTEIN, its place , t°o bet Roberta Hoehne; Marilyn Freeman; Marie in a smooth, well-connected Walking; and each performer will play New hope 12, Chariot; York; 6, 7, Boston; 8, r Schools Hanson; Betty Jean Petras; Faye 13, Mare; 14, Boat; New York; Fr0 Charter Member of the National Association of of Music Sanford. legato. 15, Rail- a folk song from a different country. ^rREOTTE HARRISON (Age 12). road; 16, Marching. Charleston, South Carolina; 9, Boston; Illinois (Program continues) 16. Vienna, Austria. 536 537 THE ETUDE SEPTEAXBER, 1946 , - ,

as scale terv of various phases of technic, such OFFER NO. 24 hands singly and together, passing passages for and thumbs, solid and broken chords, thirds YOU CAN PLAY THE PIANO- positions, repeated notes THEODORE PRESSER CO. sixths, shifting hand and phrasing problems. Major and minor keys PART ONE employed. up to four sharps and flats are On Music Books Recently A BOOK FOR THE ADVANCE OF PUBLICATION OLDER BEGINNER CASH PRICE, 30c Postpaid Published or In Preparation By ADA RICHTER Primarily the material and procedures offered OFFER NO. 29 FALL BARGAIN OFFERS by this instructor are to enable teachers to 17 OFFER NO. 18 their grammar school days KETTERER’S 13 OFFER NO. lead those beyond ELLA OFFER NO. 5 OFFER NO. 9 OFFER NO. to the enjoyment of bringing forth music by resurrection song MOTHER keyboard. OF PIANO PIECES IMPORTANT— Prices are for payment with or- THE NATURE WINS their own efforts at the piano BOOK THEMES FROM THE BASIC VIOLIN TECHNIQUE folktunes are der. (Use check, money-order or stamps. Never SELECTED FIRST GRADE FOR TWO AN Simple arrangements of familiar PIANO SOLO faster CANTATA OPERETTA IN TWO ACTS a higher tempo FOR send money mail unless registered). . No re- utilized and progress is set at by STUDIES ORCHESTRAL REPERTOIRE By HAROLD BERKLEY CHOIRS collection of good edu- turns, no exchanges, nor examination privileges OR THREE-PART FOR CHILDREN than customary in first instructors for juveniles To teachers seeking a Harold Berkley, the well-known violin peda- abili- pieces by a composer experi- on publications sold at these low prices. Only FOR PIANO SOLO who do not have the physical and mental cational piano FOR PIANO gog and respected editor of the Violin and Alto, with Bar. ad lib.) Libretto by MAE GLEATON SHOKUNBI successful in writing, single copy orders at these low "Introductory Depart- (Sop. ties of those their seniors for whom this book enced in teaching and Compiled by Compiled and Arranged by ment of The Etude Music Magazine, gives in Music by ANNABEL S. of il- offers a wealth of interesting and Prices" which are good only until Oct. I, 1946. DAVID LAWTON Bv LOUISE E. STAIRS WALLACE is intended. Entertaining cartoon-type this book this volume such daily exercises for violin this book. material. composers have attained This is an up-to-date selection of excellent LEVINE The music is attractive and singable. The story lustrations add to the make-up of useful Few HENRY teachers, violin soloists, and violin players in Arranged by DANFORTH S1MONTON success of Ella Ketterer m this supplementary first grade materials. It in- with its fanciful qualities makes possible such the consistent This is another of the fine piano albums orchestras as to provide the necessary type of Song as originally written ADVANCE OF PUBLICATION numbers range in difficulty from cludes not only useful and dependable standby TOT Resurrection a staging as will delight the young partici- field. The OFFER NO. 1 brought forth under the editorship of Henry practice material that it is not only helpful choir of mixed voices met with CASH PRICE, 35c Postpaid grades two-and-a-half to three. The tuneful studies from the best offerings of Kohler, Gur- foT four-part pants and their audiences, although the staging variety of Levine. Mr. Levine has chosen themes from a but essential to those who want to obtain or that during the past year there pieces in this collection present a litt, and Streabbog, but also some selections such success may be simple or elaborate as circumstances will BOOK OF EASY PIANO PIECES wealth of masterworks, and he has drawn to maintain the technical mastery of this g^eat this special arrangement for and rhythms. The attractive titles from tried and tested more recent successful was published permit. The music is for unison and two-part OFFER NO. 25 tempi these themes from the tone poems, suites, over- instrument. Out of his wealth of experience voice choirs singing in two- the pupil’s interest, and the melodious By E. STAIRS elementary materials by such writers as Par- rendition by treble singing. At least 12 boys and girls should be catch LOUISE tures, ballets, and other works (exclusive of the author gives along with these technical alto) or by tfiree-part hold his attention. low, Bilbro, and Bugbee. It contains just about rarts (soprano and used for the chorus, although many more may YOU CAN PLAY THE PIANO- music will Any young piano beginner will be delighted any Symphonies ) to which symphony concert drills and daily practice materials, suggestions alto, and bari- the right material to assist the teacher in giv- mixed voice choirs (soprano, be included. Five of the six leading charac- PUBLICATION with this collection of very easy but attractive goers are very partial. which teachers students, and orchestra per- and singable PART TWO ADVANCE OF ing young pupils the help they need in various tone) The music is melodious ters (9 to 13 yr. ages) have solos assigned to pieces which are suitable for lesson assign- There are 12 selections in this album and they formers will appreciate. and reveren- CASH PRICE, 35c Postpaid phases of elementary piano technic. vet aiways in proper devotional them. The singing and dance groups might well ments as well as for self amusement at the represent melodically beautiful portions from the text. single A BOOK FOR THE INTRODUCTORY PRICE mood for the import of A include children from 5 to years of age. piano. Miss Stairs' charming little pieces for INTRODUCTORY CASH PRICE some of the best orchestral works by Bach, CASH , tial 13 only may be ordered at the special Intro- OLDER BEGINNER young pianists are very successful. 19 have (List Dukas, Debussy, Enesco, Mendelssohn, Liszt, 50c Postpaid (List Price, 75c) copy In order to introduce this operetta to as many NO. 30 30c Postpaid Price , 60c) Brice. Rendition time 40 to 45 mins. OFFER been selected for this collection. All but a Saint-Saens, Grieg, Rimsky-Korsakow, Sme- ductory as possible who are interested in operettas for By ADA RICHTER Sold only in the United States and Its Possessions juveniles, we, under these Fall Bargain Offers, VARIETY IN couple of these tuneful selections have texts. tana, and Tschaikowsky. INTRODUCTORY CASH PRICE, Mrs. Richter’s sure-to-be-a-favorite forthcom- RHYTHMIC are giving anyone who wishes it a chance to The pieces run the range of grade one to easy These piano transcriptions make apparent the OFFER NO. 14 (List Price, 60c) ing piano instruction book for older beginners 45c Postpaid obtain a single copy of this operetta at a spe- PIANO MUSIC grade two. fine musical qualities of the originals. Accom- likewise is offered in the appealing form of CLASSIC cial Introductory Price. OFFER NO. 6 plished pianists will find these numbers very AND FOLK parts. Part Two continues right along the PLAYER OF INTRODUCTORY CASH PRICE, "Introductory Prices” two FOr. THE useful and enjoyable. Teachers will find them MELODIES IN THE FIRST PLEASE NOTE that all INTRODUCTORY CASH PRICE, same style as the material in Part One and, of ATTAINMENT 50c Postpaid (List Price, 75c) EIGHTEEN HYMN useful with students ready for numbers in the will be withdrawn Oct. 1, 1946, so do not delay pianist-in-the-making finds MODERATE 50c Postpaid (List Price 75c) course, a grown-up oppor- fifth and sixth grades of difficulty. POSITION FOR CELLO ordering. , the playing material more interesting as he or Many who play the piano, but whose TRANSCRIPTIONS are limited, will OFFER NO. 2 INTRODUCTORY CASH PRICE, she progresses along in this Part Two book. tunities for study and practice FOR PIANO SOLO AND PIANO be delighted with this excellent compilation 50c Postpaid (List Price 75c) OF PUBLICATION publication. Teachers SIX MELODIOUS OCTAVE , ADVANCE now in the course of By CLARENCE KOHLMANN Selected, Arranged, and Edited bv interest of STUDIES CASH PRICE, 35c Postpaid seeking material to stimulate the In common with the Kohlmann hymn tran- CHARLES KRANE 19 NO. 36 INCLUSIVE ARE third grade students also will find it invaluable. scriptions known to many, these arrangements OFFERS NO. TO implied by the title Rhythmic Variety the FOR THE PIANO OFFER NO. 10 In his experience with young cello students OFFER NO. 26 As enhance the devotional spirit of the original as pieces included are written in a vanety of well as in his normal course iving guii) By ORVILLE A. LINDQUIST hymns and give the pianist arrangements ; nee OFFERS LET’S PLAY rhythmic patterns. No two are alike. Many of CONCERTINO ON to those who desire to prepare themselves to ADVANCE OF PVBLICATION most success- These are title which make possible smooth and flowing ren- the compositions are among the study pieces each bearing a and instruct young cello pupils, the editor has had A PIANO BOOK FOR long-estaD- some of the techniques of octave playing which ditions on the piano, which, of course, rarely FAMILIAR TUNES in Preparation on Which Delivery Will Be Made When ful published in recent years; some ample opportunity to know the need for just These Are New W'orks BEGINNERS Sway- they invite the student to master are: repeated ever happen in cases where the average pian- YOUNG lished favorites also have been chosen— FOR PIANOS, such material as given in this album. Vvlr. Published. Sapphires octaves chromatic octaves, melody octaves, ist has only the notes of the voice parts as TWO FOUR HANDS By ELLA KETTERER ing Daffodils (Overlade); Star , Krane—widely known through his affiliations given in the general run of hymn books. These to find full satisfac- Dance the Rosebuds (Keats), tremolo octaves, interlocking octaves, and By STANLEY R. AVERY with the Juilliard The teacher will be sure (Renton); of transcriptions have no technical difficulties be- Music School, New York, has the newer num- forte octaves . These studies, by the well-known tion with Let’s Play, which Miss Ketterer are among the latter. Among An interesting novelty for young pianists along and the Teacher's College, Columbia Univer- music is confined to the the Professor of Piano at the Oberlin (Ohio) Col- yond the average pianist’s ability, and they ing for children. The prepared for giving youngsters in the kinder- bers are Little Colonel (Hellard); Under in the third grade. Some of the familiar tunes sity, New York—has selected and arranged at- OFFER NO. 19 Tambourine Dance contains lege Conservatory, are for the stage when the might be rated as in the third and fourth easier keys. The garten and primary grade ages a happy start Hawaiian Moon (Grey); Jack-in-the-Box grades. These Eighteen woven into this concertino, which has been tractive and melodic gems from French, Bo- staccato passages, and repeated Truly, this pupil is moving from grade three to grade four. Hymn Transcriptions TUNES legato and and lesson by lesson progress at the piano key- (King); and about a dozen others. written in somewhat of a condensed hemian, Dutch, and Russian folksong sources, TWENTY TEACHABLE Tiny Rubber Ball. Cross give the pianist effective instrumental num- sonata notes characterize board. book at the regular market price will be a bers, or they fonn, are All Through the Night, London besides including also some other gems of mel- is given in Fairy Bells, while The of Publi- INTRODUCTORY CASH PRICE, may be used to accompany the FOR PIANO hand work Much of the material is in the form of little ‘‘bargain’’; at the special “Advance singing of the Bridge, Drink To Me Only With Thine Eyes, ody from the writings of Bach, Mozart, and Broomstick provides scale 30c Postpaid (List Price, hymns. Witch Rides Her pieces and with accompanying words to aid m cation" price it is almost a gift. 60c) Pop Goes the Weasel, and Three Blind Brahms. These dozen numbers provide playing HAYES practice in syncopa- Mice. By OPAL LOUISE between the hands, and getting the rhythmic and melodic flow of the INTRODUCTORY CASH PRICE, The Allego con brio, final movement, is clever material which combines rhythm, melody, ADVANCE OF PUBLICATION a Supplementary studies for the first grade piano tion is given in Pickaninny. piece, every lesson out of the pages of this OFFER NO. 3 55c Postpaid (List Price, 75c) combination of the Pop Goes the Weasel and variety, and elementary technical points. ICE 40c Postpaid pupil are often needed to augment the regular PUBLICATION book will be a delight to the juvenile. CASH PR , the Three Blind Mice th ernes. This is not ADVANCE OF only INTRODUCTORY PRICE, instruction book, and teachers will find that THE CHILD BEETHOVEN an entertaining novelty for two young pian- CASH PRICE, 25c Postpaid ADVANCE OF PUBLICATION this book well supplies such a need. The book CASH (CHILDHOOD DAYS OF FAMOUS COMPOSERS) ists (two copies are necessary for States and Its Possessions PRICE, 25c Postpaid NO. 31 OFFER NO. 7 performance) 60c Postpaid (List Price, 75c) opens with very easy melodies divided between Sold only in the United CASH OFFER and their audiences, but also may serve By LOTTIE ELLSWORTH COIT to give the hands, and the range of difficulty increases a young soloist opportunity to perform a show- MORE THEMES FROM THE RALPH FEDERER’S slowly to grade one-and-a-half. Easy major OFFER NO. 22 and RUTH BAMPTON piece with a string orchestra since there is OFFER NO. 15 keys only are used, and words are provided OFFER NO. 27 GREAT CONCERTOS This book gives the child piano student whose available on a rental basis the second PIANO SOLO ALBUM piano for some of the studies to help with the rhy- TUNES FOR LITTLE PLAYERS playing ability has reached the second grade a part arranged for string orchestra. SINGING CHILDREN OF thm. Interesting titles and charming illustra- TEN ETUDETTES FOR PIANO SOLO condensed, simply-told story of the great mas- Ralph Federer in a short time has commanded PIANO INTRODUCTORY tions book will be FOR ter composer, Beethoven. Besides making Bee- the attention of everyone interested in piano CASH PRICE, THE CHURCH catch the pupil’s fancy. The IN THIRD AND SIXTHS Compiled and Arranged published in the familiar oblong size so prac- NOLAN KERR thoven an interesting person who was a boy compositions of the decidedly better popular 40c Postpaid (List Price, 60c) By ROBERT By HENRY LEVINE in type. His compositions demonstrate a good FOR JUNIOR CHOIR, tical for little piano beginners. enjoyed FOR PIANO Europe when our Liberty Bell was ringing (Tico Copies—80c Postpaid) The fine* results many teachers have musical craftsmanship and a great gift for The tremendous popularity of Mr. Levine’s for the Declaration of Independence, this book UNISON AND TWO-PART ADVANCE PUBLICATION Robert Nolan Kerr's Little Players, a MANA-ZUCCA melodies. OF with By first book, Themes from the Great Piano Con- presents cleverly arranged simplified versions instruction book for very young beginners, By ROB ROY PEERY CASK PRICE, 25c Postpaid first gifts as composer and her prac- certos has inspired the author to pre- of the following Beethoven compositions: In response to popular demand for a collec- request after request for a book Combining her ($.75), OFFER NO. 11 has brought can be helpful for second volume from the same fertile Country Dance, Minuet in C, Theme from the tion of his numbers this album was compiled. There are 19 selections counting the several prepared by the same author for tical knowledge of what pare a especially along in the third grade Madame Mana- source. The contents of this second volume ap- “Fifth Symphony,” The Metronome Theme There is a good variety in the contents, which responses and a glance at the contents shows OFFER NO. 20 assignments following the completion of pupils ORGAN VISTAS lesson Ten Etudettes, utilizing of the first, with ten favorite from the “Eighth Symphony,” and the Chorale includes a dozen numbers, rich in five numbers which respectively lend them- Zucca has set up these proximates that rhythmic Little Players. , . selves . , variety of rhythmic patterns and a number of “themes” all newly arranged and edited espe- from the “Ninth Symphony,” along with a and melodic appeal among which will be found A COLLECTION OF COMPOSITIONS FOR to use at Easter, Children’s Day, Christ- THE BOOK manuscript for such a continuing book is a MUSIC FUN The while developing, the student for this book. The popular first move- simplified duet arrangement of the Allegretto such Federer favorites as Lonely Dancer, Night ORGANISTS mas, Palm Sunday, and Lent. About half the A will be published under the different keys, cially WORK BOOK FOR YOUNG PIANO BEGINNERS now in hand and either right or left Rachmaninoff’s Second Concerto is from the "Seventh Symphony.” in Vienna, Song at Midnight, Old Romance, numbers are original numbers composed by Players. It will supply in double note playing with ment from An Close to thirty good organ numbers make title Tunes for Little from This is the most up Roy Peery By need- hand. This work will be published in the neat, a choice bit, as is also the slow movement recent addition to this series Smoke Dreams, and Cute As Cotton. These are * and remainder are VIRGINIA MONTGOMERY for little children this very satisfactory new compilation which, very practical material Music Mastery Series to Concerto in B-flat minor. Other of books. There is in the course of preparation compositions such as teachers will find useful skillfully handled arrangements of well-known to familiarize them attractive style of the Tschaikowsky’s in general, has been held to some of the best Jhis little book is presented to fulfill a long- ing first grade material such familiar works as The Child Chopin, and there already have been with pupils in the third and fourth grades, sacred selections and hymn tunes for two-part rhythm a feeling for which It will be added. themes are taken from representative efforts of established present felt need. It is intended to supplement the wfth notation, a sense of in -major Brahms published The Child Bach, The Child Mozakt, and which the average fair player will enjoy. rendition by juniors. Such singable material controlling the fin- Beethoven’s Concerto G day composers, but a few numbers by Bach. regular instruction book for young beginners music, strengthening and ADVANCE OF PUBLICATION in The Child Handel, makes it very Tne Second Concerto, and Grieg’s Concerto A and The Child Haydn. It is Liszt, Jensen, Field, easy to lead the juniors in mak- at the T ork books good basic habits in playing. INTRODUCTORY CASH PRICE, and a few standard com- ing piano. Patterned after the w eers and PRICE, 25c Postpaid arrangements are of a grade which only The Child Beethoven that is here included a satisfactory contribution to church serv- so which is given before CASH minor. The posers also are included. Besides the registra- popular in the early grades of public schools, httle “Finger Parade” readily. at the Introductory Offer. 70c Postpaid (List Price, $1.00) ices or Sunday School gatherings. single understandable the average player can manage tion suggestions for the conventional pipe or- A ft may be used either as busy work in piano tune is an acceptable and copy only at each the gan there are registration suggestions this reduced price. classes, as private students, or exercise work. There are words to OFFER NO. 28 OF PUBLICATION INTRODUCTORY CASH PRICE, for the home work for bit of . ADVANCE Hammond Organ. Cloth ln other in- and also illustrations. 25c Postpaid bound. INTRODUCTORY CASH PRICE, ways the ingenious teacher will little tunes SHORT CASH PRICE, 40c Postpaid (List Price, 35c) vent. of im- TWENTY-FOUR OFFER NO. 8 40c The book employs various means PUBLICATION Sold only in the United States and Its Possessions INTRODUCTORY CASH PRICE, Postpaid (List Price, 60c) Parfing ADVANCE OF $1.10 music fundamentals including the al- 25c Postpaid STUDIES OFFER NO. 4 THE WORLD’S GREAT Postpaid (List Price, $1.50) phabet, notation, position, and time. All in- CASH PRICE, structions TECHNIC AND SIGHTREADING 32 WALTZES OFFER NO. 16 are plainly given. This little book FOR OFFER NO. PETER RABBIT will bring added pleasure and satisfaction to NO. 23 FOR PIANO (A STORY WITH MUSIC FOR PIANO) ooys OFFER IN F-SHARP-MINOR ARRANGED FOR PIANO SOLO VI . Li, i.cr. iz COME, LET US and girls just beginning the wonderful FANTASY ADORE HIM study of music. THE CHILD CHOPIN By L. A. WILMOT By ADA RICHTER By COMPOSERS) FOR TWO PIANOS, FOUR HANDS STANFORD KING EIGHTEEN A CHRISTMAS CANTATA (CHILDHOOD DAYS OF FAMOUS This new piano study book, which will be pub- Many piano teachers have been asking for ADVANCE PUBLICATION The purpose of this volume is to give the aver- OF in the Music Mastery Series, is written By RALPH FEDERER more “Story With Music” piano books CHORAL PRELUDES FOR FOR THE VOLUNTEER CHOIR ELLSWORTH COIT lished by Ada age run of home players as well as the piano CASH PRICE, 25c Postpaid Bv LOTTIE the pupil in the advanced second grade Richter, and it looks as though for This composer's successful Rhapsody in D- this latest book. pupil in third grade good playable arrange- THE ORGAN Selected and Arranged and RUTH BAMPTON through technical problems Peter Rabbit, will even and carries him minor ($1.00), has had many hearings with outdo the very success- ments of the 15 famous waltz Famous three-and-a-half ful already compositions it By LAWRENCE OFFER NO. 21 in this Childhood Days of usually encountered in grade forth with a Fantasy published Cinderella, Jack and the includes. By JOHANN SEBASTIAN BACH KEATING Each book orchestra. Now he comes series thus far published has re- music. It is particularly suited to pupils with Beanstalk, and Three Little Pigs books. In This cantata is unique in Composers IN ADVERTISEMENT ON In addition to the many who already are en- Compiled, Revised, that a very able com- enthusiastic reception. This small hands, as there are no octaves in the (OFFERS CONTINUED class or private piano teaching this book and Edited by poser and skillful arranger SELECTED SECOND GRADE ceived such an PAGE) joying this fine album of piano music we pre- took for the musical preparation, not only gives the The author devotes himself to the mas- THE FOLLOWING quickly engages the interest of young pupils setting of the Christmas book now in book. dict thousands more in years to come will be EDWIN ARTHUR KRAFT story as told in the STUDIES easy arrangements of such as they thrill to the story of Peter Rabbit's ad- text supplied by Elsie ‘iano student grateful to the well-known composer and ar- Already there have Duncan Yale selections the Wturne in E-flat the -iDV ventures illustrated by a generous number come enthusiastic commer from cCiin numbcrs as icrDm of ranger, Stanford King, for having brought dations and expressions such classic composers as FOR PIANO the Prelude m A, along cunning pictures and tuneful of appreciation fc 18 Wnltz in A-Minor, and little piano pieces, ’ Wagner, Tschaikowsky, Beethoven, within their playing reach in piano solo form this fine presentation of Bach’s Choral ou v Compiled duet arrangement of the Military some of which have texts. Pri Schubert, and others. Altogether there are 11 by DAVID LAWTON wfth an easy these universally loved waltzes which include ludes FOR the Organ. Not only will also tells the young pupil This material may be used for a pupils' recital establishe selections in this cantata, This new book author’s Polonaise but it Artist’s Life, Blue Danube. Estudiantina, Gold organists find this a useful which the average is a .sequel to the days of young with the story dramatized in pantomine ac- book of organ me choir will enjoy presenting selected First search Something of the childhood THEODORE PRESSER CO. and Silver Over the Waves, The Skaters, Tales sic but certainly in about 40 minutes Grade Studies. Teachers as may be cording to directions included in the book. every earnest student of orga time. A single for This is a book such from the Vienna Woods, and eight others. playing will copy only may be ordered at JPS early grade supplementary studies will Frederic Chopin. want to have it. the second grade with pupils special Introductory Price. nna a happy end to their quest in these compo- used in the early Everything in Music Publications INTRODUCTORY CASH PRICE, INTRODUCTORY CASH PRICE, years of age. INTRODUCTORY CASH PRICE, INTRODUCTORY sitions by such successful composers as Ed- ranging from 5 to 12 45c Postpaid (List Price, 60c) 50c Postpaid (List Price, 75c) CASH PRICE, mund 80c Postpaid (List Price, $1.50) 45c Parlow, Cornelius Gurlitt, Mathilde Bil- OF PUBLICATION Postpaid (List Price, 60c) 0, ADVANCE - Louis Streabboe. Louis Kohler, all of

538 THE ETUDE G a The Qualities (See Preceding Pages) THEODORE PRESSER CO. Successful Elementary Pieces Should Have FALL BARGAIN OFFERS Teaching • - . / APPEALING* nnc A T rvr. TO PUPILP ADVANCE OF PUBLICATION OFFERS —Continued y EDUCATIONAL POINTS V

pianos, four hands. TO LISTENERS in F-siiarp-minor for two / MELODY / PLEASING This interesting work has been cast in one OFFER NO. 35 Favorite Easy Piano movement but offers a wide variety of tempi. These PUBLISHED Opening with a broad Maestoso in common THE LIGHT O’ER BETHLEHEM / ADHERENCE TO GRADE / ATTRACTIVELY time, it quickly swings into a gay Allegro con CHRISTMAS CANTATA spirito featuring massive chord and arpeggio A Educational Works Pieces Have Such Qualities formations. The soloist later takes up an unac- FOR MIXED VOICES Piano companied Ah,dantino con moto theme in the the By LOUISE E. STAIRS parallel major key which is later given to by... accompaniment (Second Piano) with brilliant Many volunteer choir directors will find this in the solo Staccato arpeggio and octave figurations new cantata the answer to a major part of their GRADE TWO—Legato and (First Piano). The climax is approached in Christmas music needs. The music is ideally the fiery Allegro agitato and reached finally in suited to the capabilities of the average volun- LOUISE ROBYN GRADE ONE—Various Keys Composer Price a majestic Grandioso movement. teer choir. The devotional spirit of both text Gsmivdf Cat. No. Title rest °* 25 and music makes this cantata especially suit- Humming Birds’ Lullaby L. ? ADVANCE OF PUBLICATION Composer Price 192199 1 an opportunity forf able for use as a musical worship service. There Title ' little number giving MARY BACON MASON Cat . No. A descriptive CASH PRICE, 50c Postpaid are solos for soprano, alto, tenor, bass, and Bobolink •• Ella Kellner .50 sSh legato practice. and alto duets; one trio; and ,,666 The baritone; soprano 23 both played and sung. .35 and women’s voices. °Key of G. May be 25292 , N hU OFFER NO. 33 passages for men's voices piani^ In of the arrival BERNARD WAGNESS Bird Daniel Rowe .25 Ve" ;o‘plrar wfth young The choirmaster may be assured 8400 The Contented MENDELSSOHN’S 8 very popular. Written mostly in of this cantata for early rehearsal, but quan- This little piano piece is accepted until after de- Key of F. ORGAN WORKS tity orders can not be quarteruarter and eighth notes. livery of “Advance of Publication” orders. A JOSEPHINE HOVEY PERRY acciacatura. - -- - Ceo. L. Spaulding « Flower.— — -- - — Revised by i git a. RuBunch*.v» w*of — — — - . .25 Edited and single copy only may be ordered in “Advance 6631 JJu»t Folded Wing., Lullaby...... lmle waltz song that seems ever popular, binging 6850 Splendid study EDWIN ARTHUR KRAFT of Publication.” A pretty A very popular number in the Key of G. notes only. Key of F. melody. Organists and organ teachers everywhere will in legato and staccato. Left hand interesting collection ADVANCE OF PUBLICATION Geo L. Spaulding .30 welcome this exceedingly LOUISE ROBYN 5786 Sing. Robin. Sing Tale ...... Bert R. Anthony .25 pieces with words. Fre- 15111 A Winter of the complete organ works of Mendelssohn, CASH PRICE9 40c Postpaid ol the most popular first grade major and provides One This little song without words is in C the distinguished organist of Trinity TECHNIC TALES—Book 1 $0.75 a first recital number. Key of B flat. melody. edited by quently used as practice in legato playing. Left hand Cathedral, Cleveland, Ohio. Mr. Kraft has, with Introduces 15 essential principles in first year excellent OFFER NO. 36 ...... N. Louise Wright .25 Welt. • • F .30 and care, provided piano technic coordinating mind, eye, and hand. 234 84 A Little TfSi'btcfto’ Fairy Footsteps \ .§• his customary thoroughness it. slightly synco- 6755 ^ enjoy this sp.ight y walta with provides splendid practice the necessary fingerings, pedalling, and reg- ADVENTURES OF Illustrated. Children A dainty little composition that THE rhythm »nd tuneful left hand melody. Key of D. rhythm and accent. istration. The six sonatas, which make up TEACHER’S MANUAL TO TECHNIC TALES— pated tSSBe in legato and staccato playing, in PIANO .25 include those in F-minor, C-minor, PETER THE Book 1 . .75 L. A. Bugbee .25 Opus 65, 75H , 9634 Maytime Revels, Gavotte A-major, B-flat-major. D-major, and D-minor. TECHNIC TALES—Book 2 75 the key' of F. No chofds.^Extra giving practice in stac- AN ILLUSTRATED STORY A ^ery "»irnp*e**w»ita in Small Hands A pleasing and attractive number, 37, are in 1 For same note. The three preludes and fugues, Opus Continuation of Book with 15 lessons for large notes. GRADE TWO— cato playing and in changing fingers on the C-minor, G-major and D-minor. The best- FOR CHILDREN second year study including marcato chords, Clover. W.lta H. Engelmann .25 Dance F. A. Schnecker .25 favorite excerpts, which should be slurs, etc. 2262 Four-Le.f Cat. No. Title 3846 Rustic known and triads, two-note PVT? .25 for the right By DOROTHEA J. BYERLY Grade 1 Large notes. K- Forman recital piece. Staccato work in the repertoire of every ambitious organist, TEACHER’S TO TECHNIC Key of F. Vi. 6849 The First Dancing Lesson J- An excellent MANUAL TALES— in the left. in Sonata Nothing is better than something which appeals Louise W right .25 1 n g hand and easy chords are the lyric Finale D-major from Book 2 75 10600 The Owl E ly 5 b ^. .25 child’s of and stir- in extra i V HoNonshe No. 6, the appealing Adagio in A-flat from the to the love the fanciful the alternates between ihe hands Printed T^l BCd.V.°U. Indian War Dance ..Platon Brounoff 30 TECHNIC TALES—Book 3 (Chord Crafters) . . .75 The melody 32,3 8372 First Organ Sonata, and the lovely Andante ring of his or her imaginative inclinations. with appropriate text. Key of D minor. a but most effective. The entire accompaniment ROBYN-HANKS HARMONY—Book 1 75 large notes p 35 Very easy Personalizing piano then words and . minor, Tranquillo in A-major from Sonata No. 3. a and by Cramrn .25 I886s consists of the open fifth on the tonic chord of E A Junior Course, for students of any age, in • • i • • • Helen L. The o{i 69 cleverly drawn pictures done in colors tell- 10658 The Sick Him. Doll galop from the delightfuly\ set^z O little favorite with boys. written harmony, keyboard harmony, and ear- play and sing. Key of D A very easy played staccato. A great ADVANCE OF PUBLICATION ing a life-time of adventures of that piano, A cute song for i little girl to of C. training. Time Circus.” Key CASH PRICE, 75c Postpaid which bears the name of Peter, is what Miss minor. Byerly has cleverly done. ROBYN-HANKS HARMONY—Book 2 75 ROBYN-HANKS HARMONY—Book 3 75 There is no music in this book; it is simply a With Left Hand Melody OFFER NO. 34 KEYBOARD TOWN 75 Melody GRADE TWO— book to delight any child, and particularly ONE—With Left Hand Includes more than 75 little melodies for early GRADE Composer Price the child who is going to be given the oppor- No. Title KING MIDAS training in note reading. Cat. tunity of having lessons in piano playing. Composer Price Petals Paul Lawson .30 ROBYN -CURL ITT 75 Cat. No. Title 7235 Rose CANTATA FOR TWO-PART popular second grade piece. It is a most ADVANCE OF PUBLICATION ROBYN-HANON 75 25 An immensely TREBLE VOICES Folk Songs and FimousPichtres 'Round pleasing little romance. Key of G. _ ROTE CARDS 75 ,9860 Circling notes. „ CASH PRICE9 50c Postpaid All half and quarter R-Forman Lvrics by CELIA THAXTER Key of G. Four-measure phrases. 7779 June Morning chords. melody for left hand with staccato chords in NOTE—“Advance of Publication” Prices and Easy right hand A singing Music by MAY A. STRONG right. Key of F. Very popular. “Introductory Prices” are for remittance with MARY BACON MASON .30 the . tfjor- Put- mV .Walter Rolfe Here is an engaging cantata for two-part treble 18611 In Merry Harvest Time order. No returns, no exchanges, nor examina- Ohorls Canii FOLKSONCS AND FAMOUS PICTURES 1.00 voices,, requiring no solo voice. The story is melody with chord accompaniment. tion privileges can be allowed at these low First instruction in notation, rhythm, scales, An easy the familiar Greek myth of King Midas, to ...Anna Priscilla Rijber prices. etc. Cut-out pictures and flash cards add in- 17811 Merry Brook was granted the power to change every- - .. pi.,, Mildred Adair .25 piece. 3 time. Key of U. whom terest and value. , A bright, lively little recreation /g 1 22766 thing he touched into gold, but who begged re- " 'meiody piece time The right .David Dick Slater ^CT) FIRST CLASSICS AND FOUNDATION A very%op^ulaMefi hand y 14123 Narcissus lease when his food and his little daughter 2-note chords. Keys of C and G. study HARMONY 1.00 acccSnpaniment is in This favorite little number is frequently used as a turned golden. The cantata is designed for the hand Second notes. in phrasing and expression. upper elementary grades or the early junior year material including simplified No eighth classics and elementary harmony. . P. Hopkins .25 • • F. F. Harker high years. The tuneful, singable music is well- , H. 12189 The Peasant’s Song Theodore BOY 24642 accidenrals. All without words that may also be used as. written, is not difficult, and is of easy range. MUSIC 75 in 'C major. Few A little song keys and easy, diversified rhythms A first piano method especially for boys 8 to 16. A solo for left hand alone. Varied quarter and half notes. offering for the spring ADULT APPROACH TO THE PIANO 1.00 Soldier’s Song. Sidney Steinbeimer mark the cantata. As an Presser Co. Walter Rolfe .30 12916 The _ music festival, this charming cantata is un- FLASH CARDS 1.00 , w A pleasing little reverie, the opening and closing sections 1 5447 and legato playing, Key usual and will be well worth the time spent in express, on' of which are written entirely in the babass clef. Music Publishers and Dealers A n^imeresting’study preparing it. A single copy only may be ordered - BERNARD WAGNESS of F. in “Advance of Publication.” Finger Dexterity PIANO COURSE—PREPARATORY BOOK 50 GRADE TWO— ADVANCE OF PUBLICATION 1712 Chestnut Street to the New, logical, and practical procedures based White Keys Only Ask for FREE Catalogs of Real Help Composer Price GRADE ONE— Title CASH PRICE 9 35c Postpaid Philadelphia 1, Pa. on the laws of physiology, psychology, and Cat. No. flat.) Such a request will pedagogy leading to real achievements with (Piece, having neither .harp, nor Teacher of Piano Playing. .30 “ }978 In T beginners. along student and it pro- Cat. No. Title _ graded lists of studies and pieces me"Jdv'iV pleisVng to the Wft, bring you Its dreamy PIANO COURSE—Book 1 1.00 in finger dexterity. 6482 Airy Fairies .A piano pieces. vides excellent practice Reading cards covering three octaves, rhyth- ever pub i portions of attractive .40 The most popular first grade piece with thematic It.atbbun mic drills, keyboard harmony, .25 5 A Mav Day etc. Interesting a happy picture of 17000 Learning to Play j pleasing, this piece gives PUBLISHER S NOTES pieces to play. w*l' iV Musical and Appropriate text and extra large notes. popular as a teaching piece. ENSEMBLE BOOK Johnson .25 May. It is very —Supplementary to Piano . 24425 My First Dancing Leaaoa. Wallace A .35 A Monthly Bulletin of interest to Music Folk Course—Book 1 75 4228 n h Melody mostly in the left hand. Teacher or Prospective Teacher giving p££f' PIANO COURSE—Book 2 1.00 C „ _ .30 Any po?ka ^pnce rn^Tand E PIANO COURSE—Book 3 1.00 1 1876 Fir.t Lessen. The ' OUR COVER FOR THIS MONTH—Etude play racks at newsstands and in news- 5only.JlT*" dexterity. . . assist the pupil. Single notes Secure for Examination Any TECHNIC FUNDAMENTALS 40 The little verses .25 May Brow oil* Bert R. Anthony .35 readers will remember the excellent ac- stores throughout the country, this ..Ct^L. Spauiasug 8232 Arrival of th« pic- SECOND YEAR ETUDES 75 11557 The Scouts Are On Parade composition from the set In Fairyland. text. These Instruction Works A snappy little tion photograph of Dr. For developing style and accuracy. jollv piece for small boys. Appropriate or All of Eugene Ormandy ture of a little chap having a good time A .25 Good finger training exercise. THIRD YEAR ETUDES 75 24010 W.Hx With Me .30 which appeared on the October, 1945, in his first lesson at the piano is ha partic- position in each . ... EIGHT CHORDAL ATTACKS 75 All single notes five-finger 12090 ' in the ; .25 FOR EVERY DAY ^daimyffle ”Vaise' Vive.” 'Nice finger work front cover. That photograph was by the ularly appropriate. Fourth grade material covering all chord- MUSIC PLAY A m29 hand. • right attacks.. entiUcd- To' renowned Richard T. Dooner, widely T^^\^ A" The Gateway to Piano Playing Price, $1.25 .30 F y , S,nglC beginners 27 109 hand known for his photographic art and for WaSson .30 all very first piano books for very young arpeggios. Plenty of cross 24536 .t^ Mahel Mad,son The greatest of Ascending ^ml'^descending JOSEPHINE ^ B.M fairly captivates the little beginner. HOVEY PERRY ages 5 to 8. It just work. Key of G. time. the numerous prizes won during his In September, the current Advance of Bass clef practice and clever verses. in % PLEASURE PATH TO THE PIANO 1.00 L Renh career in photography for portraits and Publication Offerings 22657 Hickory Stieko...... are not to be Pre-school material using the black keys as hands. Work BEGINNER’S BOOK First practice for interlocking for advertising uses. Mr. Dooner has re- found, as customary, under the first approach. Familiar rhymes and stories Cross Hand these Pub- GRADE TWO— Price Karl Bechter .35 introduce foundation instruction. Composer Presser Price, $1.00 «QQi Jolly Darkiea tired and lives in a beautiful suburban lisher's Cat. No. Title By Theodore notes since they are included .30 best selling pieces in this grade. A clever BUSY WORK FOR BECINNERS ' piano. Exceptionally One of the very 60 • • veritable first reader” for the section adjacent to 11938 A Dream Song *:'/ This is x in the middle section ot the Philadelphia, Pa. in the Theodore Presser Co. Fall Bargain A writing book furnishing entertaining and in- and Phrasing everywhere. imitation of a banjo occurs Excellent left hand practice in rhythm popular with teachers melody. The Etude was structive busy-work for young piano beginners. .40 piece, the left hand carrying the fortunate some years Offers advertised on page 538, page 539 22545 Through the Air MORE BUSY WORK 75 and C, mode Katydid C. W Kern .25 ago in purchasing from Mr. Dooner, with and page 540 of this issue. An arpeggio waltz in the keys of G GRADED COURSE 4320 The Song of the These Fall THE HOUSE THAT JACK BUILT 75 STANDARD piece, valuable as a study in style, and with a brilliant climax. A captivating little piano cover reproduction privileges, the picture Bargain Clever preparatory material covering reading Eggeling .40 Offers include final Introduc- 19188 Georg~ rhythm and melody playing. uuuisninHungarian Rondo , , . i STUDIES and playing in four , nr go. OF octaves. Attractive little full of snap and utilized for the cover of this issue of tory Offers This typical little Hungarian piece is on works which were with- pieces and illustrations. and A few are introduced. Keys of C Mathews In Ten Grades, $1.00 ea. The Etude. The Philadelphia Artist, Miss drawn from Advance of Publication easy runs By W. S. B. Of- educational work. Gives the Miss Verna Shaffer, added the coloring America's most outstanding piano fers and issued during the past twelve grades. Grade One is the ideal first best selected studies for all 1712 ST. PHILADELPHIA PA. to the black and white print obtained months beginners of all ages over 10. CHESTNUT 1, along with Advance of Publica- OLIVER study book for from Mr. Dooner. BITSON CO. Co. tion Offers of works now in preparation. Theodore Presser «- -» this 8> With September issue appearing Particular attention is directed to the THEODORE PRESSER CO., DISTRIBUTORS studios, homes in and on magazine dis- fact that some are initial offerings. 1712 CHESTNUT STREET, PHILADELPHIA 1, PA.

540 THE ETUDE . )

Idmadec

your music

teacher • . (bless her!

She makes the rounds — or they come to her. Big kids, little kids— pig-tailed, freckled-faced, snub-nosed. Alert, lazy, sleepy, bright-eyed. Serious or full of the Old Nick.

Some watch the music; more watch the clock. Some act the little lady or gentleman. Some scowl and kick and leave the keys sticky with candy.

Yes, fond mothers and fathers, the music teacher to your hopefuls needs the patience of job, the disposition of a saint, and the mental dexterity of a Philadelphia lawyer, day after day, to come out on top of Tommie or Mike or little Judy.

Why does a music teacher do it?

Why does a schoolteacher choose her profession? Why does a preacher preach?

They have one thing in common. They have dedicated their lives to helping make a better world.

The one works to provide better morals through the Golden Rule.

The one works to provide better minds through knowledge.

The music teacher works to provide a fuller, bigger life through music.

The little boy or girl who beats out the scales under the keen eyes of the music teacher is learning far more than how to divide 88 keys by ten fingers. This child is learning how to make the beauty of music, the satisfaction of music, the companionship of music, part of his soul.

*

The rich, abundant tone of Wurlitzer Spinettes has helped music teachers throughout America teach thousands of children to live with music, i bet your Wurlitzer dealer demonstrate the many original qualities of Wurlitzer Spinettes in beautiful wood fin- ishes and in modern plastic fabrics. Write today for details and the name of your nearest Wurlitzer dealer. THE RUDOLPH WURLITZER COMPANY Executive Offices, 105 West Adams Street, Chicago 3

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