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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
6-1-1908 Volume 26, Number 06 (June 1908) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 26, Number 06 (June 1908)." , (1908). https://digitalcommons.gardner-webb.edu/etude/537
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Theodore Presser, Publisher Philadelphia, Pennsylvania THE ETUDE 349 New Publications SIX POEMS AFTER HEINE New Songs Without Words A THREE MONTHS’ TRIAL SUBSCRIP¬ PRIZE ESSAY CONTEST. TION FOR 25 CENTS. The exceptional number of excellent essays By EDW. MACDOWELL FOR THE PIANOFORTE received in competition for the Prize Essay Preparatory to those of Mendelssohn In order that everyone unfamiliar with the FOR THE PIANOFORTE merits of The Etude may become acquainted contest has made decision difficult. We are Op* 31 Price, $1.00 RICHARD FERBER with the many advantages derived from being examining each essay with care and without . SlnRle Copies, 15 Cents. a regular reader of our columns, we will send haste. As we have previously announced the Foreign Postage, 72 rents. any three of the summer issues, from June greater number of contributors must await ■e allowed for ob- to September, inclusive, for only 25 cents. disappointment, as there are only five prizes Tell all of your musical acquaintances of and many contributors. It frequently occurs itemlttances should be made by post-office or express this trial subscription offer. They will be so that parts of certain essays are desirable for Crane Normal Institute of Music money orders, bank check or draft, or registered letter. United States postage stamps are always well pleased with the trial that they will be¬ general use in the magazine. In such cases we received for cash. Money sent in letters is dan¬ come regular subscribers. arrange with the writer -for the use of these gerous, and we are not responsible for Its safe arrival. It will pay every teacher to take advantage parts. The examination of the manuscripts DISCONTINUANCE.—If yon wish the journal of this special offer for each one of their will be completed as soon as possible and the continued nil explicit notice must l>e sent us within four months after tile paid up sub¬ pupils, thus maintaining and stimulating their results announced accordingly. scription expires. Explicit directions will be interest in the study of music during the vaca¬ RENEWAL—No receipt is sent for renewals. On tion season and insuring their enthusiastic re¬ A SERIES BY MR. TAPPER. turn to their studies in the fall. Robert Schumann Juvenile Song Book HUGH A. CLARKE, Mus. Doc. be printed the date The well known musical writer and educator Mr. Thomas Tapper has arranged to prepare SELECTED WORKS LESSONS BY MAIL MAKE YOUR VACATION PROFITABLE. a series of important and practical theoretical for the PIANOFORTE No pleasanter, healthier or more profitable articles for our forthcoming issues. This of the -sheet only. Contributions on topics nected with music-teaching and music-stud; employment can bd found than canvassing for series will commence in July. One unique The Sherwood, - Philadelphia, Pa. solicited. Those that are not available will The Etude. Nearly all of our readers will feature will be that each article will be com¬ ADVERTISING RATES will be sent on applic have some spare time to devote to this work plete in itself and may be read as a separate Forms close on 10th of each month for the during the coming summer, and can add very article. These important papers will be of ceedlng month’s Issue. materially to their revenue by taking advantage such a nature that they may be readily com¬ THEODORE PRESSER, PIANO TUNING of the liberal cash commissions we allow, or prehended by all readers of The Etude. Entered at Philadelphia P. 0 obtain some of the valuable premiums that BtfiHilS REGULATING and REPAIRING we offer. A SELF-HELP ISSUE. children. The text throughout is bright and interest- The Etude is exceedingly popular, and it is A. Complete Course of a very easy matter to obtain a subscription For many months we have impressed upon from everyone who lias any interest in music. our contributors the fact that The Etude is CONTENTS A sample copy left for a few days with a musi¬ a “tell how” magazine. We feel that our “THE ETUDE” - June, 1908 cal friend will almost always result in a sub¬ readers want to learn how to do certain things Chopin Album Editorials . scription. Full particulars concerning com¬ and we ask those who have been over the The Child Who Can't.C. A. Fisher : Some Eccentricities of Musical Genius, missions and premiums, together with sample path to explain how these things are done. . Loma Gill '■ copies and other supplies, will be sent to any The value of this information can not be Piano Hints- to Young Students, C. E. Watt ■ Price, $1.00 Self-Made Masters in Music. .Louis C. Elson : address upon request. estimated. A magazine of self-help is always How Public School Music Should Help the a valuable magazine if properly conducted. The Chopin Album is possibly the most popular of Private Teacher.II. D. Wilkins : all music books of a high grade for the piano. It The Complexity of Music Study, SEASONABLE PREMIUMS. For twenty-five years The Etude has been Mrs. David Knox : one of the most popular self-help magazines, Should Music be Studied by High School During the months of pleasant weather the Pupils'/.E. R. Kroeaer I and the teachers, students and music lovers it Is the Piano a Disadvantage in Early Musi¬ camera is a welcome companion on vacation has helped are numbered by the thousands all cal Education? A Symposium by Harold trips and rambles through the country. Noth¬ Bauer. Wm. II. Sherwood, .T. de Zielinski, over our land. Charles E. Watt, Perlee V. Jervis, Herman ing recalls past pleasures so vividly as pictures This June issue is a self-help issue in every P. Chelius, John .T. IJattsteadt. ; personally made of those episodes that are dear 1 addition to bei Personal Reminiscences of Great Masters, sense of the word. Mr. Louis E. Elson has Oscar Berinner i to the memory. contributed an especially interesting article Practical Value of Musical History, il and up-to-dat. For only nine subscriptions, new or renewal, upon this subject, and the reading course we Thomas Tapper '■ at full price, we will send to any address, all Music typography in all its Branches How Correct Accenting Helps the Student, have prepared for the summer months is of THE COMPREHENSIVE SCALE Joseph Singer charges prepaid, AND ARPEGGIO MANUAL Making the Summer Profitable, by Cbas. A. genuine importance. Fisher, J. S. Van Cleave, Mrs. Herman The “Premoette” Folding Camera. It has been the policy of The Etude to Walter Macfarren Musical Poems For The Children Kotschma:-. Horace P. Dibble and E. ■-(-*—Dudley €. Litnerk! B. Hill. i This is the smallest practical camera ever decry the correspondence schools that teach Price, $1.50 Original Melodies for the Pianoforte With Don't Worry.E. E. Uipsclier ! manufactured and one of the most popular ever any of the branches of music other than those Appropriate Text Mow Shall We Finger the Scales? *=i that through analysis and theoretical instruc¬ TJlis. '3 the m.ost c?mP'ete work of the kind ever A. IT. Horst : placed on the market. It loads in daylight OCTAVIA HUDSON Summer Reading Courses. i with the Premo Film Pack for 2^x314 pic¬ tion make certain musical problems clearer. majorand’ndnor areawritten‘rT’enfS'l A" the sca,e?’ The Development of the Art of Touch, ith proper "finRerhig. ’in addition'to Price, SO cents Oscar Berinner : tures. It is finished in seal grain leather; has Certain attempts to teach some musical Letters from Our Readers. : a very fine Meniscus lens and automatic shutter branches by mail are about as likely to be suc¬ mhs fdoubieth'hirdaIed aIyBiv?n .. This collection of short pieces is intended more par- The Teachers' Round Table, ■ rhythm and inculcate with three variations of speed; tripod socket cessful as would be “surgery by mail.” When¬ th and double octaves, all in similar cpression in playing Conducted b.v V. J. Corey i tion; also the various forms of the The r1-' THE PENNSYLVANIA Explanatory Notes and Teaching Hints on and reversible finder. Shutter and all metal ever it is possible to have the teacher person¬ by t< The Etude Music. : lung: with music! ally present, at the lesson the pupil has an TOmmmif'chohrdsChr0ma-iCSCaIe' work, the author of Voice Deoartment, parts are highly nickeled. Weighs eleven f. the dominant and'dmrinlshed"uimmisnea Edited b.v I). B. Frank Walters, Jr. ■' ounces and measures only l^x3-^-x4y2. A advantage that can never be gained from gThe work is hand- Organ and Choir Department. Edited by Wm. C. Carl '■ marvel of compactness and utility and is cer¬ printed instruction. There are many things, °r A kindergarten work. It will prove of and students prefer COLLEGE OF MUSIC Violin Department.. Edited by Roht. Braine 4 tain to give perfect satisfaction to everyone. however, that can be learned from the printed lue to teachers working in the early grades, Children's rage. 4 page will contain a ihort explanation of all degrees OF MUSIC CONFERRED page and it is our purpose to insert each month cal terms used throughout the book. 151 1 GIRARD AVE. Ideas for Music Club Workers, Oxford Hand Bag for Only 9 Subscriptions. K. H. CHANDLER, Pr««t. Conducted by Mrs. J. A. Oliver 4 This is a 16-inch bag of the latest style, on the page facing the first music page, de¬ Recent Losses to The Musical World, scriptive notes and lesson helps pertaining to grained leather with full leather lining. It IN PRESS the music of the month, that we are sure will LOW ADVANCE PRICES. SEND FOR BULLETIN. v L. Becker contains one inside pocket, and is suitable for TT n n-urr, F0R SALE AT LOW ADVAb Central School i s"«*?i2»±E. • IND. prove of fralue to all of our readers who wel¬ JUVENILE ABLBUM FOR PIANO. Carl either lady or gentleman. Can be had in Reinecke. MARCH ALBUM FOR FOUR HANDS. The World of Musi. come the music in each issue. of Piano Tuning * "SSSSwSr New Publications . either russet or brown. It is substantially VELOCITY STUDIES. Geza Horvath. STANDARD COMPOSITIONS FOR Recital Programs.. made throughout and will make a handy com¬ PIANO. VoI. IV. Fourth grade. panion for any vacation trip. We will send TURNING POINTS. CZE^ano’ C °P 599‘ FifSt Instructor for SACRED SONGS, HIGH VOICE. this bag for only nine subscriptions, new or SONATA ALBUM, VoI. I. Sonatas by SACRED SONGS LOW VOICE. Many a book has altered the entire career MUSIC. renewal, at full price, consignee to pay express Haydn, Mozart, Beethoven. NEW PART SONGS FOR WOMEN’S Fable, Op. 75, No. 41. of a man and turned him successward just as ------VOICES._ Rosemary. charges. Offertory in G. (Pipe Organ). For those who prefer a suit case we can certainly as the Bow Bells in the story turned Delta Kappa Epsilon March (4 Dick Wittington back to work his way up to A. II. Pease offer To the NEW SYSTEM Of ..F. Mendelssohn become Lord Mayor of London. Urge all ^ICMPERMENT ^ ...('has. lAndsay 000 A Dress Suit Case for Only 10 Subscriptions. THEODORE PRESSER .C. Knelling 384 your musical friends and pupils to get this This suit case is 24 inches long and is June issue. It may contain the very compass, 1712 Chestnut Street nt " * « *• Mo..ill.cans. strongly made of full cowhide leather, lined Philadelphia, Pa. Polka.. without which they have been wandering Laendler, Op. 21. Karganojf with Irish linen and has shirt-fold and straps Romance. in top and body. Steel frame and reinforced around, wondering why the winds of fate and The Gipsy Trail.... l>. Galloway Only Waiting... ends, brass lock and strong straps; tan or rus¬ good luck have not blown them toward the are noted for Purity, Power, and R Lullaby. set. Suitable for either lady or gentleman. haven of good fortune. It is always best to Harcarolle (Violin and Plano PIANOS F. r. Atherton 394 Will be sent for only ten subscriptions, new or order The Etude in advance from your news- ’ ::rr ,:fTouch’unsurpassed renewal, at full price, express collect. SfRICH & ZEIDLER and Excellence; and New Artistic Designs of Cases. dealer if you are not a regular subscriber. Manufacturers of Artistic Grand and Upright Pianos. 132d Street and Alexander Avenue, NEW YORK
j 351 THE ETUDE THE ETUDE
NOVELLO PUBLICATIONS TWO NEW SONGS NEW PART SONGS PUBLICATIONS OF G. SCHIRMER: NEW YORK BY KATE VANNAH and By SIR EDWARD ELGAR “THERE IS SWEET MUSIC" (Tennyson) Mixed Voices 25c Mme. LILLIAN NORDICA “DEEP IN MY SOUL" (Byron) " „ }5c “O WILD WEST WIND,” (Shelley) " Jj>c PASTIME MUSIC for the UNDER THE WIDE AND STARRY SKIES.... Vannah $0.50 “OWLS,” (An epitaph) “ . 15c "THE REVEILLE,” (Bret Harte) Male Voices 25c Copies sent on approval SUMMER SEASON Day,” “Cradle So’ng," “Three Red Roses," etc. ENDURING LOVE. SELECTIONS FROM FAVORITE OPERAS FOR THE PIANO Key F, range c-a. Key D, range a-E. TWO NEW SERVICES A Great Song by a Great Soprano HADLEY, HENRY, in E4 A series of 41 arrangements of the best-known standard operas (others to follow) published in MME. LILLIAN NORDICA COMPLETE MORNING AND EVENING, AND small quarto, each number about 50 pages. In each case these selections represent a condensed edi¬ COMMUNION.75c or separately tion of the Piano Score rather than merely a selection. The arrangements are only moderately difficult. Te Deum.15c Ten Best Selling Songs Benedictus.12c Price, 50 Cents net, each, in paper THE MESSAGE.Cawley $0.50 Jubilate.10c In clo'th bindings (three numbers in one), $2.50 net Key gb, range E-G. Key F. range d-F. Key Db, range b-D. Kyrie, Gloria tibi. Gratias, Credo, Offertorium, LOVE ABIDING .... .Jordan .50 Sanctus, Benedictus qui venit, Agnus Dei. Gloria in Excelsis.35c A ROSE GARDEN . .50 Magnificat and Nunc Dimittis.12c Key D, range d-F. Key Bb, range b-D. LOVE’S SHADOWS. WAREING, HERBERT W, in G Key F. range E-F or g. Key Db, range c-D or E. THE OFFICE FOR THE HOLY COMMUNION .... 25c SWEET AND LOW. Key C, range E-D. or separately Kyrie, Gloria tibi, Gratias, Credo.12c THE BREATH OF LILIES. Key Db, range E—g. Key C, range d-F. Key Bb, range c- Offertory, Sursum Corda, Sanctus.6c Benedictus qui venit and Agnus Dei.5c THE SEA HATH A HUNDRED MOODS. Key Bb, range F—g. Key A, range E—E. Key Eb, range t Gloria in Excelsis.10c THE CAPTIVE ROSE. COPIES SENT ON APPROVAL Key G, THE SWEETEST F The H. W. GRAY CO., 21 East 17th St, New York SOLE AGENTS FOR NOVELLO & CO., Ltd., LONDON
0-vu Cij A Limited Number of the Original Edition White-Smith Music Publishing Company of this Work to he Sold at Less Than 259 Wabash Avenu HALF PRICE Youthful Diversion FOR THE PIANOFORTE Introducing Well-known Children’s VOX ORGANI Melodies GEO. L. SPAULDING EOR THE PIPE ORGAN Price, 50 Cents Edited by in the keys of C, G and F, each piece introduc¬ ing some well-known or traditional children’s melody as its middle theme, its usual text being DUDLEY BUCK printed with the melody. It may be regarded as a sequence to the author’s widely known In Four Volumes Former Subscription Price, $20.00 “Tunes and Rhymes for the Playroom,” and it may be used in the early second grade. Price, $8.00 Per Set Net Young pupils especially will be delighted with these pieces, but they will serve to amuse and instruct both young and old. - COLLECTION of 110 original compositions for the pipe organ written expressly for this THEO. PRESSER, work by eminent composers and organists of Europe and America, to be had in no _other volume. V This set of books, formerly published by the J. B. Millet Co., of 1712 Chestnut Street, Philadelphia, Pa. Boston, as a subscription work at $20.00 per set, has now been purchased by this firm ind is presented to the general musical public at a reasonable price and in the usual manner for the first time and at terms to suit the purchaser. IT As a short description of the book, we will say that in the year 1895 Dudley Buck was sent to Europe to interview leading organists of Palmer’s Piano Primer London, Paris, Berlin, Leipzig, Munich and other musical centers—such men as Guihnant, Bridge, BY A. GREAT EDUCTAOR AND MUSICIAN Parry and Eheinberger—and extend to them invitations to contribute to the book. The result is one Progressive. Pupils ^Easily Interested. Used by the of the finest collections of organ music that has ever been published. In addition to the European Best Teachers in the Country. Paper Covers, 60e. writers, no less than twenty-five American organists also contributed. There are over five hundred ^haveM s*endCtoth’ $1°°* Ask y°Ur dealer‘ If h* d°*S pages in the work divided into four volumes. If When the present stock, which is quite limited, H. K. PALMER’S Publications is exhausted, this offer will cease. They are handsomely bound in edition de luxe, gilt edge on all three sides, and in every respect gotten up in the most artistic manner. IT A list of the contents upon application._ PIANO TEACHERS Sent on Examination and at Terms to Suit the Purchaser Send 5 cents in stamps for postage on three THFO PDFWD 1712 Chestnut Sf. 11ILU* rKLiJijLK} Philadelphia, Pa. L. D. LASSELLE,247 W^Newton St., Boston in THE ETUDE when addressing our advertisers. 352 THE ETUDE COMPLETE COURSE IN SINGING FOR STUDENTS OR TEACHERS Mr. Root here gives the order in which the several volumes of this graded course should ■ . better points are worthy of the attention of every musician. The study and use of this course will tend teachers, and many less ruined voices should result. POINTS OF MERIT All the greater teachers’ methods have to do with the experience They provide also for a method of mental training in music with¬ derived from advanced stages of singing; this course gives preponderant out which the voice is without effect. attention to elementary needs. Proper foundation principles are explained and then how to build Most works give exercises to be sung in any way that happens; these works specify and guide. upon them. Music only of proved merit, interesting as well, will be found in These volumes provide for a beginning and for every successive stage or advancement in technic as in musical knowledge. the three books of Methodical Sight-singing. Vol. XXVI. PHILADELPHIA, PA., JUNE, 1908. No. 6. THE ORDER The various works upon voice culture and musician- 3. 68 EXERCISES IN THE SYNTHETIC METHOD. SCALES AND VARIOUS EXERCISES, FOR ship, by F. W. Root, included under the title “ Tech¬ Op. 28. 75c. HIGH AND LOW VOICE. Op. 27. Each, 60c. nic and Art of Singing,” should be used in average A few exercises selected from these may be intro¬ Introduce as soon as the voice registers, breath¬ cases in about this order: duced early in the course, others from time to time ing, etc., are under fairly good control,and practice during the first two years of study. for familiarity with musical phrase and afterward METHODICAL SIGHT-SINGING. Op. 21, for increasing agility. These afford practice for Part 1 50c. 4. METHODICAL SIGHT-SINGING. Part 2. 50c. the higher register. Once through this work carefully according Introduce as soon as Part One is completed, and EDITORIAL go once through thoroughly ; at the same time METHODICAL SIGHT-SINGING. Part 3. Pro¬ to directions. During this time begin upon Intro¬ "HE-WHO COMBINES THE USEFUL WITH THE VrH ductory Lessons. carrying on technical work. gressive Musicianship. 50c. |i j Take up for added proficiency in musicianship AGREABLE, CARRIES OFF TUP PRIZE" jl INTRODUCTORY LESSONS IN VOICE CUL¬ 5. 32 SONG STUDIES. Op. 24, High Voice, or as a practical preparation for the study of harmony. TURE. Op. 22. SI.00. Op. 25, Medium Voice, or Op. 26, Low Voice. Once through, with practice enough < Each, 50c. 12 ANALYTICAL STUDIES. Op. 20. $1.00. important lessons, spending from four t( ix months For special practice upon such points as the in¬ Review and advancement of the fine points of dividual needs and to develop style. tone production and voice management. THE motto, "He who combines the useful with of children. Andrew W. Edson, of New York, says: tropical and s;mi-tropical countries. Heat and A description of all of the above works known under the title of “TECHNIC AND ART OF SINGING” sent upon request. the agreeable, carries off the prize,” which “The principle aim of all discipline is the reforma¬ humidity, then, are not the obstacles to genius that stands at the head of our editorial page, is tion of the individual. Corporal punishment will they are sometimes supposed to be. ' PROPOSITION the same motto which the founder of The Etude rarely, if ever, reform an individual.” Edward B. We have accordingly invited many of our con¬ placed upon the first page of the first issue of the The publisher and the author invite all musicians, teachers and singers to examine this series of works, and therefore make these two propositions : Shallow, of the same city, says: “There are certain tributors to send us articles bearing upon Summer paper twenty-five years ago. A quarter of a cen¬ 1. To send the complete course ON INSPECTION (that is, returnable) to anyone interested, costing only the postage in case any or all the works children over whom their parents have absolutely no Study. The opinions of many are, we fell, better are undesirable. 2. To send the complete series of seven works in any one voice (when published for more than one) for introductory purposes, if tury seems to us a considerable time, but when we than any set editorial position we might take in the control. These children cannot be reached by any cash accompanies the order, for $2.50, postpaid. remember that this motto is older than the Christian matter. We have also prepared a Summer reading era we can not help revering the wonderful longevity kind of moral suasion. Would it not be better, as course for musicians from which wc are sure every¬ THEO. PRESSER, Publisher - 1712 Chestnut Street, Philadelphia, Pa. of this thought of the Latin poet. a mater of final resort, to have a little cutaneous one of our readers may derive profit. If you only This motto has in a measure been the sole policy infliction on these fellows while they are in school?” read one good book upon music this Summer, the of The Etude. At this day, we endeavor not to in¬ John R. Wilson, of Paterson, New Jersey, writes: torrid days will not have been wasted. We have en¬ sert a single line that is not necessary,'vital and “It lowers the dignity of the teacher or principal deavored to describe these books so that you may useful. The Etude is a utilitarian paper. Its readers who uses it. It develops'the coarser nature of the have less difficulty in determining the ones that will ARTHUR P. SCHMIDT take it for the valuable material it always contains. child.” Charles M. Jordan, of Minneapolis, says: be of most value to you. Moreover, it is our constant aim to present the “It should not be inflicted if any other way can be BOSTON great truths of musical education in such a way NEW YORK found. If not, it should be.” James H. Van Sickle, AST month, we had just become comfortably that they will possess absorbing interest. We have L 120 Boylston Street 11 W. 36th Street of Baltimore, states: “Our teachers have become launched upon the subject of the marked dif¬ no use for the old, barren, dry-as-dust pedagogical ference in the fees received by male teachers better teachers since they have ceased to rely upon journalism. Every line of The Etude must bear and female teachers, when the printer made us STANDARD EDUCATIONAL WORKS upon the subject of musical education, but it must force. The best teachers have never needed to aware that our editorial space limits had been also teem with that element of human interest with¬ resort to corporal punishment.” reached. We are not, however, to be put off by out which a paper becomes dull, senseless and use¬ The quotations we have made are representative any such mechanical restriction and the discussion HARMONY TONAL COUNTERPOINT PIANOFORTE STUDIES less. and the results of the symposium may be briefly is continued here. For many years the editorial pages of the journal stated: i. Corporal punishment should only be That most women teachers are unjustly remuner¬ EMERY, STEPHEN A. STUDIES IN PART WRITING EGGELING, GEORG were printed upon the first pages of the paper. used as an extreme "measure. 3. It has a tendency ated no one will deny. That many incompetent men Elements of Harmony By WALTER R. SPALDING Op. 90. 18 MELODIOUS OCTAVE This was rightly so, since these pages represent in to make the pupil coarse, and the teacher brutal. teachers receive far more than many able women Professor of Music in Harvard University STUDIES of medium difficulty $1.00 a way the policies of the paper. With this issue 3. The chief danger of permitting it comes from teachers is also incontrovertible. The reason for Price - $2.00 Op. 122. 50 MELODIOUS ETUDES in they are brought back to their former position. We the abuse of it by unthinking, or quick-tempered this is, no doubt, that the man is able to convince ail the MAJOR and MINOR KEYS. want to make them as interesting, entertaining and teachers. 4. It is far better if administered in the his patrons that he is more earnest, more thorough PRIMER OF MUSICAL FORMS 2 books, each ... 7g readable as possible. At the same time we trust home, by the parent, in cases where a child has and is better equipped physically to successfully By W! S. B. MATHEWS that you will find them of practical help in your become incorrigible. FOOTE-SPALDING meet the problems that the music teacher is con¬ Price - $ ,80 FOOTE, ARTHUR daily work as a teacher, student, or music lover. In these days music teachers have little to do with tinually obliged to face. We are willing to admit corporal punishment, but the era of knuckle-rapping that where-the preparation and ability are equal the A systematic view of the typical forms of Modem Op. 52. 20 PRELUDES in the form of Music < i E that spareth his rod hateth his son,” and ear-boxing is only a few decades distant. In SHORT TECHNICAL STUDIES - * $i.qo man sometimes has an advantage, especially in posi¬ A Key to Modern Harmony |_ runs the Proverb, but it sounds far more fact, the writer, who still considers himself a young tions where executive abilities are demanded, but SYSTEMATIC TRAINING FOR like the rancor and pessimism of Jere¬ man, remembers many lead-pencil chastisements at we also desire to state that we are convinced that TAPPER, THOS. POLYPHONIC PLAYING GURLITT, CORN miah than the wisdom of Solomon. Moreover, if the the keyboard, when a child. He also quite as vividly there are many positions in which the woman number of Solomon’s progeny was commensurate remembers that they served only to make him teacher actually has a great advantage over the First Year Harmony (loo First Lessons) By HEINRICH PFITZNER Op. 228. TECHNIC and MELODY A ,, Pudental Course 3 books, each $ .75 with the reputed number of his wives, he must have angry, indignant and perhaps insolent, and, prac¬ Used by Teachers and Pupils Everywhere & had difficulty in living up to this particular Proverb. tically, never led to a single commendable result. In teaching young children the woman teacher is It has remained for the pedagogues of the nineteenth almost invariably more sympathetic, more patient LYNES, FRANK century to dispute the sages of Israel. The modern JUST how to spend the summer so as to realize and more vitally concerned in the child’s musical proverb is: “He that spareth the rod loveth his the greatest physical, intellectual and material welfare. Where the man commands and demands, TEACHER’S FAVORITES KEY CIRCLE EXERCISES. A new and child.” profit, is now the great question with teachers the woman suggests and leads. The harsh dicta¬ progressive system of teaching Piano- The Journal of Education, one of the most re¬ and students. In these days few people look upon forte Technic. 3 books, each - $ .75 torial teacher has little value except in the cases of THE PUPIL’S FIRST ETUDE ALBUM. 52 Easiest Pianoforte Etudes. spected and at the same time active educational the months of July and August as a period which children who ought really to be in reformatories or THE PUPIL’S SECOND ETUDE ALBUM. 35 Pianoforte Etudes. papers in the United States, has recently presented must inevitably become a kind of mental hiatus. institutions for the correction of mental and moral MACDOWELL, EDWARD its readers with a symposium upon “Corporal “The mind needs complete rest,” is the expression Selected and arranged in progressive order by Ferd Meyer. Price, each $1.00 Op. 39. 12 ETUDES FOR THEDEVFI Punishment.” The authorities who contributed to we hear upon all sides. Just how we are to exist The natural insight and elastic mentality of the Send for List of Contents this symposium were not only teachers, but super¬ with our minds unoccupied with some kind of in¬ woman also gives her a kind of artistic penetration intendents and associate superintendents of schools tellectual activity no one ventures to explain. What that enables her to solve certain problems of inter¬ THE PUPIL’S LIBRARY in Our large American cities. Many of these men we really need is a change in the form of brain pretation at a glance. Few men are endowed with Vol. 1. 35 Easiest Pianoforte Pieces - ...... $1.00 have a great number of schools, and thousands of work. Lombroso, that convenient authority by this gift. They go lumbering along through pro¬ Vol. 2. 31 Easy Pianoforte Pieces.. . $L00 SENT FREE children, under their care. Of the seventy-six con¬ whom editors are ready to prove almost any psycho¬ cesses of logical analysis while their sisters, by tributors to a recent issue, forty-four declared them¬ logical or anthropological proposition, has indi¬ means of the bright shafts of temperamental illumi¬ Send for List of Contents selves against it. The various shades of opinion are cated how many of the greatest masterpieces have nation, are able to intimate in a few seconds what interesting to all who have to do with the training been executed in the summer months—frequently in might otherwise take hours of stupid study. 353 355 THE ETUDE THE ETUDE the teacher by himself seeing to it that the boy did 354 his daily practice. nieces will be given at each performance, but at Every day, after luncheon, the busy merchant Later one of Mr. Horspool’s pupils'attempted to feast some one will. The circus management can would light his cigar and, while pretending to read Just why the woman with these gifts must receive show the jury how his voice had become stronger less for her services than her male competitor is hardly be credited with a desire to raise the musical his paper, would sit for an hour and a half in that and fuller as the result of thrusting his Jaw°rv“rj. difficult to determine. Perhaps it is because she taste of the country for educational reasons. It hw The Child Who Can’t music room, until his son had gotten his piano lesson His piece de resistance was the Charge of the Light put these excellent numbers upon its programs When the boy was fourteen years old his father does not* demand a just compensation. We sin¬ Brigade.” Justice Darling said ‘that the effect to By CHAS. A. FISHER cerely wish that we might bring our women readers simply because it knows that the popular audiences took him to Germany to complete his general educa¬ him was like Demosthenes with his mouth full of to a realization of the value of their services of America not only like music of this kind but tion, likewise engaging for him there a first-class pebbles.” Dr. Charles Santly said “that the illustra- and encourage them to ask for that to which they demand it. The late Phineas Taylor Barnum re¬ piano teacher and arranging for a competent person tions given during the trial were not those of a vealed in his interesting autobiography how thor¬ in the German college town to assume the irksome are rightfully entitled. pose to be attained thereby be to assist in making singing voice. They were mere coarse, gro¬ oughly he realized the necessity of giving the people There are such children—children who really duty of monitor. The father returned to his busi¬ teachers more competent; for teachers, like poets tesque noises. They were more like what one would what they wanted. If they wanted Jenny Lind can’t; not necessarily devoid of talent, of ear and ness in America, exacting monthly reports of ms A RECENT writer upon the subject of the sal¬ expect to hear in a Zoological Garden than in concert and composers, are not made—they are born. aries of male and female teachers, says: Barnum provided Jenny Lind, at fabulous prices; if love for music, but, simply unable to grasp the son’s musical advancement, just as strictly as he they wanted a woolly horse, Barnum provided the plainest elementary musical problems. Some even insisted on the regular monthly reports of the boy s “Let us suppose a case which may very Persistent Elementary Instruction. easily happen. The boy begins his college course, “Mr. Franklin Clive differed from the plaintiff in woolly horse, even if he was obliged to stick on the have difficulty in grasping as simple an illustration general progress at college. takes his four years in the college, prepares himself barring the voice from its access to the cavities in wool. Incidentally, Barnum was an educator, tor as that of the orange, resorted to in the case ot very As to the next important step in order, namely, Later in life, the young man was compelled, for to teach, expends what money is necessary, and after the head and at the back of the nose. It made the he transported a really remarkable zoological collec¬ young pupils to make clear to them the mystery of that there are practical problems continually pre¬ a time, to resort to the piano as a means of gaining his graduation takes his place in some high school voice like the plaintiff’s voice when he gave an tion about the country and afforded our fathers musical time. The orange is cut in half-that illus¬ senting themselves for solution along the journey a livelihood. But he was competent. There was not as a teacher of mathematics. A girl from the same instance of ‘Come into the Garden, Maud; what a means of becoming acquainted with many rare trates the two half notes (or rests) in a whole 4|4 to achievement—that the road up Parnassus is beset anything he could not play at sight. Yet he candidly village goes to the same college, or one equally as was called plummy or muffled. The effect of striving species of the animal kingdom at a time when measure; then the halves are halved, and so on, with thorns and thistles, which each one must per- acknowledged that he had never had any great love to get the full compass of the voice in all persons good, takes the same course, expends the money zoological parks were almost unknown. Barnum until even the complex relation of a sixteenth frag¬ severingly, laboriously root up and cast out of his for music, nor any particular art talent. necessary to pay her bills, and at the end of her upon a single register would be called bawling, not is dead, but the principle of giving the people ment to the whole is made apparent. That’s about path for himself—until the mind is sufficiently de- singing; the sort of voice the costermonger uses in course takes her place in some high school as a what they demand, remains. Of course, the circus as far as they get, at that stage. Thirty-seconds veloped to grasp this inexorable sine qua non, there A German Custom. teacher of any required branch. Perhaps the young crying his wares. There was a method of pressing is not yet a Gewandhaus concert, but masterpieces and sixty-fourths come later. The efficacy of this will scarcely be found any other way for it than the gentleman will think that he must have at least, to down the tongue with the handle of a silver spoon, upon the program are the straws which point to a mode of demonstrandum ad oculos may be largely good, old-fashioned plan of persistently drumming Something more than a half century ago there begin with, a thousand dollars a year; but the young but he would not expect a pupil to go on singing very significant wind in the musical development ot due to anticipatory pleasure at the prospect of put¬ the fundamentals in. Where the pupil persists in was still in vogue throughout Germany what was woman is contented with seven hundred and fifty for with the spoon in the mouth.” Mr. Horspool, alas, ting the subdivisions of the orange to more easily reiterating “I can’t!” there is nothing left for the known as the Stadtmusickus—a professional musician, the same time. Now what is the justice in this? lost his case. comprehensible uses, at the close of the lesson. Be teacher but to insist—and keep on insisting—that to whom was accorded by legal enactment the mo¬ She has taken the same time, expended the same nopoly of all orchestral musical engagements in his HEN Adelina Patti was asked how she had this as it may, many teachers are doubtless ready there is no such word as “can’t” in the dictionary amount of money, and has completed a course as W to testify to the satisfying results obtainable by this unless it be without the apostrophe. That remark bailiwick. Boys with musical talent were articled S the piano making us a race of “tone-deaf” retained her almost miraculous youth long extensive and complete as his; she turns out from I simple expedient. was the best thing the taciturn General Grant ever to him, served their time (like apprentices in a musicians? Many enthusiasts in ear training after the age when the physical charms of trade), were elevated to the status of journeyman her classes boys and girls equally as well fitted for It is not to be wondered at that occasionally even uttered. maintain that this is the case. They claim that the springtime of life desert the average woman, she musician, and finally went forth into the world, more college or for life. There are numerous such cases a child more than usually gifted with the art sense There is entirely too much impressionism in the notwithstanding the hours that are devoted to prac¬ answered: “1 have kept my temper. No woman or less thoroughly grounded not only in the practical all over the land, but I have yet to find anyone who (the art longing, if you choose) should experience study of music. It has crept in from the so-called can give a reason for it. If the salary basis is work tice, our pupils do not realize the music itself, but are can remain young who often loses her temper.” manipulation of several orchestral instruments, but great difficulty in grasping the ordinary fundamentals Fine Arts, and its effects cannot but be detrimental. done, things accomplished, cost of preparation in intent upon merely pressing down the pianoforte keys This has a special message for some teachers and in many cases with considerable knowledge of of musical arithmetic; artistic temperament often To what vagaries it may lead is evidenced by the time and money, then why should there not be a represented by the symbols of musical notation. also some students. We have seen teachers go theory, harmony, etc. The young apprentice was goes with a conspicuous lack of the mathematical “method” of instruction promulgated by that itiner¬ perfect equality between the sexes? This is getting Take a young pupil to a concert of orchestral music. into a veritable rage, stamp about the room, clench not only forced to submit to the most rigorous disci¬ faculty. Yet it is to be suspected that—barring ant professor who, some years ago, undertook a to be a question of grave importance. The female The wonderful tonal web is as unintelligible as an their teeth, chastise the atmosphere with their fists pline in his studies and in his tasks—playing at rarely exceptional cases—such children belong in regular pedagogic—piano—lecture tour, in the course teachers are getting restless under the present condi¬ equation in differential calculus. Time passes and and actually shout and scream. What was all this concerts, balls, parties, serenades, in the church reality to that far more numerous class of pupils of which she sought to impress upon embryo per¬ tion of affairs, and it is all right that they should be. the pupil studies. At last he is able to perform, let about? The poor little pupil had failed to play some (upon occasion) and what not—but was frequently who merely think they can’t. formers that the only way to learn to play the piano I have not put the case any stronger than the facts us say, a Beethoven Sonata, a Chopin Nocturne and one note correctly. The teacher, no doubt, thought obliged to vary his professional duties by assisting was to have a beautiful soul. Nothing else whatever will warrant. In the small high schools it is not a Bach Fugue. He goes to an orchestral concert that this was the most effective way of correcting Concentration of mind is not easy to acquire. the Frau Stadtmusickus in the kitchen. A number is supposed to be needed, according to this rhapsodi¬ unusual for the superintendent or board to say: ‘We again, but, as far as recognizing any melodic, har¬ the mistake, so that the pupil would not be likely to The child-mind wanders—finds it almost impossible of the most thorough, practical, useful musicians cal modus operandi for mastering sonatas and con¬ will take a lady teacher for that place at $75, because monic or rhythmic distinctions, he is as much at sea make it again. But a “temper” does only one thing. to apply itself wholly to any one particular phase of that ever came to America emanated from these as he was when he heard similar music as a child. certos with grand orchestra. if we get a man to fill it we shall have to pay It leads to a loss of that very control which the a subject for any considerable length of time—and schools; to mention but one notable example: Carl He has never been taught to listen intelligently. him $90.’ ” teacher must have to secure successful results. A the greater the naive, spontaneous appreciation of In the matter of art it does sometimes seem that Zerrahn, the well-known veteran of the profession He may have been taught to analyze passages “temper” always makes its victim appear small in beauty in art, the less the child’s inclination to bother a great many respectable and intelligent people have in Boston. . printed in the accepted musical notation. That was the eyes of others. It is rarely forgotten and indi¬ with formal detail. While life is still so full of HE jargon of the voice teacher has long been a a tendency to become children again, long before T “eye analysis” and is very necessary and important. cates that its unfortunate possessor is lacking in Compelling Obedience. subject of amusement to those who are not en¬ “The Glory and the Dream,” who wants to apply the generally accepted period of actual second child¬ Still more important, however, is “ear analysis” judgment and self-control. Do not try to run your gaged in the profession of teaching others how himself to the mastery of tedious constructive for¬ hood sets in; misled by this vague fancy that artistic The writer was informed, years ago, by a “journey- and if he has not. been taught this he has never had pupils. The days of running things (“bossing”), are to sing. Probably no one but the voice teacher is fa¬ mula? attainment is possible by simply permitting the man-musician” from one of these institutions, of the a complete musical education. over. It is far better to lead, to help, to give your miliar with the enormous difficulties that are en¬ Application and perseverance are synonymous with mind to go mooning ecstatically about in a condition peculiar means applied by a certain Stadtmusikus to countered in bringing vocal truths to the mind of the Mr. Harold Bauer, Mr. William Sherwood, Mr. best, not your worst. It never pays to be irascible. patience, and the most impatient creature under the of effortless receptivity, they actually delude them¬ compel his young violin apprentices to hold the pupil. It is no wonder, then, that hundreds of means Jaraslow de Zielinski, Mr. Perles Jervis and many sun is a child. The acquisition of anything desirable selves into the puerile belief that such trivial ob¬ left elbow close to the body. Some awkward young of stimulating the pupil’s imagination have been re¬ other well-known teachers have been good enough MANY teachers and students often wonder why in this world calls for so much incidental, unavoid¬ stacles as may be encountered in the shape of prac¬ fellow, when repeated admonitions (or blows with sorted to in order to lead the singing student to a to let The Etude have their views upon the subject certain desired prizes in life go, apparently able drudgery that a great deal of our education tical problems will joyfully vanish into thin air be¬ the master’s fiddlebow) had failed to elicit the proper higher realization of many simple truisms of vocal for this issue. Such advice is invaluable for the without effort, to others no more deserving will forever remain what it always has been: to fore their aesthetic soulfulness. degree of compliance with the regulations, had a art. Often the unthinking and unscientific teacher thinking teachers of our country and we sincerely than themselves. Careful reflection will often reveal learn, little by little, to perform with a more cheer¬ Nothing worth the having at all is to be gotten at china plate put under his left arm. The lesson then is led to make grave errors in inventing methods trust that this issue will be carefully preserved if that confidence plays an essential part in winning ful grace things which are laborious, distasteful in easily. To do, to overcome, to attain—all this is proceeded, and for every plate the student allowed that have not even the merit of sufficient empirical only for this particular feature. Should any of our success. The teacher who is not confident that she a word, irksome. The difficulty is not incompatible difficult. To learn how to think is considerable of a to fall to destruction, the retail price of the piece of readers care to communicate their own views to us investigation. Dr. Walters has commented upon can do the work that her patrons will demand of with a talent for art, nor is it confined to the very hardship for most of us. It is not to be expected crockery was charged up against him. All these we will endeavor to give them publicity in our the many absurd directions given to vocal pupils her is not the teacher who will inspire them to be¬ young. that the general run of young pupils will take kindly youngsters learned to hold their fiddles correctly. and all our readers will find that part of this month’s “Letters from Readers” department, if space permits. lieve she is capable. Do not doubt yourself if you The writer recollects the case of a charming child to this principle; yet, sooner or later, they must be The opinion has been expressed by many teachers Voice Department very amusing. A recent trial want to succeed in music. Measure your ability of fourteen, intelligent—mentally much above the made to understand that there is no escape from the of eminence that only such children as show excep¬ in London, however, presented so many Pickwickian E hear a great deal these days about the and if you are convinced that you can do a thing average—who one day, in a spasm of confidence, implacable necessity of effort—yea, of endlessly re¬ tional talent, will-power and application, should be phases of this condition that we have thought it well W wonderful advance of music in America. go ahead as if you had always done it and simply burst out with: “Oh, all I care for in this world is peated effort—until, according to Plato, the very ex¬ permitted to devote any great amount of time to to share our amusement with you. The proofs of this development have didn’t know how to fail. A writer in The Nautilus good eating and good poetry!” The practical prob- ercise of the intellect becomes, in itself, a pleasure. Dr. Cummings, director of the famous Guildhall the study of music, leaving the rank and file to con¬ ofttimes been wanting. Some contend that the ad¬ tells a pertinent story of a New York business house lems in her music study had always been irksome A pianist of ability, now prominently before the tent themselves with becoming appreciative listeners. School of Music, was recently sued for libel, by a vance is merely an exotic growth that has blos¬ that hung out a card reading “Boy Wanted.” stumbling blocks. It is the specially endowed who public in the capacity of accompanist, acknowledged singing teacher named Horspool. (How did Dickens This view of the case may appear rather extreme; somed out here and there in fervid and artificial “Many applicants came, none of whom seemed to are frequently least inclined to learn how to apply not long ago that no degree of accomplishment and yet isn’t that all that the study of music actually ever fail to utilize that name?) Dr. Cummings is admiration for Reger, Strauss, Elgar and Debussy. be just the kind of boy the firm was looking for. themselves with judicious perseverance. would ever have crowned her studies but for the one of the most respected of London musicians and amounts to—as it is—for the great majority of the It has not reached, they claim, the great mass of the “At last a brisk-looking lad entered with the card persistence with which the practical problems were the school of which he is at the head is one of the To rivet the attention of the pupil is the beginning merely relatively apt and comparatively diligent? American people—a people who still delight in under his arm. ‘What are you doing with that laboriously pounded and thumped into her, in early largest musical institutions of the world. It is of all instruction; and the next thing in order is to Even at that—isn’t it worth the trouble, the time “ragtime” and other vulgar forms of musical ex¬ card?’ asked the man in charge. ‘Why, I’m the childhood, amid, and in spite of, tears and pro¬ situated right in the center of the great metropolis gradually induce the child to accept the inevitable: and the expense? pression. One of the most significant proofs of the boy,’ was the reply, ‘so I just brought the card in.’ testations. An ancient classic proverb tells us: “The and has thousands of pupils. Consequently the suit the onus of problems, continually presenting them¬ great musical advance that we have yet seen is to And it is recorded that that boy got the place.” aroused great interest. Mr. Horspool claimed that selves for solution, a solution not to be reached roots of learning are indeed bitter, but the fruits are be found in the following numbers, which were Dr. Cummings’ reference in a lecture to his (Hors- “on the rush”—problems that must be patiently laid passing sweet.” taken from a concert program, given by a really ex¬ SINGING. pool’s) advertisements .as “impudent quackery” was aside for to-day as uncomprehended (seemingly in¬ The writer will always remember the case of a likely to hurt his business and incidentally injure his cellent and comprehensive band of brass instru¬ pathetic terms to an interviewer at Leipzig. “This comprehensible), to be taken up tomorrow—and young man (an amateur of acknowledged practical As I exalt melody I presume that I shall be ments: “Tannhauser Overture, Wagner; Rienzi professional feelings. During the trial a voice the desk at which I composed my G minor concer next week, and next month—until comprehended. accomplishment on the piano) whom he met years reproached with being blind to progress, and with Overture, Wagner; William Tell Overture. Rossini: specialist named Franklin Clive was called as a forty years ago. Then I was young, unknown, wit To rivet the attention the old-fashioned German “old fogyism;” the reproach withal is unmerited. I ’812 Overture, Tschaikowsky; Rosamunde Over¬ ago on the Pacific Coast. The father of the young witness and the following quotations, which are from out honors and offices, but I had ideas. Now I a method was a box on the ear or a rap on the love and honor Wagner’s noble instrumental music; ture, Schubert.” The numbers were given as we man (himself a fine amateur musician) • was at one the London Musical Herald, relate some of the old, overwhelmed with honors and offices, but I ha knuckles—a plan that never failed to accomplish its have said by a capable body of musicians, ably con¬ time a wealthy and influential merchant in one of I bow to his genius and marvel at the great works events: no more ideas. The former state is the better. D immediate object; it did really recall the wandering ducted. The audience was evidently much pleased, our large Eastern cities. The most commodious he has brought forth; song,'the bel canto, however, “Even the throat specialist whom the plaintiff thoughts won’t flow any more. I teach a class mind of the young cherub to the practical business as the applause was pronounced. Now the unusual he has not only neglected, but has dealt a heavy quoted as a supporter, but did not call, turned out in hand. That method has become obsolete—the room in his family mansion had been planned for a thing about this concert was that it was not given pupils at the Meisterschule and correct their coi blow by setting singers and their throats too gigantic to be in opposition to him. The two main points positions and make suggestions, but I do not attem writer by no means purposes to advocate its re¬ concert hall, and great musical celebrities were con¬ of the method were the imitation of a baby cry and before an audience of musical enthusiasts at Carnegie stantly entertained by the merchant, as they lin¬ tasks. I pity the vocalists when I note in listening, Hall, nor at Mendelssohn Hall, but at Madison any more new creations.” Questioned as to livii adoption. There are many ways of awakening in¬ the protrusion of the lower jaw. Mr. Franklin Clive gered in the city on their concert tours. The boy, that the singers have to struggle against physical Square Garden, at the circus. composers, Bruch declared that a state of music terest in a child without rapping it over the knuckles did not think a baby cry was effortless; he had a anarchy had been reached, and that a reaction mi an obstinate youngster, never at any time took difficulties that the music and a too noisy orchestra No for-m of amusement is so popular in America with a lead pencil, as every thoughtful teacher baby which went red in the face with crying, and soon set in. Wagner’s principles, in some respec kindly to the drudgery of acquirement. The father, impose upon them; I pity those that fall in the fray if it was not stopped it would go black. Dr. Cum¬ as the circus. The audiences it draws come from knows. To enumerate, formulate and label all these were wrong, and much that he wrote will not sta however, not only insisted on his having piano in¬ and must abandon a career made impossible for mings said that the only singing animal he knew all classes and the program we have given is various ways and means—if it were possible—would the test of time. Bruch being unknown and in wo them.—Marchesi in "Ten Singing Lessons.” selected from the programs that will be used in all still leave us pretty much where we are, if the pur¬ struction of the best, but wisely aided and supported that protruded the lower jaw was the donkey, and of money, sold his G minor concerto for Sr-v cities of the Union. Not all of these famous master- he did it because he was an ass.” and has never received anything further 357 356 THE ETUDE THE ETUDE throw things about when anything irritated him. MUSICAL OPINIONS FROM OLD WORLD with plenty of pepper and spice.” Speaking seriously, His domestic troubles pale into insignificance with fled. A week later he returned to beg for a week's SOURCES. an opera plot should certainly have, among other our modern’ servant question—such a record is his leave of absence. On his reappearance they were good qualities, ’ simplicity in its main ideas, strong married, on July 27th, 1877. After six weeks of contrasts of characters, good climaxes clearly diary of their goings and comings! Finally he could BY ARTHUR ELSON. get no one to stay with him but his long-suffering marriage he had taken so violent a dislike to his worked up, and perhaps a judicious amount of pag¬ bride that everything she did annoyed him, even to Some Eccentricities of Musical Genius housekeeper, whom he called “Satanus”—poor eantry and display; but it was hardly necessary for the color of her gowns—but who could blame him, In the latest number of Die Musik, which is de¬ Satanus, at whose head were flung all distasteful our English friend to tell us so. when she wore yellow with a coral necklace! Six voted wholly to Beethoven, Dr. J. Meinock makes dishes; all the eggs that were not fresh. She soon By LORNA GILL weeks of uninterrupted married life was enough for an interesting attempt to trace the influence of that Musical Grievances in the Fatherland. learned, however, to be a skillful dodger, first planted him, so he left his bride on the pretence of taking composer’s deafness and heart trouble in his music. In the Musikalisches Wochenblatt, Siegmund von the food on the table, then with center-rush move¬ a water cure. He returned soon, however, only to The deaf and hard of hearing are forced chiefly to Hauseggar unburdens himself on the subject of the ment, took to her heels for the door. Beethoven leave almost immediately on an ostensible business impressions of sight, which narrow Lheir world of Allgemeine Deutsche Musikverband, or musical union dismissed one cook in a rage because she told a lie, trip. His unsuspecting wife went to the railroad thought, the writer states; but it may be doubted of the Fatherland. The well-known conductor-com¬ [Numerous tales are told of the eccentricities of famous saying that a cook who could lie could not make a station, where he took leave of her like an intoxi¬ whether deaf musicians are so wholly limited by He let his jet black hair grow as long as a lion’s poser tries to be fair to both sides, and finds the composers and performers. Doubtless many of these Btorles good soup. cated man. After embracing her several times, he their ailment. Music is not a matter of the ear, but are without foundation but substantiated only by some very mane. On one occasion, having come from Ireland usual merits and defects. The hard work and poor flimsy traditions. The following, however, are reasonably Before setting up his own establishment Bee¬ pushed her away suddenly,' saying: “Now go, and of the brain, and musicians are trained to think where he had allowed his raven locks to grow to an pay of musicians are evils that the union does well authentic and have been accepted as such by many musical thoven dined in various Vienna cafes and here, too, God be with you.” So ended this merry farce. It in tones, just as artists may imagine beautiful scenes writers.—Thb Editor.] inordinate length, he went straight to a friend’s in attempting to remedy. On the other hand, the his explosive temper was often displayed. One day, was only after his death, when his will was read, before putting them on canvas._ So Beethoven’s Evidence is not wanting to show that genius is house in Liverpool, who finally persuaded him to go organization falls into the usual fatuous error of the waiter having brought the wrong dish, Beethoven that it became known, except to one or two friends, power of composing was probably not impaired in usually a morbid condition. It is no new theory, to a hairdresser. The latter asked him if he would holding all members equal in the eyes of the seized the enormous platter of beef stew and threw that he had ever been married. any great degree. It is likely, however, that he did despite the writings of Lombroso and Nordau, but have much taken off. Rubinstein answering in the directors, no matter what their quality may be. We was the theme of the lectures and writings of the it at his head. The waiter, shocked into immobility, hear certain subjective or imaginary rumblings of negative, the barber ventured the remark: “I would should never think of letting a class B golfer enter ancient philosophers. Seneca taught that there was stood with the gravy streaming down his face, pre¬ sound, and Dr. Meinock suggests that these may be really advise you to have a great deal taken off un¬ a class A tournament, nor put a 2.45 trotter into a no great genius without a tincture of madness. senting so ridiculous a figure that Beethoven burst PIANO HINTS TO YOUNG STUDENTS. pictured in the slow movement of the seventh less you wish to be taken for one of those German 2.10 sweepstakes. The union ought to take a lesson Diderot and Lamartine speak of the mental disease into a loud guffaw. symphony. fiddlers.” from the Irishman’s definition of equality—that one called genius, and everybody knows Dryden’s No musician was ever less the exquisite than A giant in his moods, the world shook with his BY CHARLES E. WATT. The effects of Beethoven’s deafness are rather to couplet, laughter, and trembled at his anger. Nothing be noted in the necessary change of his disposition. man is as good as another, and perhaps a great deal Rubinstein. He wore broadcloth with a nap on it, better—and divide its members into several grades. “Great wits are sure to madness near allied, such as parsons wore fifty years ago. He always amused him more than playing jokes on souvenir Don’t be too ready with excuses—don’t say you The loss of social intercourse is apt to’ produce a And thin partitions do their bounds divide.” hunters. A lady wished for a lock of the great tone were “tired” or “ill” or that you “just didn’t feel melancholy that is always accompanied by suspicion At present it treats music (or maltreats it) much as wore a soft felt hat, the more battered and dis¬ our Western States of cruder days used to treat reputable it became the fonder he grew of it. He poet’s hair and besought her husband to procure it like it.” and sensitiveness, and may even drive the sufferer to If eccentricity is so commonly associated with literature, when they advertised, “Book, 50c.,” with¬ was so shabby that on entering a first-class railroad for her through a friend. Beethoven cut off a piece It is said on good authority that there is not one suicide. These feelings are to be found in nearly all genius in general, how much more so has it not been out paying attention to the title. The claim of the carriage the guards would be loath invariably to let of a goat’s beard and sent it to her. She was radi¬ person out of a thousand that is perfectly well at of Beethoven’s letters and compositions written after in regard to the musical genius. The latter long has German organization, that the society’s interests him pass until they had taken a good look at his antly happy in the possession of her treasure until any time—everybody “feels badly” much of the time. 1800. That he rose above them is a proof of the been considered but another name for queerness and should take precedence of artistic ones, is certainly for countless vagaries. Music being the njost emo¬ ticket. When he was in good spirits he could be some kind friend made known the deception. Then, why give up to it? Unless you are really ill grandeur of his own personal nature. We find this demoralizing to art. tional of the arts, the composer is a more sensitive the soul of geniality, but was simply a demon when Toward the end of his life Beethoven could it won’t hurt you to keep on with your work just combat of inoods grandly portrayed in the scarcely find an apartment in which to live, so no¬ instrument than the wind-swept aeolian harp—joy, in bad humor. Woe to the poor pupil who came to the same, even if you don’t quite have the inclination. fifth symphony; the five last and greatest Hungarian Folk-Song. sorrow, pleasure, pain, affecting his peculiar organ¬ him when he was in the latter mood. torious had he become as a lodger. It was not If you could be in the studio of any prominent sonatas—“veiled symphonies” they may well be Dr. Berthold Fabo’s new work on the development ization with an intensity little understood by the If he had the misfortune to play a wrong note, uncommon for him to be paying for four places at teacher just one day and notice how many of the called—begin in doubt, but end in triumph, while average person of calm, even temperament. Trifling Rubinstein would push him off the stool, shriek, as a time. In one apartment there was not sun enough; pupils say that they are not “feeling well,” or that the ninth symphony closes in glorious aspiration. of the Hungarian folk-song covers in thorough emotional disturbances that would pass and leave no he flung his finger on the correct note with tragic in another the water was impure; in another there they "haven’t a good lesson because they have not It is very probable that Beethoven, like other deaf fashion a field that had not been well explored before trace upon the latter are magnified in the musical force: “That note is worth your life and more." was an irritating neighbor such as the nobleman, been well,” you would very soon cut the remark persons, could hear the sounds of heart and pulse.. its appearance. The primitive forms are. taken up temperament into moments either of hysterical joy Like most of the great composers, he was subject who persisted in making such low obeisances every from your vocabulary, and when you were really His tempo marks are almost always within the first, including children’s songs, jingles, beggars’ or develop into serious tragedies. to periods of depression, and at such times was very time he met him that Beethoven took his traps and ill you would send a doctor’s certificate to prove it. range of the human pulse—sixty to eighty per songs, dance songs and others. The influence of Biographies are laden with records of these ex¬ taciturn. In such a mood he visited a Glasgow was off. Don’t say “it it too hot” to work; or, “it is so minute. But hardening of the arteries set in, with the church is traced, also that of neighboring tremes of emotion, so common a characteristic of musical critic. Midnight was long past, but Rubin¬ He favored certain exposures:—In May, to be on cold, I just can’t do anything.” Remember, there irregular action of the heart, and after this his tempi Slavonic races, and the work brought through the the musical genius. Schumann passed rapidly from stein still sat silently smoking cigarettes, replying the north side; in July, on the south. His peculiari¬ are only three hundred and sixty-five days in each became more variable. According to Dr. Meinock, modern epoch, with many illustrations from the wild exhilaration to morbid depression. Berlioz ran only in monosyllables to the questions of his host. ties during the abstraction of composition made him year, and that only a few of them are perfect days— this has fully as much effect as the deafness on present time. The music of Hungary has influenced the entire gamut of emotions in twenty-four hours. After a silence of half an hour, Mr. Stille asked: a most undesirable tenant. He walked the floor, the others count up just the same, and whether Beethoven’s music. many great composers, from the German, Schubert, Chopin describes himself as “in all the world like the “Do you like Beethoven?” Rubinstein, taking a puff stamping his feet and clapping his hands to beat you use them or waste them, they add up the years to its own Liszt. Its striking character is due in E string of a violin.’’ Wagner rivalled the kaleido¬ of his cigarette, said: “Beethoven is good.” An¬ time, singing in a loud voice, and at frequent inter all too soon, and your opportunities fly with the Opera in Berlin. part to the peculiar formation of the Hungarian scope in the variety and limitless changes of mood. other half hour passes in silence. “Do you like vals stopping to pour water over his head and hands years. August Spanuth, in the Signaie, attacks the problem scale, which is like our harmonic minor with an It is, however, during the creative period, with its Wagner?” Rubinstein, throwing away his cigarette too much absorbed to care whether it flowed on the If someone is sick in your home, go to a neigh¬ of the opera repertoire in Berlin, showing that even extra augmented second—A, B, C, D#, E, F, G #, accompanying irritability and abstraction of mind, with vehemence, answers: “Wagner is not good.” floor or flooded the room underneath. Beethoven bor’s for your practice. If you have a hurt on your the German capital is open to criticism in this field. A. But the passion and spirit of the Gypsy music, that the eccentricities of the composer are most Then, rising to leave, he says: “Thank you for the retained his aggressive personality to the very nn > right hand—practice the usual time with your left We had supposed that only in America was the pub¬ with its gloomy Sassan and fiery Friska, has a weird marked. Keen susceptibility to external influences charming conversation we have had together.” ment of his death. He had been considered dead hand alone. Heaven knows you need it! lic stinted in opera, and that foreign capitals revelled charm that few musicians can resist. The work is was felt by many of the greatest composers at this A similar story is told of Schumann, who was for some time, when a terrific storm arose of hail If “company” comes—send them into another in everything new and good in the operatic world. evidently valuable enough for an early translation. time. Gluck wrote best amidst scenes of rural always a strangely reticent being. He went to visit and snow, quickly followed by lightning and thunder. room while you practice. If the neighbors object to But it seems that the Intendant in Berlin is opposed beauty, so it was his custom to have his piano moved his friend, Dorn, who tried to engage him in con¬ At a tremendous clap of the latter Beethoven s; ' your work ask them to move. to the modern school, and favors the older styles. General Notes. into a field, a bottle of champagne placed at his versation, but at last gave up the effort, so the two denly sat up in bed, shook his fist at the angry sk Don’t be a baby! practice faithfully even in the “Salome,” to be sure, received more performances In the Mercure Musical, Henri Collet treats of right hand, and the muses would bring inspiration as friends sat gazing abstractedly at each other. Schu¬ and fell back, dead. face of great discouragement. It is said that the in Berlin than elsewhere, but in general it seems modern Spanish music. The chief form is the Zar¬ never before. mann finally arose and extended his hand to his greatest woman pianist in Chicago practiced all that living German composers receive poorer treat¬ zuela, a bright and popular species of light opera. When Haydn wished to compose he dressed in his friend, saying: “When I come to Cologne again, I day on the sidewalk in front of her home, which ment than foreigners. Political influence may be Caballero, Marques and Chopi are named as leading best clothes, freshly powdered his wig and put on shall call on you.” “Do so,” said Dorn, “and we Another composer of passionate temper wa was burned down in the great Chicago fire, because responsible, the same influence, perhaps, that gave composers in this form. There is also the Chico, the ring given him by Frederick II, without which shall have another opportunity of being mute and Handel. Upon one occasion the famous sopram she couldn’t find anywhere else to go, and she re¬ the libretto of “Roland of Berlin” to an Italian com¬ a more or less vulgar farce. Neither form, according he said he had not an idea in his head. That most silent together.” Schumann’s was an extremely un¬ Signora Cuzzoni, refused to sing an aria in “Othc fused to lose even so fateful a day as that. Verily, poser. The. special occasion that aroused the re¬ to M. Collet, exerts any good influence on music. elegant of composers, Chopin, could work only in balanced and morbidly sensitive temperament, and because she did not like it. The enraged compost she has her reward! viewer’s ire was a gorgeous performance of the The songs of Spain he divides into two main classes the most luxuriantly furnished apartments—walls when his mind finally gave way his mania consisted turned upon her and said: “I know, madame, tha You can be a fine pianist if you wish, but you “Huguenots,” with great historic detail. —religious music and dance-songs. hung with art treasures, floors covered with rich in hearing one note constantly ringing in his ears. you are a devil, but I will let you see that I an must not be so ready with your excuses either to Another work of the past that came to life was In Paris, “Le Sacrifice d’lsaac,” a new oratorio by carpets, the scent of violets in the air, dim shaded Happy Composers. Beelzebub, the prince of devils.” Suiting the actio: yourself or to your teacher. Verdi’s “Masked Ball,” with its fearful and wonder¬ Mouquet, has won considerable success. The cotm lights—this was the atmosphere in which were cut to the word, he seized madame around the waist Be courageous!—High School Life. ful scenes of Colonial Boston, which had a revival poser, a Prix de Rome holder, has been known in those gems of the pianistic art. Neither was there As we go through the long list of composers and rushed with her to the window, saying that he won’ at the Berlin Comic Opera. The “Huguenots,” at America by an excellent flute sonata, “Le Flute de anything of the long-haired or down-at-heels mu¬ read of their moods of depression, of their suicidal throw her out if he did not sing. Terrified at hi least, is a tour de farce of much grandeur, but this Pan.” The present work demands piano, harmonium sician about him. A dandy in dress, he wore tendencies and their endings in insane asylums, it is fury, she consented and made a great hit with th. HELPS FOR YOUNG TEACHERS. is merely a curiosity from the days when opera was and small orchestra, as well as vojpes. Among its velvet waistcoats and was very correct as to cravats, refreshing to turn to a few of genial, happy tem¬ aria. It is rather disillusioning to read that th. First, feel thoroughly prepared; next, sure of merely vocal display—vote et praeterea nihil.. It has special points are an excellent introductory chorus studs and canes. perament. Rossini, that writer of sprightly song, composer of the heavenly oratorio, “The Messiah ’ yourself—but not self-conscious; next, be yourself— always seemed to the present writer that operatic of Shepherds, a suave afidantino, sung to Abraham Writing from Paris to a friend he says: “To-day never needed to join a “Don’t Worry Club.” After was the possessor of a huge appetite, so much s< perfectly natural—do your best for your pupils and music should be good enough to receive some com¬ by the angel, and a good final chorus. The work I gave five lessons; you will think I am amassing a the failure of one of his operas some of his friends that ordinarily we find him ordering meals for three YOURSELF. mendation for its own sake on the concert stage. avoids the extremes of modern radicalism. fortune, but the inevitable cabriolet and white gloves went to his house to console him. Instead of finding but when feeling hungry, for five. Do not allow your pupils to discover that you feel .It does not necessarily follow that a great composer The death of Clara Novello (Countess Gigliucci), almost consume the earnings.’’ him tearing his hair in discouragement, they heard “this is your first, year.” can always write a good opera—Schumann, Schu¬ the former English soprano, brings back the era of him snoring lustily in bed. His indolence and his Lhe amutsinS and uni This is another novelty by a successful American woman composer. This piece may be played ef¬ FABLE Explanatory Notes on Etude Music fectively on any two-manual organ, and may be successfully adapted for even a smaller instrument. Practical Teaching Hints and Advice for Progressive Students and Teachers If performed on a two or three-manual organ, the FABLIAU J. RAFF, Op. 75, No. 2 right hand melody should be played on the swell By MR. PRESTON WARE OREM with either the “Vox Humana” stop or some other soft reed, or a soft combination of reedy quality. If the “Tremulant” is a good one it may also be drawn. The left hand accompaniment should be SCHERZO, OP. 16, No. 2—MENDELSSOHN. the broad phrases of the melody being brought played either on the “Choir” or the “Great,” prefer¬ out with round full tone. The tenor part This composition is number two of the set of ably with the “Melodia” or “Clarabella.” This piece assigned to the left hand should also be well three piano pieces Op. 16, which were originally is useful for a variety of purposes, either as an open¬ brought out, giving the effect of a duet for published under the title “Fantasies” or “Caprices.” ing number for church service, as an offertory, or as soprano and tenor. The accompanying tones are to They were written in 1829 during a sojourn of the composer in England. In a letter to a friend he be subordinated. This piece will amply repay careful study, it calls them “three of my best piano compositions.” THE SUMMER GIRL WALTZ—LINDSAY. is a fine specimen of'the singing style as applied to The “Capriccio” in E minor, now known as the piano -and will afford excellent opportunity for This is a useful little teaching or recreation piece “Scherzo,” is perhaps the most popular of the three the cultivation of the true legato. for pupils well along in the second grade or about pieces. It reveals the composer in one of his the beginning of the third grade. Its definite favorite moods. In its fairy-like delicacy it re¬ LANDLER, OP. 21, No. 5—KARGANOFF. rhythmic swing and catchy melodies render it useful minds one very much of the music to “Midsummer for. dancing purposes in addition to its value as a The landler was originally a slow Austrian waltz, Night’s Dream.” Indeed, it is in the same key as teaching piece. As a recreation piece it is sure to the overture, a key, by the way, which seems to danced in quiet, equal steps. In modern times it be much appreciated by young players. This piece have been a favorite with Mendelssohn, since he has become a characteristic dance and has been ideal¬ should be played very steadily and in strict time, also employed it for the celebrated “Concerto” for ized by many composers, beginning with Beethoven. with firm accentuation. violin, for some of the “Songs without Words,” One of the best known landler is the famous waltz “Rondo Capriccioso” and a number of other com¬ in Weber’s “Freischutz.” Genari Karganoff (1858- CHROMATIC POLKA—HEINS. positions. In music descriptive of fairy-land Men¬ . 1890), a Russian composer and pianist, was a pupil delssohn excelled. In writing these three pieces, of Reinecke and of Brassiu. He has been a prolific This is a clever little teaching piece, calculated Op. 16, Mendelssohn seems to have had certain composer for the piano, particularly of pieces in the to familiarize the pupil in a pleasing and interesting definite ideas in mind. The first piece of the set, smaller forms and of characteristic style. This manner with the chromatic scale. There are very the “Andante and Allegro” in A was suggested by landler is from a set of pieces, Op. 21, and is a genial few such pieces, and this is one of the best we the perfume of softie carnations and bears the motto and highly characteristic work in which the com¬ have seen. It certainly affords a very pleasant “Roses and Carnations in Plenty,” The “Scherzo” poser has aptly caught the spirit of the old dance. medium for acquiring the chromatic scale, its fin¬ No. 2, beginning with the reiterated high B’s suggests It must be played with strict attention to the rythmic gering, and its manner of use in a musical com¬ a passage played on the “faerie trumpet” of a tiny swing and with due observance of all the dynamic position. woodland. flower, a spray of which the composer signs; and not too fast. Attention is called to the drew on the margin of the music paper. Mendels¬ “Musette” or bag-pipe effect of the passage in C MOONBEAMS—WORTHINGTON. sohn’s piano playing is said to have been charac¬ major. _ This piece is one of a set entitled “Scenes on the terized by a delicacy of touch and tone not exceeded Niagara.” It is of the barcarolle type with a very even by Chopin and Thalberg. His technique was FABLE-RAFF. taking rhythm, and a characteristic swaying motion. fluent and remarkably accurate. He must have been This is a characteristic piece of much interest and It must not be played too fast. It demands smooth-’ at his very best in the performance of pieces of this beauty. Joachim (1822-1882) was a talented and ex¬ style. tremely prolific composer. This Fable is one of the ness of execution throughout and the singing tone. The foregoing is intended to furnish the student most popular of his shorter piano pieces. It is of It should be played tenderly, with poetic expression. with some idea as to the proper rendition of the but moderate difficulty. It requires clean playing piece under consideration. Note the “faerie and delicacy of touch. The piece is to be taken at BARCAROLLE FOR VIOLIN AND PIANO— trumpets” at the beginning. As played by Lesch- a rather rapid pace and the baritone melody in the ATHERTON. etizky and as indicated in his editing, this opening left hand with which it opens is to be given out This is a charming composition for violin and passage is to be 'divided between the hands. Al¬ firmly and in a pointed manner. The arpeggios piano. The violin part is not at all difficult, but though very possibly it was not so executed by the with which the theme is accompanied on its second requires tasteful and expressive playing. The piano composer, it is nevertheless in accordance with appearance must be played in a rippling manner. part is interesting and quite independent, it should modern technical views, and will certainly add to The middle section in B major must be played be played very neatly and well subordinated to the the clarity and necessary crispness of the execution. smoothly and with accurate phrasing, in the man¬ solo instrument. The principal theme in staccato must be played with ner of a string quartet, the inner voices being well the most extreme lightness and delicacy, remind¬ brought out. All the ornamental passages should be DELTA KAPPA EPSILON MARCH (4 hands)— ing one of the evolutions of an elfin ballet. The played with extreme delicacy. PEASE. occassional sustained notes are again suggestive of This is an old favorite, written in the grand the “faerie trumpet.” They must ring out against SECOND SERENADE—KOELLING. march style, and now newly arranged for four the staccato passages. .Beginning with the 16th This is the most recent composition of this vet¬ measure the trumpet call and the dance theme are hands. It will make an excellent exhibition piece, eran composer. His First Serenade has been a great or an opening or closing number for a pupils’ re¬ very cleverly combined. At the 31st measure a deep¬ success, and we venture to think that his second will cital. It might also be used for marching purposes, er sustained tone is heard, typical perhaps of a wood¬ be equally well liked. The fact that it is a serenade at commencements or similar gatherings. land hunting horn. The arpeggio work beginning at gives a clue to its proper interpretation. All the the close of the 47th measure must begin very softly staccato passages must be played crisply in the in order to prepare the way for the lengthy crescendo manner of the plucking of stringed instruments. The which follows. This must be worked up to a strong melody is to be delivered in the manner of one sing¬ Three songs will be found in our music pages this climax. Beginning with the 58th measure there is ing. The entire piece is graceful and elegant. It month,^two of them very decided novelties. Wil- a bravura passage in octaves. Passages of this should not be taken at too slow a pace. hams “Only Waiting” is a touching sacred song sort appear to have been favorites with Mendelssohn which should be much appreciated by church singers, and' appear in many of his piano pieces. They are wa a iyusasukh;. V 1 1 Ji— it is especially suitable to be used at evangelistic to be played with force and brilliancy. Note well ALETTER. services or at devotional meetings, and should prove the contrast following the octave passage between effective and popular with congregations when sung the fortissimo trumpet call and the pianissimo frag¬ This is a dainty little piece in the style of the ol dance. The rhythm must be well marked and th in an expressive manner. ment of the dance theme. The flowing cantilena be¬ J. Lewis Browne’s “Lullaby” is a new work by a ginning at the 70th measure must be played with whole piece played in a stately manner, very pre cisely, reminding one of court ladies and gallant successful and experienced song composer. The much expression. This is also one of Mendelssohn’s composer regards this song as one of his best. It characteristic thematic passages. The ascending participating in the dignified and deliberate figures c the old fashioned dance. in l y artistic in »ts simplicity; one of the best trumpet call just before the change to the E major u abys we have seen in a long time, and destined may be taken to represent a signal for the close xvv^Oll«IVlrix^ i—W HalL,. o ake high rank. It is par excellence a singer’s of the dance, and the whole piece dies away in the softest pianissimo. This composition is an important novelty by - song. Attention is called particularly to the canonic American composer. It is an excellent example ■ e, et7 , f acc°nipaniment. wherein the tenor voice ot the left hand imitates the vocal melody at the ROMANCE—A. JENSEN. the better style of drawing room music The e- pressive opening theme should be well brought oi is ance of one measure, also to the humming re¬ Adolpii Jensen (1837-1879) is known as a disciple somewhat in the manner of a ’cello solo the a. frain in triple time. of Schumann. He was practically self-taught and compamment being played lightly and well subordi, Galloway’s "Gypsy Trail” is a striking song of was one of a group of composers the product of the ated. The middle section should be played in the vigorous manly type. Mr. Galloway has made romantic movement headed by Schumann. He is rather agitated manner working up to a clima ver^f“ mL- hapPy settin* of Kipling’s celebrated chiefly known as a song composer, but his piano before the return of the first theme. Careful a pieces are of much beauty and of some originality. should find SOng,ls a,ready highly popular and tention to the fingering indicated, and to all tl readers Tt \ we,come among our Etude This “Romance” is one of his characteristic works. marks of phrasing and expression, will add much i It must be rendered with song-like effect, with ’ 11 *hol!Id be sung in declamatory style. the proper rendition and interpretation of this piec ment sh^id”*! Spint' The rhythm of ‘he accompani¬ ment should be well marked. U THE ETU DE 373 THE ETU DE 375 374 THE ETUDE Dedicated-to my sister, Begina Weil ROSEMARY "There’s rosemary,ithat’s for remembrance] pray you love, remember: Hamlet, Act IV, Scene V. HENRI WEIL Slawly, With expression, and tenderly m.m.J=66 Registration: OFFERTORY /Sw.Vox Humana, or Soft Reed, 8' (Trem.ad lib.) I Ch.or Gt. Melodia 8' inG VPed Soft 16'& 8' for the Organ A THE ETUDE 377 DELTA KAPPA EPSILON MARCH Arr. by W. P. Mero. PrimO Tempodi Marcia m.m.^=1oo A.H.PEASE THE ETUDE 379 Primo THE ETUDE 381 380 THE ETUDE SCHERZO Edited by TH. LESCHETIZ £Y Presto m. M. J = 100 peiix Mendelssohn - Bartholdy, Op. 16, No. 2 r. h. 3 2 y rj *a =? *« s' ’= -f ^ , , . «i ,.} jaf. J3f. .5 f J J. J3 *: «S: 4 « i_*_* |foiT^4^ —Mr.-Mr.-/, '*■*■ i" ■ 1 1 /.a. pp p V ( |t/: e .. J ~ -- 2 * 1 3 1 2 a * ® 1 ji# i * • • 1 2 Jy . * £ ^ ^ ^ ^ a jsl jb it a a it ^It — p ...... r 1 1 5 1 a .4—2-rT 1 J-W-L~ . • . “ l"" ^ *4 ' ■ 4 i • 32 * | h Ifr . «{L’sf^fp fff/i- t \ . • = * wf I ' 1 W'J*2 ' K & # -i-.-J],. iiil a f, %+* &<•. TTiT'T-f^M^ i^rFr^4f^ J *-* Ml. Ml. 1 f L L ™ 2 i pp staccato '“= — - ^ ft . ^ 3,[ TJlj-tf _ tl fTTI Fni—•TT~^~~~- V .. r 1 n rj tJ -—i K £ —V f *pjJ 1 Tn?V - - f* *- 6 fe AAA. Iffff ff g gggfftf g gggggggg g ,4a ! ,4 r-*t * br*- rbri p- f ■rg--*p=T^-»-F--PI L^=j=^— ^4^rn.TZTTJ=4^UJ Fa P ’ m^u=r: - - ^ ■_ g£8»c* ^ dim. pp ~ ' ^ htt 12 S 5 J4 j <' , •«---! J 1 J. 1 • * 2 1 2 ? 4 <> 4 ^ 4 5 A 5 5 / n « 5 5 4 4 ►5 -£■ £•,#> » 1 • ? f. ? ? ? ? 1 | ? ? ?.f? 1 * 12?^ ? 23454^ u j^® cresc. ft"* ■*■ • jj» 1 ' ^ - f—.--3 1 h.f..#r r74F% l If t, ;a t H, —k ^-n^. V K-——F- : ;•, / ftttlir! 1 ~g 3 j& 3 4 3 42 1 -, ^_i yJ __. A THE ETUDE 383 THE SUMMER GIRL 385 384 THE ETU DE THE ETUDE SECOND SERENADE THE ETUDE 387 THE ETUDE 386 THE ETUDE 389 THE ETUDE 388 landler aKARGANOEF, Op.21,No.5 THE ETUDE 391 390 THE ETU DE To-Ella May Smith THE GYPSY TRAIL TOD B. GALLOWAY, Op. 30, N? 2 RUDYARD KIPLING Fine ntf > THE ETUDE 393 the etude 392 To Mr. rv.W. jj.L. aim"*'Sanderson, --Altoona, Pa. ONLY WAITING Sacred Song T. D. WILLIAMS FRANCES L. MAEO p dolce . Andante M.M.J = 72 -I ' Y V ^ -T" i.ii t{L Jim _ rner Of the day’s last beam is °t:Z Have the ATL S-^g ^ break - ing Thro’ the twi-light soft and gray. f _ erS)gath-er quickly Theselast ripe hours of my _ w Tr«ad it’s oath-wav to the skies. F r-B heart, For the bloom of life is with-ered, And I hast • en to de-part. On-ly wait-ing, till the j THE ETUDE 395 THE ETUDE IQd net. When I first tried it I grew dizzy “RESONANCE.” A SIGNIFICANT from breath exhaustion; the breath left EXPERIMENT. me, I couldn’t hold it back at all and BARCAROLLE still I produced no sound to speak of. Find the pitch of a wide-mouthed F. K ATHERTON Voice Department Yet there wasn’t anything wrong with empty bottle, holding a pint or more, by blowing across its mouth. Pour in VIOLIN and PIANO my breathing apparatus or the way I Quasi andante m.m. J-= used it. I simply didn’t know how to water and you will find the pitch is Edited Monthly by Experienced Specialists tighten my lips so as to hold back the raised. Raise it to the a below the Mnderato-con moto breath and utilize instead of waste it at middle c of the piano and hold over the Editor for June, Dr. B. Frank Walters, Jr. the mouthpiece of the nstrument. mouth a vibrating tuning fork sound¬ ing this pitch, and the sound of the Editor for July, Mr. D. A. Clippinger Now the vocal cords are sometimes spoken of as the “vocal lips,” so that fork will be heard all over the room. the simile is perfect; and it follows that, This will require a large tuning fork— in singing, as with wind instruments, not the usual a fork which sounds the ti The Etude to present Such people may be innate artists, but we must tighten the edges of the aper¬ octave above. Get a smaller bottle and an opportunity as use it in the same way for the smaller n opinions. Accord- they lack the means of expressing it to ture through which the breath passes ie Voice Depai the world. before we can produce a satisfactory forks, say the ordinary c fork; and fn°g* ,’nSly bDisced underTheTditorial direction of a A voice trainer is called upon to tone or gain sustaining power. Other¬ again the sound will come out strongly. make singers—to help those who feel wise the breath will go because there is Then try the large fork over the small can citifs. Dr. Walters is a singer and is a bottle and the small fork over the large mAber of a family^* amgero wV have won but are unable to fully express. There nothing to hold it back. Trying to econ¬ are teachers everywhere for style, inter¬ omize by holding the breath back in bottle and there is no more sound than abroad! presents some very interesting pretation, repertoire, but the supplying the lungs will not help matters, for the usual. “Resonance” means the original tone Minfin ter^s that weX? our readers of an adequate technic in its fullest tone simply becomes weaker and the Jan readily comprehend—Editor of Tub sense, to those who have it not, is more breath continues to waste, though at a strengthened, reinforced or augmented or less hit-or-miss with them. This slower rate. Neither is it a question by sound waves of the same rapidity article will deal with the development of large lung capacity. I have under from an independent source. When from a cavity, as in the case of the essentials of scientific and control of the vocal instrument observation constantly singers of only bottles, this source is called a “resona¬ VOICE TRAINING. itself; not because it is more important 160 to 170 cu. in. by the spirometer, tor.” Such resonators must contain than the other department, but be¬ who can easily sustain phrases that just that volume of air which will make cause it is not so well understood. others with less developed voices but The art of the singer is founded upon greater lung capacity—200 to 250 cu. the pitch the same as the tone to be two elements: (a) Temperament, reinforced. In holding the large fork How the Mind Directs in Singing. in.—cannot begin to sustain. which is the capacity to feel the spirit What the singer needs is vocal cord over the small bottle and the small fork over the large bottle, this, of of a composition combined with a By controlling and regulating control—a sufficient degree of resistance course, is not the case and so there is natural talent for expressing such feel¬ through the ’breathing muscles the to vocalise all the breath sent. Let there not any resonance, and the sound of ing to others; (b) technic, which in its force, volume and continuity of the be no misunderstanding of the word broadest sense means—the way the breath current. “resistance.” This does not mean any the forks is no louder than usual. Another source of resonance is from vocal instrument is used in the effort By controlling and regulating sort of constriction of the throat and sounding-boards; but since there is no toward expressing feeling. through the muscles acting upon the is not to be aided by any local effort. material in the human body dry The true artist is equipped in both vocal cords, their degree of resistance, The tightening of the edges of the vocal enough to vibrate like a sounding- directions. He not only possesses the to the breath current, and thus the cords comes gradually through (1) a board it is manifestly absurd to speak ability to feel and the desire to express, power of the tone. correct “placing” of the tone, and (2) of the roof of the mouth or the chest, but has mastered his technic so as to By controlling and regulating sufficient practice or use to give the or any other part of the anatomy, act¬ give full expression to the feeling. through the muscles acting upon the needed development. ing in this capacity, as some singers Temperament is part of the real indi¬ vocal cords, their rate and mode of do. vidual; it may be acquired by living, by vibration, and thus the pitch of tone. Breathing Hints. experience, but never by study alone. By controlling and regulating with A sufficient technic can, however, be the other movable parts of the vocal Is anything to be gained, then, by So-called “Nasal Resonance.” acquired only by study, by practice— tract, the shape or relative dimensions breathing exercises? Undoubtedly yes. conscious or unconscious—by growth. of the channel through which the sound If persistently practiced they in¬ If we measure the air space in the If it be true that there can be no ex¬ waves are transmitted to the external crease lung capacity, which from every larger of the two bottles mentioned pression without something to express, air, and thus the quality of the tone. standpoint is a good thing, though not above we will find it to be about 18 it is equally true, and much more pain¬ It is important to remember that' the the only thing needed; they give better cu. in. If instead of a bottle which is ful, that there can be no expression, vocal cords produce tone not by their management of the breath, enabling the closed at one end we used a tube open whatever the agony of desire, without own vibrations, as do strings, but by singer to send it forth in an even, at both ends, it would have to be about the orderly adjustment and coordina¬ cutting the breath current into a series steady stream instead of in jerks; and if twice as long to resonate the same tion of the body. There is a form of of many puffs per second. These strike properly practiced they make the singer tone. Now the air space contained in brain disorder called “aphasia,” where, upon that portion of the atmosphere in take breath gracefully and unobtru¬ the nose and behind it is not nearly as as a result of disease or injury, the immediate contact with the vocal cords sively, which has much to do with the large as that of the smaller bottle—as anybody can see—and besides, the nose ^ 1 - \ individual is unable to form words into and throw it into waves which are effect upon the audience. is open at both ends. Therefore the U 0i-- speech, though he thinks them clearly transmitted to the external air and be¬ That noisy gasp made by many J m--m- nose does not act as a resonator to the enough and knows just what he wants come vocal tone. Other things being singers in taking breath should there¬ - f: voice in the sense of strengthening, re¬ if to say; but the delicate mould for word equal, the larger the vocal cords the fore be avoided. It is due to not thor¬ v rail. _ * t-■ inforcing and augmenting the original .A*/ ; /v\ forms in the brain can not perform its more powerful the tone; but if the re¬ oughly opening the throat: the inrush r tone produced by the vocal cords be¬ function, and so the man talks gibber¬ sistance offered by the vocal cords is of air strikes against the partially closed cause the volume of air contained is not ish and knows that he is talking gibber¬ not sufficient to vocalize all the breath vocal cords. Anyone can break him¬ large enough even for any of the mid¬ ish. We occasionally read accounts of sent, then the tone becomes “breathy” self of this habit if he will simply take dle tones of the soprano voice, to say people in a state of trance, conscious— and lacks the proper ring and cannot time and care to watch the matter nothing of the bass and baritone voices. as afterwards discovered—of everything be made as loud as a tone produced by whenever he practices until the new Then besides, in order to resonate more going on around them, but unable to smaller but properly resistant vocal habit of thoroughly opening the throat than one tone the air space would have indicate by the slightest sound or move¬ cords. is formed. to be made larger for the lower tones ment that they are yet alive. Here Pulling up the chest and raising the and smaller for the higher tones. This there is no lack of desire to express; shoulders is most inartistic and en¬ The Law of Breath Control. would require a nose like a slide-trom¬ they are burning with the anguish of tirely unnecessary in taking breath. bone. things unsaid; but, like Demosthenes, When singers are unable to sustain The largest bulk and most expansive Further, anyone filling the nasal cavi¬ the Grecian orator of old, they are in¬ their tones long enough to phrase parts of the lungs lie in the middle and ties with water and retaining it there by articulate. properly they say they need “breath lower regions of the chest cavity; the control.” They have heard the popular least expansive lie in the upper regions, keeping up the soft palate to prevent it We are bound by our bodily limita¬ running into the throat, while the nos¬ tions—“we,” the thinkers, we who feel, phrase: “Proper singing is altogether where each lung runs to a point or a question of the breath,” and when “apex.” In order to secure the greatest trils are pinched shut with the fingers, who desire to express; we the real in¬ can get absolutely the same resonance dividuals as distinct from the physical they feel the breath exhausting and the amount of breath, make the greatest in singing as with the nasal cavities organisms, our bodies. How true this tone slipping from them they think use of the largest parts of the lungs. empty. This is demonstrable at any is, is realized again in the realm of song there must be something wrong with Gain control of the diaphragm and the time in a song. Every word may prop¬ by those who feel its inspiration, who the way they take or send out the muscles which spread the middle and erly be pronounced except those con¬ long to manifest its beauty and power breath. The trouble is not with the lower ribs. Fill the lower parts of the taining “mns” and “ns.” These are from their own lips, but who fail be¬ breath, however, but with the vocal lungs first and then let the breath come “nasals,” and require the passage of the cause of an imperfect instrument. cords in not giving sufficient resistance upward, permitting a slight flattening air waves through the nose; but aside They may know just how the music to the breath. If the edges of the vocal in the abdominal region, but neither from this, the nose is absolutely inop¬ should be sung, the delicate shades of cords are not properly tightened, more “drawing in” here nor unduly raising the chest above. This is for a full erative in singing as far as any possi¬ expression, the proper length of a breath passes out than is needed to pro¬ breath! A “catch breath” needs only ble relation to resonance is concerned. phrase; but what can they do if a duce tone and there is not sufficient the expansion around the waist and is This has an important bearing on pianissimo is impossible, if, when they reserve left to draw upon for any sus¬ practically unnoticed if taken in this voice training, because singers try to attempt a high tone forte the voice goes tained singing. way. I regret that space will not per¬ get by means of “nasal resonance” to pieces, if the tone incontinently dies This matter of resistance is well il¬ mit a full description of these breathing what it cannot give. For instance, I away from lack of breath in attempting lustrated in the attempts of a novice to exercises. know a contralto who has forced up a phrase which must not be broken? produce a tone on a cornet or clari¬ THE ETUDE 397 the etude you are singing through a piece of gar¬ 396 tenor of church choirs. These singers The “Lyric” and “Leggiero” Soprano. artists sing, and you have the key to MOUTH AND TONGUE CONDI¬ no such voice. Suppose the child had the management of tone pose. den hose, with the nozzle on for a Then, at too high a pitch, she breaks may do excellent work, both in vocali¬ Either of these sopranos may sing TIONS. her “chest” voice beyond its limit for been prohibited from using his or her ‘closed’ tone and the nozzle off for an over into a register legitimate enough zation and interpretation, but their field dramatically but the terms refer to the In order to test this matter, stand years, breaking over about g or a into voice at all; could there have been even There seems to be an ingrained ob¬ ‘open’ tone,” etc., are much in vogue by (if used at its proper pitch), but an is limited by theit inability to sing high size and flexibility of the voices as com¬ with the back to the light so that it is the “medium” voice, which is weak^and a speaking voice without use. jection to opening the mouth, on the teachers who hope to appeal to the continuously. Here is the explanation pared with the heavy dramatic soprano. reflected from a mirror held before you unsatisfactory. “Nasal Resonance” is undeveloped one. Proper habits of vocalization may part of many vocal students. In order student’s consciousness even if they are The vaudeville singer began at a ten¬ why so many of this class of tenors fail The leggiero is the lightest in weight into the open mouth; keep the tip of now at last relied upon to solve all have been largely imitative. Singers to “muffle” a horn we put the hand or unable to explain just what they want. der age to “sing loud” at the instigation to justify the promise of their early difficulties, but will it? Sbriglia, of from the same locality frequently have and the voice generally extends highest the tongue down and the jaws propped something else into the outer opening Then sometimes they will make use of of admiring relatives who were proud years. Had the upper register, though Paris, uses it merely as a device to se¬ the same ability in common, because of the three classes of soprano; the open with a piece of match-stick about or “bell” to impede the outflow of the such expressions as: “I want a tone of “little Mary’s strong voice, and she weak at first, been used instead of cure a special tone pose in certain parts they have heard around them voices of lyric is between the dramatic soprano an inch or an inch and a quarter long sound, and the same effect is produced like a rubber ball,” or “The tone must kept on doing it all through childhood ignored, their upper voices would have of the voice. .He calls it “voix en a certain type, and have sung together and the leggiero, though the voice can on the voice when the mouth is not be as smooth from beginning to end as and young womanhood. Not encour¬ developed as the years went on; where¬ so as to secure a clear view of the in¬ masque,” and gives explicit directions after a certain pattern and used their frequently be carried as high as the properly opened or the tongue gets into this lead pencil.” Behnke speaks of aged or permitted to use the upper reg¬ as with a faulty production, the net re¬ side of the mouth and throat. Now how to avoid carrying the sound waves voices in the same way. This is true latter. Tones to the f above “high c” the way. By the simple process of students being advised by their teacher isters in singing, taught to sacrifice sult has been strain and the loss of the speak or sing the vowel sounds “ee,” through the nose. Far from teaching of the English tenor, who. is a product and higher may often be added to the to soak their noses in hot water to sweetness to power—losing even her upper tones. “i” (as in lid), “ii” (German) and “oo,” dropping the jaw the mouth takes an that it makes the tone stronger, he dis¬ of the cathedral choirs of England, and compass of all three kinds of soprano. overcome nasality. A teacher quoted childhood’s scream of excitement or and you will find that the upper and oval shape, and with many people, the tinctly states that it is smaller and not of the "natural singers” of Italy, who The Baritone and Bass. I have done it repeatedly with both lips when let alone retract a little from by a New York paper has this to say: play as she grew older and made more back part of the throat and mouth is so carrying as a more open production, are brought up in an atmosphere of The only essential difference between contraltos and sopranos, which demon¬ “The first step is to eradicate all and more use of the lower register in not so open as when you make the the teeth and show a narrow edge of as in fact the very term “voice in the song; and, while heredity plays a part, strates that if a singer will learn to use throatiness or nasal twang. This is both conversation and singing, she un¬ the baritone and bass is in the greater vowel sounds “a” (as in hat), “a” (as them above and below. This may, with mask” would indicate. In the case of this very faculty must have been de¬ and develop the upper registers, she done by focussing the voice on the consciously, but most systematically, size of the vocal cords of the latter, in father), “a” (as in shawl), and “u” advantage, be aided by slightly turn¬ the contralto referred to, the trouble veloped to some degree at some time by need never fear high tones. lips. To accomplish this result, first developed the lower register, and pro¬ by means of which he is able to pro¬ (as in shut). The French vowel sound ing the lips outward. Everybody’s is that her vocal cords, when vibrating some of the ancestors in order to be of all the muscles of the face should be hibited the development of the upper duce heavier tones at a lower pitch “eu” (as in yeux), the German “o”as teeth do not show, however, and vio¬ in the “medium” voice, do not give rendered very active, especially the lips, registers. Yet, iff babyhood she had transmitted. than the baritone. Most basses seem SOME VOICE PLACING SECRETS. (as in bose) and “e” (as in met) show lence must not be done to make them sufficient resistance to the breath cur¬ Tendencies to wrong vocalization to think that the heavy, sombre quality do so; but where false teaching or habit tongue and jaw. This is done by a pat¬ them all equally strong and evenly Voice placing means training a about the same degree of opening and rent to produce a tone of satisfactory may have been checked by the elders of their lower tones should be carried has resulted in tightening instead of ting, pinching, massaging movement!” blended. Let any one who doubts this singer to produce his or her tones occupy an intermediate position be¬ vibrancy or volume: in the “chest until proper habits were formed; just throughout the compass, even though relaxing the lips when the mouth is study the average child’s cry and strike throughout the compass in a positive, tween the two series. voice they do; so she has used the as stuttering may be eradicated or per¬ the upper tones are strained and un¬ open, or in an undue raising of the the tones on a piano. “High c” is noth¬ dependable way, so that the singer will Now we will call the vowel sounds “chest” voice until she couldn’t carry mitted to grow without the connivance manageable as a consequence. The upper lip and pulling up of the lower HENRY CLAY BARNABEE ON ing to a lusty youngster, and tones in have control of whatever voice he or first mentioned, closed vowel sounds, it any higher, and has thus made the of the child—almost without his know¬ music to be sung may lie in the bari¬ with the consequent production of an THE GREAT ENGLISH TENOR, the altissimo region are the essence of she may possess and can produce it and the second series, open vowel "medium” voice all the weaker instead ing anything about it. tone region, yet the singer tries to re¬ inane grin, a return to normal can be SIMS REEVES. its scream. Boys and girls alike pos¬ when wanted. The “placing” may be sounds, because these words describe of strengthening it by carrying it down. In some of these ways all good tain the distinctive characteristics of brought about only by an intentional sess all these tones, and the boy good or bad, just as the placing of fur¬ the relative conditions of the throat American vocalists have heard a Now. trying to “place the tone at the voices have been evolved, and in realiz¬ what he thinks a bass voice should be muscular effort until the natural posi¬ soprano of twelve or fourteen uses the niture in a room may be artistic or in¬ when they are uttered. Further, it will great deal about the remarkable fresh¬ root of the nose,” thinking it “in the ing this truth we take voice out of the tion becomes habitual. identical vocal mechanisms of a Sem- and bellows his upper tones lest he be noticed that when the vowel sounds ness of Sims Reeves’ voice in his old head,” sending it “into the mask of the domain of the mysterious and miracu¬ artistic, or the placing of articles for With regard to that unruly member— brich, a Melba or a Nordica. sound like a baritone. Now the most “ii” and “6” are properly pronounced, age. Reeves lived to be over eighty face,” will not undo the harm wrought lous and place it where we can learn sale in a store advantageous or the the tongue—a host of directions is obvious course when singing in the the larynx is slightly pulled down. and was a popular favorite up to with¬ by the habits of years; for these are What “Falsetto” Really Is. how to acquire it—how to perfect it. baritone region is to sing like a bari¬ reverse. given by various teachers to bring about only more or less clumsy and inexact The vital bearing that registration This same action can be applied to the in a few years of his death. He never Everybody knows that tying up an tone. Our best examples of operatic its subjection. There are tongue plans for securing a certain pose or has upon singing has already been dis¬ production of any of the vowel sounds, abused his voice and always refused to arm will finally cause the muscles to basses illustrate this practice. In con¬ loosening exercises, tongue flattening direction of the tone after the vocal HOW VOICES DIFFER. closed or open, with the result that they sing no matter how great the waiting waste away. Now tying up a register certed number at the opera it is fre¬ cussed; it deals with the actual making exercises, tongue grooving exercises, cords have produced the tone. What become deep. audience. Mr. Henry Clay Barnabee, —not using it—will cause those mus¬ of the tone and is the first of the two etc., etc. The consequence of all such this contralto needs is wore tone in a quently impossible, until acquainted By the application of these principles the leader of the famous “Bostonians” cles which produce that mode of vibra¬ The High Tenor. departments of voice placing to be con¬ attempts at tongue-shaping is to stiffen certain region of the voice—not a with the peculiarities of each voice, to we can govern in an exact and positive heard Reeves in London, and judging tion of the vocal cords to also waste _ sidered. The second department of and thicken it and interfere with the different pose of the tone she has. This Jean de Reszke was a baritone for tell, without looking, whether the bass manner the pose of the tones produced from his relation of his experience in away, so that when the attempt is made voice placing, equally important, is the free outflow of the voice, with the al¬ can come only from proper tone prac¬ years with an uncertain f as his upper or baritone starts a lead in the higher by the vocal cords. If we want to “The Scrap Book” Sims Reeves’ sing¬ to sing in the weakened register the “pose” or direction of the tone after it most invariable accompaniment of a tice in the weak region, and is not to limit before he acquired, under Sbrig- range. Both Planqon and Edouard de “darken” or “cover” or “close” the ing in his later years was by no means tone is found to be small, breathy, of is produced, the “color” it is to have— “throaty” quality. In scientific voice be dodged by any “method” which is lia’s tutelage, the knowledge of and Reszke have, or had, an upward exten¬ tone, we make the singer use one of overrated: poor quality and so entirely different in a word, its quality. practice, all shaping of the tongue is to to substitute “knack” for development. ability to use that upper register upon sion to g or a flat, and for the time they the “closed” vowel sounds or some “I wish to note a distinguishing and from the rest of the voice that it is The tones which are made by the be done by the vowel sound, letting it the operation of which the true high are baritones, when singing in these shading or modification thereof; if we admirable trait of our British cousins, called "falsetto.” The term “falsetto,” vocal cords are transmitted to the ex¬ flatten if it will with one, groove with tenor voice depends; and the upper higher regions. When the bass must want to “brighten” or “broaden” the and that is their stanch, fervid loyalty DO REGISTERS REALLY EXIST? therefore, should be used to indicate ternal air through the upper part of the another, with root depressed for a tones of a Tamagno, a Caruso, a Bond sing in the baritone region, therefore, tone we make him use one of the open to their own. In our dear land of free only the state of development, not the larynx, past the epiglottis and soft third. The various adjustments of the Who has not heard the average fe¬ or any other great tenor who has ever why not sing like a baritone? By fol¬ vowel sounds or’some shading or modi¬ speech and free-and-easy manners a register; for upon studying the matter palate, over the tongue and lower jaw tongue enter into the determination of male vaudeville singer or the Salvation lived are, or were, produced with iden¬ lowing this plan the ease and gain in fication thereof; if we want to “deepen” public person has to be good, do good, scientifically we discover that the and between the lips. Now these tones the shape or relative dimensions of the Army lassie on the street corners strain tically the same vibrating mode of the upward extension is remarkable, while and make good, first, last, and all the voices of a Schumann-Heink, a Caruso, are “posed” or directed by these mov¬ the tone, as should be done in the lower channel through which the sound waves up the “chest” voice as far as she could vocal cords. These singers were not to do otherwise is to suffer fatigue and time, or else be pilloried, scorned, or a Sembrich, etc., include those very able parts; the quality becoming “nasal” parts of the bass, baritone and con¬ are transmitted to the external air, and get it and then break over into a weak necessarily endowed by nature or God to render the higher tones difficult or “tprned down.” But in England, once registers which, in an undeveloped con¬ if they pass behind the soft palate and tralto voices, we teach the student to these, we have found, govern tone pose upper tone? This illustration of reg¬ with a peculiar and exceptional larynx, impossible of production. established in the public favor, not all dition, are called “falsetto.” The “nat¬ out through the nose, or what is called depress the larynx slightly for all and quality. Such adjustments of the istration is here offered to all those as most people imagine. Time and the king’s horses nor all the king’s men ural” voice, in any given case, can only The Contralto and Dramatic Soprano. “hard” if focussed at a certain point at vowels sung. tongue, together with those of the singers or teachers who deny vocal reg¬ again it has been shown that boys of To illustrate: The word “heart” on could wrench loose the hold. mean the habitual voice—that is, the The same thing is true of a Schu¬ the roof of the mouth, or “choked” as larynx, epiglottis and soft palate are isters. Either there is a change of no especial vocal promise have evolved the high f of the baritone voice when “This was never better illustrated voice that has been developed through mann-Heink and a Nordica, in such they are transmitted through a throat automatically controlled by singing a vibrating mechanism or there is not. into high tenor's, while those with good properly sung contains the vowel sound than in the case of the world-renowned habit and use, for the same registers operas as “Die Walkure,” when the partially constricted as in the act of definite vowel shading, and, except for It is perfectly evident to trained and voices have never been heard of as “a,” but a “closed” “a.” Now analyze English tenor, Sims Reeves. We were that are called “falsetto” in one singer contralto starts off on the same high swallowing; or the tone becomes certain specific purposes as noted, no untrained listener alike that the voice adults. Now, the fortunate ones were a “qlosed” “a” and it will be discovered eye-witnesses and ear-witnesses to his are accepted as legitimate when in an¬ pitches as the soprano. The distinction “sombre” by a certain pulling down of other effort toward their management changes somehow; if the change is ad¬ “gifted,” if you choose, in doing uncon¬ to differ from the blatant “a” of the prodigious and unshakable, if, also, other singer they give a tone of between the two voices in this region is the larynx, or “white” by too great an should be permitted, if the voice is to mitted, then these two registers, at sciously what Jean de Reszke was “open” tone by containing just suffi¬ well-deserved, popularity. No less than requisite vibrancy , and strength. practically nil. Both use identically the elevation thereof; or there may be in¬ be free and unconstrained. least, are proved. Call it “chest” voice taught to do consciously; that is, they cient of the French vowel sound “eu” seven times did we buy tickets, at a same vibrating mode of the vocal cords. numerable combinations of these quali¬ and “medium” voice, or “natural” voice changed over into another vibrating to slightly close the throat, which guinea per, to hear Reeves sing, and The quality may be different, just as ties, all dependent upon the shape or and “falsetto,” or what you will; there mode of the vocal cords at e or f “closing” takes off the strident quality RIDICULOUS VOCAL DIREC¬ fell down each time, because he was THE VOCAL "GIFT” ABSURDITY. there may be a difference in the quality relative dimensions of the channel are two different modes of vibration of (above middle c of the piano) whenever inseparable from a tone produced at out of voice. But the eighth time, at The vocal “gift” idea is a product of through which the sound waves are TIONS. the vocal cords, and the difference be¬ they sang, instead of forcing up the of two equally good sopranos, and the the Alexandra Palace, he was all there, the Middle Ages, when any rare and transmitted to the external air. The this pitch with the open throat. tween the voices is heard undeniably, lower voice. Jean de Reszke was a power of tone is greater in the con¬ Some of the measures gravely advo¬ and he was a joy forever! Such a wel¬ valuable faculty was said to be of God, problem is—how to use these. movable Many other illustrations might be and the change in the mode of vibra¬ fairly heavy baritone, and he could not, tralto, owing to her larger vocal cords; cated by teachers at home or abroad come as he got was fit for a conquering but the scientific mind demands an ex¬ parts so as to secure the best pose of given, but space will not permit a full tion of the vocal cords can be seen with therefore, force his lower register but in these upper tones no difference have a scientific value akin to that pos¬ hero. When he had finished the aria planation of phenomena, not faith. tone and to overcome defects. setting forth of the system. It must the throat mirror. above the average baritone range; but, of distinctively “contralto quality” sessed by certain mediaeval medical pre¬ from “Don Giovanni,” there was a How foolish it is to say that any great suffice to say that it is a system and This identical change occurs in the after developing the new vibrating should be insisted upon, or the produc¬ scriptions, where the compounder is roar; but when his grand and soul¬ voice was born! Children’s voices are that if learned and properly applied the voices of our great operatic artists, but mode of the vocal cords, he was able tion of the tones will be interfered with, Vowel Shadings the Secret of Tone directed to take three hairs from the stirring ballad, “The Bay of Biscay, O!” all trebles, and infant—not adult- teacher or singer has no use for or need it is made at the proper point in the to produce a whole new series of tones as in the case of the bass. Pose and Quality. left hind leg of a black cow, the dried rang out, as from a silver trumpet, the voices are born. Famous voices have of the many expressions in current use' scale, and the registers are equal in above his former limit—to “high c” in The actual difference between a con¬ stomach of a lizard and other similar cyclone of uproarious enthusiasm broke invariably been acquired, unconsciously Aside from such defects as breathi¬ in various schools of singing to do this power and well blended. The vocal fact—equal in weight to his lower tralto and a heavy soprano is mainly ingredients, to be mixed at midnight loose. The multitude rose en masse, certainly, in the majority of cases, but ness, throatiness and nasality, for which or that with the tone, to “feel” it here, cords of a Schumann-Heink assume voice. Thus, while becoming a heavy one of power of tone from about third before All Saints’ Day, etc., etc. cheered themselves hoarse, and hurled acquired through and only by means of special exercises must be given, the to “place” it there, to “think” it in precisely the same vibrating mode at tenor, he was no less a baritone than space c (treble clef) down to g or f Students have been directed by their their loose wearing apparel into the the proper use and development during simple and exact and scientific way of some other place. The age demands e, f or g (above middle c of the piano) before he had added the upper register, below the staff. A woman singer is a teacher to scatter pieces of paper over air. I was one of the ring-leaders of childhood and adolescence of the vari¬ controlling these movable parts is by definiteness and exactness in voice that the vaudeville singer’s cords as¬ and had he discontinued its use he contralto if she can sustain these tones the floor and then pick them up while that mob. sume at a higher pitch; and, if Madame ous vocal mechanisms with which as singing certain definite vowels or training as in everything else. If the would have become again only a bari¬ with ease and adequate volume, and by singing, as an aid to “relaxation” and “They said Sims Reeves was a wreck, Schumann-Heink does not use “falsetto” children all are endowed. The faculty vowel-shadings. No one can sing a tone “closed” tone is desirable it is not tone. When boys are consistently this positive test and not merely because the gaining of “breath control.” An¬ that he was patched, powdered, hair- —which nobody accuses her of doing— of singing necessitates developed mus¬ —any kind of a tone except a pure hum sufficient to merely tell the student to taught to make this change of register, she can not sing high—as many young other teacher was in the habit of telling dyed, and doped up generally for that it lies in the fact that in using this cles of vocalization, and development —without sounding some vowel or vowels. close his throat—we must tell him how as they are in the cathedral choirs of women imagine—does she earn the title. his students to rub the spot where the supreme moment of performance, upper register, her vocal cords give can come only from use, i. e., practice, The tone is posed by the relative posi¬ to do it; if we want the tone brought England, and prohibited from “yelling Unless the downward extension and tone was to be “placed:” “To bring the which left him limp as a rag half an sufficient resistance to the breath cur¬ performed either consciously or uncon¬ tions of the movable parts of the chan¬ for'ward we must tell him what to do chest,” we will have a race of high weight of the lower voice is sufficient tone forward, rub the roof of the mouth hour after. I don’t know. If he was a rent to make the tone strong and vi¬ sciously. nel through which it is transmitted, and to bring it forward so that it can’t stay tenors scientifically produced, where without forcing, to balance three other just back of the front teeth. To place wreck then, how I wish I might have brant, and therefore legitimate and true Some singers, from childhood up, and these relative positions are governed back; if the tone is too shallow in now they occasionally happen. voices in four-part music, she had better the tone in the head, rub the forehead.” heard him when, fullrigged and with all as opposed to the false or “falsetto” especially during the time the voice was automatically by the vowel sound quality we must show him how to develop the upper registers and learn Such illuminating recommendations as: canvas set, he sailed gloriously into the voice of the other. With the vaudeville changing, have used their voices in a The Second Tenor. uttered. The pose of the tone is abso¬ deepen it. An understanding of this to sing soprano. This she can do, with “Take the tone at the end of the hearts of his fellow countrymen. singer the resistance is so little and the way that secured for them a practically lutely bound up with the shading of the matter of vowel shadings gives a singer There is another kind of tenor, who, the proper practice, if she doesn’t start breath;” “Take the tone with the pal¬ “Such a voice! Such style, expres¬ tone so weak in the “medium” register perfect development and control. Such vowel sung, and every singer fulfils this a command of tone pose which cannot by carrying up a well-controlled lower too late in life and hasn’t been too long ate;” “You must learn to sing over sion, phrasing, intonation and sustain¬ as compared with that of the, “chest” use may have been instinctive—carried law whether he or she recognizes the be gained as quickly or exactly in any register, manages to sing fairly high forcing up the “chest” voice into the your larynx;” “Imagine there’s a little ing power I never heard before and the register that she defers using the upper over from their parents or a more re¬ tones, provided there are not too many fact or not. Study, therefore, the vowel other way, and which makes of him or ^medium” region and cutting out the bird flying over your head and you’re memory still remains with mg, unique register until it is physically impossible mote ancestor; but the use is the factor sounds uttered in different regions of her a scientific singer instead of a hit- of them. This is the second tenor, not “head” voice entirely—a mistake that trying to bite off his tail;” or, “Imagine and unapproachable.” to force the lower register any higher. without which there could have been the true high tenor, and is the average the voice when our representative so many would-be contraltos make. THE ETUDE THE ETUDE 399 398 much is required at the present time trol over every note and passage with that the student who aspires to a good Born in Boulogne-sur-Mer, in 1837, complete independence betweem hands As a teacher, Guilmant is famous the altogether different results in church paying position must aim to become an bis life has been contemporaneous with world over, and a large majority of the and feet. After this, the use of the stops music from those achieved on the con¬ all-round musician. To return to the large majority of the great com¬ Church Organs should be attended to. It will require distinguished organists of the present tinent, from the fact that in England LATEST IMPROVEMENTS practice hour, it is advisable to seek a posers for the organ since Bach and but a short time to become familiar day have come under his instructions it developed along two lines, which method whereby repose can be early he has enjoyed the association of and and he has thus wielded an incalculable BOSTON NEW YORK PHILADELPHIA with what to use in the right place may be called the Anglican and the Organ and Choir acquired. To gain this, one should athered inspiration from them, espe¬ influence on organ playing. Puritan. CHICAGO LOUISVILLE DALLAS Never let routine work creep in nor let enter into the spirit of the composition cially the brilliant galaxy of French „ ...... , HASTINGS,MASS, the mind become listless; it is better Of the great value and beauty of his In the opening of the Reformation Main Office & Works »• «»*» before the start is actually made. As composers who have given to France compositions for the organ there is not the first decided development “was the to practice one good solid hour and ook /-* an aid, count aloud one measure before preeminence in organ music in the last time to speak except to call attention to H think, than sit at the key desk for a day Anglican anthem. At first the anthem ASTINQS WO. Editor for June, Mr. Wm. C. Carl beginning. Let it be exactly in the century. Among these may be men¬ the perfection of form and the idealistic was a comparatively simple composi¬ and let it become a routine. same tempo as what is to follow and Pair Prices. Established 1827. All Sizes. Editor for July, Mr. Sumner Salter tioned Cesar Franck, 1822-1890; Saint- beauty with which he has endowed tion, differing from the chant in that The Value of Phrase Work. try to hear the notes of the opening Saens, 183s; Chauvet, 1737-1871; Du¬ them. The large number has necessi¬ its parts were sung responsively and I firmly believe in phrase work, tak¬ measure while counting, then begin at bois, 1837; Gigout, 1844; Widor, 1845, tated extraordinary labor. The editing were somewhat more elaborate. ing each phrase and giving it many once, without pause or hesitation. Let and’in other countries, Merkel, 1827- is done with minute care and he also The English church, however, could repetitions daily. One must absorb, and the playing always be rhythmic, no 1885; Rhineberger, 1837-1901; Capocci, has published them in beautiful edi¬ Austin Organ SOME PRACTICAL POINTS TO acquired from the start. Otherwise, his not long continue to practice a musical to accomplish this, but little should be matter what the tempo, and keep every¬ r84o; Collaerts, 1839: Barnby, 1839- tions. A striking element in his char¬ BEGINNERS UPON “HOW TO playing will lack authority and both system which, like the Catholic, de¬ Company thing in its place. This will insure a 1896; Stainer, 1840-1901. acter is his repose. His course is like STUDY THE ORGAN.” choir and congregation will drag. undertaken at a time. I well remember prived the people * of the privilege of a visit to Lucerne, Switzerland, several command over the instrument to such Guilmant early displayed a tremen¬ that of a majestic river sweeping on concerted song. So in the process of Trios. seasons ago. The manager of the hotel an extent that afterwards when playing dous capacity for work, as a young boy calmly, grandly, irresistibly. Every¬ time the early cathedral service was VERY detail cf the Austin Next the scales, both major and E pointed with pride to the fact that before the public, either at church serv¬ eagerly studying all the theoretical thing in its place, time, and right pro¬ modified to adopt it to general use. minor, should be done; hands alone, Organ has been simplified Madam Nordica had been a guest there ice or recital, the performance will be works he could obtain as-well as clas¬ portion. His playing is never hurried, In such cases the service was not In these days no one is given credit feet alone, then altogether, playing the the year previous, but, as she practiced well rounded and finished in all re¬ sical compositions of all kinds and fre¬ never lagging, perfectly finished and intoned, but rendered in the natural ' to such an extent that the for the task of learning notes. This is hands in regular and contrary motions; nothing but phrases from early morn¬ spects, and an individuality infused into quently spending ten hours a day at the artistic, and ideal in all respects. voice, and even if the anthem was re¬ action is thoroughly reliable and taken as a matter, of course. Every 3ds, 6ths, 2 to l, etc. (naturally only ing until night, the other guests ob¬ it as well. Too much attention cannot organ. He thus attained such pro¬ tained, metrical versions of the Psalms audience naturally expects a correct in¬ one way at a time), then follow th<3 instantaneous in response and be devoted to the method of practicing. ficiency that at the age of sixteen he ROOLES FOR PLAYIN ONTO A were sung at proper intervals. This terpretation of the pieces to be played, trios. Without trio work independence jected to such an extent that she was Conscientious work pays in the end and was organist of St. Joseph’s. Hearing led to the development of hymn-tune repetition. In this is seen the in order to derive pleasure and profit, between hands and feet will never be obliged to go elsewhere. The only ORGAN IN MEETING. the student who works well is bound to Lemmeus, the celebrated organist and melodies, and thus began the contribu¬ result of years of careful study otherwise they would not listen. The gained. This is the most difficult task place where she was allowed to con¬ When the preacher comes in and teacher, of Brussels, play the organ, tions of the Anglican church to this notes are not taken into consideration before the student, for the feet and tinue was in a little room over a barber succeed. neals down in the poolpit, pool all the and application of experience If, therefore, the student will come to he desired to study with him and be¬ form of sacred song. for a moment, any more than an actor hands are obstinate. It is no easy shop. There, with Frau Cosima Wag¬ stoppers. Thats what the stoppers is by the builders. the lesson with the notes mastered, and came his favorite pupil. About this having learned his lines is expected not matter to do three things at one and ner and a coacher, she continued her for. to stumble. Strange as it may seem, everything in place, the teacher can time he composed a Mass, conducted When a him is given out to be sung, TASTE IN CHURCH MUSIC. proceed at once as to the style of play¬ singing societies and inaugurated many students seldom come to a lesson with play over t-he whole toon before singin, It is proverbial that there is no organs. His fame spread to Paris, and the notes adequately learned. Several ing, a correct interpretation, give hints but be sure to play it so that they can’t arguing about taste, in which one Dept. E., Hartford, Conn. when he appeared in recital on the hours each day may have been spent, in registration, and, more than all, tell whether its that toon or some other man’s meat may certainly be another famous new tr.n of St. Sulpice he was all too perfunctorily perhaps, but at create an atmosphere which will bring toon. It will so amoose people to man’s poison. .Yet it must be allowed received by the musicians with much the end of the week the lesson will be out the individuality of the pupil. guess at the toon. that there is a plain distinctive line of interest, and given a hearty ovation for played with a constant stumbling and When you play the interlood, some¬ demarcation between the bad and the his skill and his readiness in mastering, EMMONS HOWARD insecurity of what should have been HOW GUILMANT PRACTICES. times pull all the stoppers out, and good, regarding which two categories in two hours. the extremely intricate Westfield, Mass. thoroughly mastered at the beginning sometimes pull them all in. The no one can dispute. On the other hand, combination of the instrument. of the week. BY WILLIAM C. CARL. stoppers is made to pull out and in. there are many instances on the bor¬ Pipe Organs of Highest Grade Without absolute accuracy it is im¬ In 1865, assisted by Widor, he inau¬ Play the interloods twice as long as der, so to speak, where opinions will possible to play with style. Therefore, The idea that once having studied gurated a 1 aille-Coll organ, in Ken¬ the toon. The interloods is the best be sharply divided, and where the bat¬ sington, London, and soon after Guil¬ from the first hour’s practice following and successfully played an organ com¬ part of mewsic, and should be the tle will lie between the cultured and mant inaugurated the great organ of a lesson the attention should be di¬ position will enable one to have it longest. Philistine natures. Good taste is, of Notre Dame, for which occasion he rected towards the notes. If the work ready for public performance without Play from the interlood into the toon course, to be desiderated at all times composed Ins “Marche Funebre et June, 1908, American Organ is new, then each note should be at¬ further rehearsal, other than occasion¬ without them knowing when the toon and in all places, but in no instance so Chant Seraphique,” which created a begins. This will teach them to mind Now Ready tended to; if not, then equally as well ally playing it over, still prevails with strongly as in church music, where a This Jane issue contains 12 pipe organ voluntaries (pedal attention should be given to them, deep impression. there own business. heterogeneous congregation has to be many students. At the death of Chauvet, in 1871, he suited Jor wedding occasions, another is based on the making sure that all are correctly If those who adhere to this principle Always play the interloods faster or so dealt with that if possible none of was called to the post of organist of La played and of equal value. Take noth¬ could accompany Alexandre Guilmant slower than the toon. This will keep the idiosyncrasies of individuals may be of]pipe organ music. Subscription, $1. Trinite,. whiei; he held until he resigned it from being the same time as the E. L. Ashford is editor and chief wntrib. ing for granted. Because a piece is on one of his tours, they would im¬ affronted. The organist has committed sent for 6 days’ examination before purcha .*73 it in 1902. Lor a great number of years tioning Thu Etude. No. . accurately played one day it does not mediately see the fallacy of their plan, to his charge a very serious trust, al¬ he visited Ln gland annually, or semi¬ If the preacher gives out five verces, hold that it will always be so. No one and grasp one of the secrets of the most as important as that of the clergy¬ The Lorenz Publishing Co. annually, giving numerous recitals. In play four. Tew many verces is teejus. 1 SO Fifth Ave.,New York. Day ton. Ohio. is infallible, consequently it is necessary success of this great artist. man, for it lies with him whether the to reduce speed and again pay attention Rome he opened the Merklin organ of During the sermon go out of the higher emotions of devotion and re¬ Mr. Guilmant will take one of his own St. Louis des Francaise, giving daily church, and cum back in time for the to the notes. Few know how to prac¬ compositions, which he could easily ligious exaltation are to be stimulated, concerts for two weeks and presenting next toon. This will show you don’t or whether, on the other hand, mere 50c FOLIOS OF ORGAN MUSIC tice. Volumes have been written and play from memory, and, on the day of teachers have talked themselves hoarse, many works of Bach and Handel for mean to be hard on the preacher by sensuous enjoyment is to be aroused. FOR PIPE OR REED ORGANS performance, rehearse it from two to still the proper understanding of how the first time in Italy. Of the greatest having tew many listenin to him at To a thoughtful man there comes a Each of the three books named below con¬ three hours, giving attention to the tains 64 pages of music beautifully printed from to utilize the time to the best advantage 'importance - ere his three concert tours wonst —From, an old English magazine. deep sense of responsibility as he looks minutest detail, seeing that every note engraved plates and well bound. remains a mystery with many. How in the United States, the first in the upon the gathering congregation and is in place, and absolutely accurate. Twenty Organ Marches.50 cents should a student practice the organ? year of the Chicago Exposition, when FOUNDATIONS OF SACRED realizes that to a large extent it rests Thirty-nine Organ Preludes .... 50 cents The tempo will be taken at a slower Forty-three Organ Offertories . . 50 cents To begin with, the lesson, or a portion his playing was a revelation to the great with him as to how far those people ALEXANDRE GUILMANT MUSIC. ALL FOR CHURCH USE of it, should be played over at least once pace than required in order that a com¬ multitudes who listened to him and are to benefit through coming to mand over the piece will be assured. immediately on arrival home and not the same time. On the organ, it is re¬ phrase practice. The room was not were amazed at the clearness and bril¬ BY ROY FALCONER. church. He either helps or hinders de¬ The LORENZ PUBLISHING CO. wait until the following day. This will quired every day and nothing is thought large enough to admit of two chairs in Then when coming before the public liancy of his performance. The third votion. 150 Fifth Ave.. New York :: Dayton. Ohio he is sure of the repose so characteris¬ often be out of the question, as one of it. The right-hand part should first addition to the piano, but Madam Nor¬ was at the time of the St. Louis Ex¬ The history of church music may be It is possible that there may be too tic of his marvelous playing. perhaps cannot gain access to an organ. be learned, then the left and last the dica worked just the same and the fol¬ position, and Mr. Guilmant astonished divided into three periods, as follows: much music; in that case it would be Mr. Guilmant insists on practicing Such being the case,'read over slowly pedal passages. Afterwards, combine lowing winter made one of the suc¬ every one by giving sixty-four recitals Period I, from the earliest times to well to reduce it; but to present less Hymns arid Tunes and carefully every note and try to re¬ each two parts, then finally the three. cesses of her career as “Isolde.” slowly, especially the works of Johann in a little more than two months’ time, Hucbald, 930; Period II, from Huc- than the best possible in existing cir¬ call each suggestion and correction Use contrasting stops on each manual, It should not be misunderstood that Sebastian Bach. Count one beat to without repeating a composition. bald to Palestrina, 1563; Period III, cumstances is to offer an insult to the for Schools made, then when the practice is taken but do not change them after starting. I do not believe in teaching registra¬ each sixteenth note (daily) is his advise Some Famous Recitals. from Palestrina to the present time. Almighty. There may be arguments in Price for introduction, $35 per hundred. at every lesson, in order that a correct “ The most complete and usable. Filled with bright, sweet,, up in the morning it will be an easier Pay no attention to registration. De¬ tion. Such is not the case. The diffi¬ In the famous Trocadero recitals he The music of the first period was favor of little singing, but there are swinging^ singable tunes. Send 200.”—T. M. Austin, Director- task and all will go better. In begin¬ vote all the energies to the task of culty is that it is taught too soon, and value will be given to each. presented works ancient and modern, written in one part. There is no rec¬ none whatever in favor of bad singing. ning the practice hour, first of all, do the learning the parts so that all three can before the student is ready for it. All Then, increase the speed, but invari¬ It may therefore be postulated that Sample copy FREE for examination and many Bach and Handel composi¬ ord of any other kind of music until A. S. Barnes & Co., New York work slowly. Hours will be gained by be easily kept in the mind at the same who study the organ should hear as ably begin with the slow work. tions for the first time in Paris. After¬ the tenth century. St. Ambrose, everything connected with church slow practice; this will help to insure time. Learn to concentrate. Absolute, much orchestral music as possible; this If Mr. Guilmant can practice slowly, wards he gave the Handel Organ Con¬ Bishop of Milan, is credited with the music should be of the best “that con¬ accuracy and attention to detail. Use concentration is necessary. The mo¬ not only trains the ear but gives the then surely the students of the present certos, accompanied by Colonne’s or¬ first orderly arrangement of sacred veniently may be gotten.’.’ A Comprehensive Dictionary of only eight foot tone on the manuals ment the mind cannot be kept on the best idea of tone coloring. In New day can afford to do so. chestra. He has frequently given, in song. In most of our parish churches, the ORGAN STOPS work, practicing should stop; let the organist and choirmaster is practically and pedals. When an eight foot stop York City there were seventy-five or¬ It means the sure road to success, the home of a wealthy music lover of Hucbcld is supposed to be the first By James Ingall Wedgwood. is lacking in the latter, couple the pedal sound of the organ cease for a moment, chestral concerts, besides some two and the only one to follow. Paris (the Count de Chambrun), a one who wrote music in more than the precentor also, and as such is re¬ Every known organ stop—ancient, modem, expert, to Great. A light open diapason 8 foot then start again. Bo sure the manuals hundred and fifty performances of one part. He arranged another voice sponsible for the choice of the music. mental and obsolete; the mechanism bringing them series of recitals embracing all of into play: particulars of construction, measure¬ or Flute 8 foot are the best to insure and pedals are played exactly together. grand opera, not counting the innu¬ ALEXANDRE GUILMANT, THE Baches compositions. The magnitude part to accompany the chant. The ments. scaling and voicing. A veritable history of clearness. Registration should not be Continue to count aloud, for the sound merable concerts, organ recitals, etc., greater part of the second period is Interpretation that is no more than tonal evolution. The Diapasons. Reed stops, Mix¬ MAN AND THE TEACHER. pf this feat grows, if we contemplate it tures. Diaphone, Tibias, Vox Humana are treated attempted until after everything else is waves are deceiving and the distance given during the past winter, thus in the light of our efforts to master a taken up mostly by the development merely clean and correct has about the exhaustively. The work is from first-hand knowl¬ mastered. between the pipes and the console is affording an unusual opportunity for of counterpoint. Giovanni Palestrina edge, is exact in detail and remarkably complete. BY GERTRUDE E. m’kELLAR. prelude and fugue, and the length of same significance as the dead letters on Illustrated with nearly one hundred excellent draw¬ Next begin with the pedal etudes. often several feet, therefore, making it students in America to hear this branch time it requires. In the midst of his is the greatest man of the period. He a printed page.—H. von Bulow. ings. A complete bibliography. Phonetic pro¬ See that the foot is correctly placed and all the more important they should be nouncing vocabulary. 200 pages, handsomely of the art. When one is located where The words “Lives of great men all busy career he found time to be the composed a mass which has since bound. Price, $2.50. the knees kept well together. First a played with exactness. The metronome attendance at orchestral concerts is not remind us,” find illustration in the per¬ leading member of a society formed by continued to be the model of sacred HUTCHINGS ORGAN CO. SPECIAL OFFER: slow tempo, then speeding afterwards, can be used with discretion, but not possible, then study orchestral scores, son of Alexandre Guilmant. Great musicians of Paris for the discovery of musical composition. Copies are offered this month for $2.00 but always counting aloud to make sure over ten minutes at a time. After the even if time cannot be given to the sub¬ artist and composer as he is, he is also works by ancient composers and edited Most of the best hymn tunes in com¬ Pipe Organs THOMAS DONLAN the note is on the-beat. An organist trios, continue with whatever may have ject of orchestration. mon use to-day are from English com¬ 831 Colonial Bldg., Boston a great man in a wider sense of the and presented many interesting com¬ must be able to play with rhythm, ac¬ been assigned at the lesson (Bach, Men¬ posers, but we must go back to Ger¬ Agent for the Vincent Music Co., Ltd., London It is to be expected that time should term, filling an exalted sphere in a positions which had been lying in ob¬ centuation, etc., for a choir is dependent delssohn, or modern work), but do not many for their origin. be devoted to service-playing in all its broad and noble way that may well livion,. thus performing a work of great n addressing. on his beat, therefore, this should be registrate until first having gained con- historic value. The Reformation in England effected forms; also the theory of music. So repay serious consideration. THE ETUDE 401 400 the etude DR. HOLMES ON THE GREAT man who was demonstrating the pianos , d kjgh and to let them fall with calling out the intervals, “whole step,” Fourth Finger Trill. VIOLIN MAKERS. the strength of little hammers, on the “half step,” etc., he will infallibly im¬ to accompany the soloist with the All the correspondents complain that THE PROGRESSIVE VIOLINIST brings, the impact on the fingerboard “player,” in addition to piloting the One of the most beautiful specimens prove in intonation. being sufficient to be heard in an ordi- they cannot trill with the little finger. “olaver” piano through a program of of word painting in the English lan¬ arv sized room at least. Amateurs are They need not complain about that, difficult piano music. When the solo guage is the tribute of Dr. Oliver Wen¬ THE TRILL. because almost all violinists are in the VIOLIN and PIANO commenced, the young man evidently often struck by the marvelous clarity dell Holmes to the makers of the same boat as regards the little finger y F. P. ATHERTON thought the supreme hour for him to of tone and the remarkable distinctness Among the letters addressed to the Violin Department violins of Cremona, in his well-known trill. It requires lengthy practice to de¬ 6775 Cradle Song Grade II . . ■ .30 display his ability had come, . amd he of the scales and runs of the great vio¬ Violin Department of The Etude for work “The Autocrat of the Breakfast 6776 T " began to “throw expression into the linists They cannot imagine how they information, none are more frequent velop the little finger to trill even pass¬ roUe Gra ell^ machine and manipulate the tempo Table.” It deserves to be framed and are produced. Apart from the perfec¬ than those asking for information as to ably well. Violinists avoid little finger 6778 Petite Tarantelle Grade III . .30 hung on the studio wall by every vio¬ trills wherever it is possible by changing 6779 Andalouse-Espagnole Grade III .30 Edited by ROBERT BRAINE lever” in a manner that made the on- tion of bowing, this clear tone comes the trill and how to acquire it. Some n excellent teaching set for violin; in- fortunate violinist’s hair stand on end. linist. It is as follows: from the fact that the tips of the artist’s of the writers ask whether the trill is a to another position where another finger iive and at the same time pleasingly iio us;put together in musicianly manner, ft I do not think the soloist and accom- “Violins—the sweet old Amati—the fingers are hard and callused from the gift of nature, others ask for exercises can be employed. Let the student look solo instrument is treated in a thoroughly — panist were less than half a bar apart divine Stradivarius! Played on by an¬ great amount of practicing which he over concertos fingered and edited by ical way and the piano accompaniments for its acquirement and not a few in¬ iteresting, affording good support. All during the entire performance. cient maeitros until the bow hand lost does and the strength with which he quire whether it is achieved by some .a good violinist and see how much ieces are good, the titles as given above The violinist who has an accompan¬ its power and the flying fingers stiff¬ strikes the strings with the finger and jy a good idea of their general style and - hearsal at all, or at most one hurried peculiar technical trick not laid down scheming has been done to avoid fourth THE ACCOMPANIST ist who is not only a skilled pianist, the pressure with which he holds the rehearsal; the result, in many cases, ened. Bequeathed to the passionate in any of the “violin schools” or finger trills by changing to another o 'responsible teachers we will send on but a musician of talent, surely has a strings down with the fingers at all being a distressing fiasco. The violin¬ young enthusiast, who made it whisper “printed methods.” position where some other finger can pearl of great price. It is said that the times. If the string is not held down From the time he has mastered his ist who has any respect for his reputa¬ his hidden love, and cry his inarticulate be used. lifelong friendship of Joachim for the to the fingerboard with great force, the To these correspondents I would say first little “tune,” up to the day he tion would do well to insist on having longings, and scream his untold Of course, the fourth finger trill must great composer, Brahms, dated from tone is dull and muddy. If the student that nothing could be simpler than the draws his last bow across the strings, a really good accompanist, with whom agonies, and wail his monotonous be studied by every violinist, as there the hour when Brahms transposed the fails to strike hard with the fingers and theory of the trill. If the trilling the violinist is confronted by the prob¬ he has frequently rehearsed. If the despair. Passed from his dying hand are many cases where the trill with the accompaniment to a great violin con¬ to keep the finger pressed down with finger is made to fall with great force lem of the accompanist. An important fee offered for the solo violin playing to the cold virtuoso, who let it slumber fourth finger cannot be avoided. Slow certo, which was played by Joachim great force during the playing of a and perfect evenness on the string at problem it is, as in many cases it is not sufficient to cover the expense in its case for- a generation, till, when systematic practice will do wonders marks the difference between success half a tone lower, because the piano note the calluses will not be produced the exact point necessary to make the of the accompanist it would be better his hoard was broken up, it came forth even for the rebellious fourth finger. and failure. Nothing contributes so which was furnished was off pitch half on his fingers, even if he practice a trill in tune, and at the requisite speed VIOLINISTS to refuse the engagement altogether. once more and rode the stormy sym¬ There is no reason why any good much to the success of a violinist’s Every violinist should, if possible, have a tone, and there was no time to tune great deal. appropriate to the composition being phonies of royal orchestras, beneath violin student cannot develop a good performance as a well-played, sympa¬ a regular accompanist with whom he it in time for the concert. played, a perfect trill must result. The the rushing bow of their lord jind trill if he sets about it in the proper thetic accompaniment, and nothing frequently rehearses and on whom he POPULAR VIOLIN PIECES. muscles of the fingers must also be leader. Into lonely prisons with im¬ way. Practice the trill slowly at first, makes failure so certain as the blunder¬ can depend. Trials of the Amateur. under such perfect control that the ing of an unskillful pianist, hopelessly The ignorance of people who know provident artists; into convents, from A party of violin teachers were re¬ trill can be retarded or accelerated at raising the trilling finger high and Great as are the trials of the artist, cently discussing the violin composi¬ clogging and neutralizing all the vio¬ little about music in regard to the im¬ which arose day and night the holy will, if the expression would seem to letting it fall with great force upon the the professional and the violin teacher tions of slight nid medium difficulty linist can do. It is not alone the be¬ portance of proper support at the hymns with which its tones were demand it. Nothing makes a more ex¬ string and exactly in tune. Do not in securing good accompaniments, which have achieved the greatest sale ginner and the amateur who are forced piano for the violinist is simply monu¬ those of the beginner and amateur are blended, and back again to orgies in quisite effect in solo playing than com¬ worry about speed at first—that will to trust to the tender mercies of any and the widest popularity. It was the mental. A laughable instance illustrat¬ ten times worse. Because a violin which it learned to howl and laugh as mencing the trill slowly and gradually come in time—think only of evenness chance piano player they can draft into consensus of opinion that the “Cavi- ing this point occurred in my own ex¬ player is an amateur, parents and peo¬ if a legion of devils were shut up in it; and distinctness. Remember that a service as an accompanist, but the pro¬ tina,” by Raff; the “Simple Aveu” increasing its speed. perience not long ago. One of my ple who engineer amateur concerts and then again to the gentle dilettante who comparatively slow trill executed in a fessional violinist as well, who often¬ (Simple Confession), by Thome; the So much for the theory; the practice pupils, a young girl who is a thorough society musicales seem possessed of the calmed it down with easy melodies until perfectly even manner with the trilling times is forced to play with an inade¬ “Kuiawiak,” by Wieniawski, and the is quite another matter. To acquire a artist, was invited by some friends who idea that most any one will do for an finger falling forcibly on the string quate accompaniment. it answered him softly, as in the days “Fifth Air Varie,” of Dancla, are four good trill the student must faithfully live in the country to visit them and accompanist. For the little boy or girl with perfect regularity has ten times as The great concert artists who make a of the old maestros. And so given into compositions which have attained as do a large amount of technical work assist at a concert to be given in the violinist, a young girl pianiste of equal brilliant effect as a trill performed much business of playing in public, use the our hands, its pores all full of music; large popularity as any. Of the more before the fingers are mechanically able town hall of the village where they live. age to whom the A minor scale is still faster, but in a slovenly, nervous spas¬ most extreme care in selecting their stained like a meerschaum pipe, through modern compositions, the “Intermezzo to execute it. Of exercises there is no The young lady demurred, for the rea¬ a dark mystery is selected; while the modic manner, out of tune, and with accompanists. Take three of the most son that the town hall only boasted a and through, with the concentrated hue Symphonico,” by Mascagni; the “Ber¬ lack; there are literally thousands to trembling amateur is handed over to the trilling finger hardly leaving the prominent violinists who are at present and sweetness of all the harmonies ceuse,” from “Jocelyn,” by Godard, and choose from. Violinists generally agree small reed organ, and because she was the tender mercy of some piano stu¬ touring the United States—Kubelik, which have kindled and faded on its the “Humoresque,” by Dvorak, have string and falling with slight force. doubtful about being able to find any¬ dent whose sole attainments are the that those of Kreutzer in his “Forty Fritz Kreisler and Francis Macmillen. one who would accompany her. strings. obtained an enormous vogue all over There is no royal road to acquiring ability to execute—literally execute—a Etudes or Caprices for the Violin,” No's. PROP, iu GOLDENBERG, 926-28 Broadway. Brooklyn, S.T. Instead of choosing pianists from the “Oh, don’t let that worry you,” said the world. All of these pieces are of the trill. The student can only plod few piano solos in a more or less in¬ “Now, you know, there are no less 14, is, 16, 17, 18, 19, 20, 21, 38 and 39, thousands who are available in the her friend, “Mrs. Perkins, whose farm the highest value to the teacher, as they along with German patience, practicing correct style. than fifty-eight different pieces in a are the best to develop the trill. These United States, each of the three went jines ours, has a dawter, Sairey, who can be mastered well enough by the the proper exercises under a good TONE BUILDING to order. A customer writes: The fact of the matter is, that the violin. These pieces are strangers to unrivalled studies contain every con¬ to the additional expense of bringing knows right smart about music, and average violin student.to make a pleas¬ teacher, and he will surely arrive, that worse a violinist plays, the better musi¬ each other and it takes a century, more ceivable form of trill, and if the student ov” n™sorndVostiTall.”5 Would yrnTfikTlo own an accompanist from Europe, so as to who kin second on the orgin by air ing effect when played in public. is, if he have a normal muscular and a far better violin without having to buy again? cian the accompanist should be. It or less, to make them thoroughly ac¬ masters them nothing in the way of a Drop card to The VIOLACRAFT SHOP, have a supporting artist with whom (ear) just fine.” While there is no lack of difficult vir¬ nervous system, has not taken up the takes a really good and experienced quainted. At last they learn to vibrate trill in the entire literature of violin Indianapolis, Ind. they were accustomed to play. As the compositions to be played tuoso pieces for the violin, composi¬ study of the violin too late in life, and accompanist to follow the vagaries of in harmony and the instrument be¬ music will prove of any difficulty. Kubelik’s accompanist is Herr Lud¬ were Sarasate’s “Zigeunerweisen,” and tions which are good characteristic vio¬ the young violin soloist. It may look has at least a reasonable talent for Please mention THE ETUDE when addressing wig Schwab, a musician of great attain¬ a Concerto by De Beriot, my pupil de¬ comes an organic whole, as if it were lin music, and yet of medium difficulty, our advertisers. very “cute” and appropriate to see an ments who has a European reputation. clined the assistance of Sairey’s ac¬ a great seed capsule which had grown are comparatively scarce. A Good Teacher Necessary. eleven-year-old violin student accom¬ Mr. Macmillen’s accompanist is Richard complishments of “seconding on the from a garden bed in Cremona or else¬ panied by an eleven-year-old accom¬ These studies should be studied with VIOLIN QUERIES. could safely practice four or five hours Hageman, who, for five years, was con¬ orgin” with thanks, and she finally de¬ where. Besides the wood is juicy and panist, but, unless the latter is a remark¬ A FAMOUS BAND MASTER’S a first-class teacher, as it would be very a day. If you have only studied with ductor of the grand opera in Amster¬ cided that she would play some other full of sap for fifty years or so, but at B. G.—All violinists have difficulty in able prodigy, it is pretty rough on the ADVICE. difficult for a pupil to master them teachers for two years, you are as yet dam, during which time he put on compositions without any accompani¬ the end of fifty or a hundred more gets making trills with the little finger, just ears of the listeners. alone. Here are the principal mistakes a comparative beginner and can cer¬ fifty of the leading grand operas. ment whatever. tolerably dry and comparatively reso- John Philip Sousa, America’s noted Consider the work of young or inex¬ as all pianists have trouble with the tainly not dispense with a teacher. The Kubelik brought Haddon Squire from band master, recently gave a country the beginner will make; He will not perienced accompanists. They will fourth and fifth fingers, known as the works you say you have been studying London, one of the best-known and brass band some advice for its im¬ lift the trilling finger high enough; he The Teacher Accompanist. hurry where the accompaniment is easy “weak fingers.” The “fourth” finger of are all good. You had.best rely on the brilliant accompanists in the world. provement. “Before you start rehears¬ will not let it fall with sufficient force The violin teacher who is able to play and retard where it is slow; they will THE FINGER TIPS. the violin hand is called the “fifth” in judgment of your teacher as to the Other artists follow the same rule, and ing your marches and other pieces,” on the string; he will not let the finger prefer to be supported by artists with accompaniments for his pupils certainly stop playing with both hands where piano fingering. Constant practice is works to study for the future. It would Nothing interests the reading public said he, “play several minor scales in fall perpendicularly on the tip as it whom they have played for years. has a great advantage over one who the music has to be turned, thus con- the only means of strengthening your in the admirable detective stories of Sir unison. The playing of the minor should, or he will not strike the string be impossible for us to advise you as When Sarasate, one of the greatest liv¬ cannot. He has taught his pupils the-• veying the impression that the whole little finger. You will find many sug¬ Arthur Conan Doyle more than the scales is of peculiar advantage in de¬ at the exact point necessary to make well as your teacher, who knows just ing violinists, visited America on his pieces they play and knows just where affair has broken down. If the violinist gestions for practice in the article on ability of the hero, Sherlock Holmes, veloping the ear, and if this custom is the note in tune. Beginners also make what point of advancement you have last tour, he brought with him Mme. the defects lay. If they get excited and skips a measure or plays wrong time- “Trills” in the Violin Department of to judge of the occupation of a stranger regularly followed a great improvement the grave mistake of grasping the neck reached and what your particular needs Bertha Marx, who is not only an ac¬ skip measures; if they neglect repeats values, they will stump along with their by some slight physical peculiarity. will result in the intonation of your the current number of The Etude. are at present. companist of the greatest skill, but a or do any of the hundred and one own part, never noticing that the solo of the violin between the first finger Sherlock Holmes would have had an band.” L. Z.—A method for the study of the G. C.—The reason why violin G pianist of superb attainments as well. things which pupils are liable to do in part and the accompaniment have and thumb with too great force. This easy task in judging correctly the pro¬ This advice can be applied with great Pagannini Caprices has been written by strings wound with silver wire are so It is stated that Sarasate and Mme. their first attempts in public, he can parted company. They will play the has the effect of making the trilling fessional violin virtuoso. One look at advantage by the violin student. He Emil Kross, from which you might get much more expensive than ordinary G Marx have played together in over cover up the mistakes and humor them tempos differently from the way the fingers lame, as far as free, forcible the tips of the fingers of the left hand should persistently practice all the some ideas. Unless you possess a i,600 concerts, and understand each in all their failings. Moreover, the violin student has been taught, and their action is concerned. During trills and strings is not on account of the fact with their calluses and the mystery scales, and especially the minor great technic and have studied the other so well that the ensemble is per¬ pupil has confidence in his teacher nervousness and uneven time will hope¬ rapid passages generally, the violin that silver wire is used. The silver would be solved. scales, both in their melodic and har¬ violin thoroughly, you could probably fect. It is as though the violin and and is far less nervous and excited lessly paralyze the best efforts of the should be held with a good grip of the used in making such a G string is worth It is astonishing what thick, hard monic form, until he can play them piano were dominated by one mind. when his teacher is the accompanist. violin player. It is .another case of the jaw on the chin rest and lightly be¬ get little advantage from the study of considerably less than a penny. It is calluses are raised on the finger tips by absolutely in tune. Every violin Every prospective violin teacher “blind leading the blind.” tween the thumb and fingers of the left these caprices, except under the guid¬ on account of the great care used in four or five hours’ daily practice in the teacher knows that the violin pupil Handicaps of Teachers in Small should study the piano, as well as the Of course, there are some amateur ance of a first-class violin teacher. their manufacture. The gut string on case of a professional violinist who lets whose ear is dull and defective has the hand. which the silver wire is wound is of the Villages. violin, if for no other reason than to accompanists who have a natural apti¬ The question of fingering trills in They possess very great difficulties and his fingers fall with great force. The greatest difficulty in playing minor highest quality and is stretched before be able to handle the accompaniments tude for “following” a soloist, and who exact tune is also a very important one. are only intended for professional Teachers of the violin located in the of his pupils. skin hardens to an extent that it as¬ scales and the minor intervals in his being wound. The winding process is can do good and helpful work for the I have heard many professionals play artists or students who devote the smaller cities, and even in some of the A large volume could be filled with sumes almost the consistency of horn. pieces. He will persistently play F done with the greatest care, so that the young violinist. Happy is he if he can It is of great importance to a violin¬ trills atrociously out of tune, and many greater part of their time to the study larger cities often have great difficulty in the mishaps which befall violin soloists find such a one who is willing to help sharp all through a piece in the key of of the violin. string when wound will be perfectly securing a competent accompanist. They from bad accompaniments. I remem¬ ist to have these calluses on his finger D minor—in fact, he will play the piece, students and amateurs play a great smooth. It is very poor economy for him in his first public efforts. J. H. R.—Thirteen hours a day prac¬ have only occasional engagements for ber the trials of a violin soloist of tips as a much clearer tone results than to a certain extent, as if it were written number of their trills half a tone out of the violinist to use ordinary G strings solo work, and often at a price which if the string were held down by the soft, tune without ever being the wiser for tice on the violin is entirely too much; wrapped with common wire. As a rule national reputation in the city of New Don’t have your strings of unequal m D major. It seems peculiarly diffi¬ hardly justifies them in dividing up spongy flesh of finger tips without cal¬ it. For instance, they will trill G and A it would break down the strongest con¬ they are false and uneven and possess York on one occasion when he had size—the D string large and the E cult for him to recognize that the half with a really first-rate pianist. When been engaged for a large fee by a firm luses. The callused finger tip also flat, instead of G and A natural, in the stitution. As you are a business man, a miserable tone. A good silver G lasts string small Get a string gauge and step in the minor scale comes between they have engagements out of town assists the finger in delivering a good, you had better limit your practice to many months as a rule; it gives a fine, which manufactures “player” piaiios, have them all equal and keep them so the second and third notes of the scale key of G—a half tone trill instead of a they are often obliged to depend on the concert having been arranged for sharp blow on the string and finger¬ two hours. If you intend to become a sonorous tone and makes all the H you have no gauge, save a piece of and not between the third and fourth full tone. Singers are also frequent come local player in the city they the purpose of advertising the “player” board. professional violinist, you had better the old string for your guide. Size No as in a major scale. If he is made to offenders in this respect in executing strings of the violin sound more favor¬ visit. There may be no chance for re¬ . It is of great importance for the vio¬ ably. pianos. The idea was for the young trills. give up your business, and then you 2 is about the average.—The Dominant linist to raise the fingers of the left persistently practice the minor scales, THE ETUDE 403 THE ETUDE AUNT EUNICE’S LETTER. No matter how hot the day . may be cellent articles upon music in the gen¬ were a great credit to the children’s somewhat annoyed, but the child al¬ to pay her homage? Isabella of Spain, get in your regular practice period. eral magazines: “The Century Maga¬ ingenuity. If I found that when 1 ways secured a chance to be heard My Dear Little Friends :-What do Katherine of Russia, Marie Antoinette It makes no difference whether you zine,” “The Sunday Magazine,” “Mun- wanted to enforce any musical idea Sometimes the singer was astounded at ”suppose would occur if your father of France, Louise of Prussia, Wilhel- have stopped your lessons or not, if sey’s,” “Everybody’s” and several other it was a good plan to hunt around for the little one’s ability, but when the ^ „ld stop his business just as soon mina of Holland, and even Victoria of you do not practice during the summer papers and magazines that go to all some musical clipping upon that sub¬ audacious Adelina was at fault the “father commenced to be a little Great Britain have had no more power for at least sixty minutes a day you will parts of the country. Our American ject and give it to the pupil to paste singers would always show her the aS ? Do you think that his income in their imperial grasp than has had Ad¬ not be nearly so successful next winter magazines now go all over the world. in the scrap book. right way. Patti learned more in this woukl go on just the same? Would he with your work. One of the singular I once bought a copy of an American elina Patti. way than from all her teachers. h able to get the money to buy nice Patti was born in Madrid in 1843, and things about success is that those who magazine on a news stand in Berlin. It Palestrina and Toddles. ♦Lings for you and your brothers and reach the greatest heights are fre¬ had a fine musical article in it and I is still living in Wales. Her parents The Queen Goes Forth to Conquer. £ters> No, your father would think it One day one of my smallest pupils were opera singers, and the little girl quently the ones who have had the came to me crying bitterly. She owned After her triumph in New York, the a great misfortune if his income ceased was brought to New York at a very greatest obstacles to overcome. Thereafter I commenced putting a cute little dog named “ Toddles.” little ruler of the hearts of men and even for a week. He knows that his early age. She made her debut as an The Broadway Magazine for May tells programs of fine concerts I had at¬ “Toddles” was a little scamp. If you operatic singer in New York two years women went to the great city of Lon¬ income is due to work-work that he has done in the past, and work that he about an athlete whose case ought to tended in the scrap book. This was didn’t watch him he would attempt to before the outbreak of our civil war. don, England. But no one would be¬ is doing now. He is very glad to have be one to encourage any of my little not a very good plan because it made chew up anything he could get his teeth She was then known as “the little blor- lieve that she was a real queen, and work for he knows that work not only readers who seek to do important the book too cumbersome. Then I into, i tried to console my little pupil THE CHILDHOOD AND YOUTH did. that Frederic underrated and mQainda.”.. ButDUl she had sung publicly long when she appeared under the careful brings in money but it also brings hap¬ things and who may think that the ob¬ started four books—one for programs, and she replied, “Please, Toddles has OF FREDERIC CHOPIN. aside the customary rules of music before this time. guidance of her brother-in-law, Maurice stacles before them are almost too one for musical articles, one for pic¬ _ listened only to the dictates of his own piness with it. In great prisons when eaten up Palestrina.” It was hard to Strakosch (who had also been her they want to punish a man very great to pass. This athlete’s name is tures of musicians from musical maga¬ get another picture of Palestrina, but T . fancy, the worthy director of the con- Patti as a Child. Ray C. Ewry, and he is the champion zines, and one for musical postal cards. (Prepared for reading at Etude Junior servatoire would reply, “Leave him teacher), at the great English Opera severely, they put him in a cell all by we secured one at last, and now my high and broad standing jumper of the I took great care to have all the in-> Musical Clubs.) aione, he does not follow the common Lugi Arditi, who afterwards became House, “Covent Garden,” it is said himself and do not let him work. This little pupil keeps her scrap book out of _ way because his talents are uncommon; Patti’s musical conductor, tells in nis that only twenty people were present to is called “solitary confinement.” Some¬ world. As a boy he was paralyzed in sertions pasted very carefully in each the reach of “Toddles.” both legs and it was never expected book. I used a very high grade of ...... , , ru ■ ,n( he does not adhere to the old method “reminiscences” of meeting the future greet their tiny majesty. But these times these prisoners who are not al¬ When Nicholas Chopin went rom heroes not ad ^ ^ ^ ^ ^ ^ New■ York ^ saw her then that he would ever be able to walk let library paste, as I found that cheap people all became “.Heralds. ' and at lowed to work go insane. This is con¬ alone jump. But he was an American mucilage turned the clippings yellow. sidered a very cruel form of punish¬ COMPOSERS’ NAMES PRIZE CON¬ the next performance thousands came boy and he wanted to do what he My next discovery was that my first ment. TEST. to do her homage. saw the other boys do. This is the book was commencing to fall to pieces In the April issue of The Etude we Thereafter her tour through the Work is Happiness. way he tells his story: “I remember owing to poor binding. I was very so" tSSt fame list* ye^rs^fter Chopin’s Love for Polish Folk Songs, tie airs and.manner^ then Mreajy offered a copy of Riemann Musical great cities of the wor! i was like a the first time I succeeded in shuffling much attached to that book and sorry you about a little girl Dictionary (value $4.50) to the reader Poland itself had ceased to be a nation. Chopin became greatly attached to the * become a ruler of men Madame triumphal procession. From every¬ both feet ahead a couple of inches. I to see it go. I took it to a bookbinder aed that work is hap- of The Etude sending us the longest Although he tried to return to his foik.music of Poland. When on an ex- ^ brought her little daughter to my who had not L kept on trying day after day. Some¬ who told me that it was impossible to where golden streams flowed into her - the warm weather list of composers’ names that could be native land twice, sickness intervened cursion with his father to the suburbs, mg Qn°d as she was anxious that piness. As soo times I was so tired and hopeless that buy very cheap books that would last. imperial coffers and the great rulers of cut to her mother and made from the letters of the sentence, and the elder Chopin took this as the or spending his holidays in the country, ch«-mld Hear her child sing I was commenced sin I sat down and cried. But I deter¬ I took the hint and the next books I the world showered costly gifts upon actice in this hot “The Etude should be in every musical vo-ice of “Providence” and decided to 'he Lays listened attentively to the '^Lused to see the air of import- “I - mined to recover. I worked and worked bought were finely and strongly bound. this new ruler whose -'"main was remain in his adopted country. In song 0f the reaper and the tunes of « ywith which tfae ti songstress weather, W01 y>u‘ let me stop my and worked. Then at last I could I bought them with the view of making The surprisingly large number of re¬ Warsaw he married Justine Krzyza- the peasant fiddlers, fixing them in his selected a comfortable seat for her lirnited only by the boundaries of civili¬ lessons for Summer?” She said jump a couple of feet. After that I them a part of my library, and my ex¬ plies has made it impossible for us to nowska, and their son Frederic was memory and delighting to idealize the J J 8Hch proximity that she was able zation. Everywhere she as greeted this about the middle of the lovely improved more rapidly. I trained all perience since then has shown me that announce the name of the winner of born on February 22,1810. In the origlnaI and expressive melodies. He gee ^ sjn ■ and then hav. as “the Patti,” because .he people month of June . 1 the year was at its the time, always jumping and jumping. they are among the most desirable of this contest in the June Etude. The same year the elder Chopin was ap- was 0ften asked who was the creator „T, ~ , ' t tn mi. knew that while there mLiit be many finest, and just i 1 lie time when we all The first thing I knew I improved so my studio necessities. fortunate one will be announced in the pointed professor of French in the Qf the beautiful melodies interwoven in beautiful song” she ought to be doii our best work. Her much that I could beat other boys. kings and emperors, there could be My advanced pupils took a great in¬ July issue. The contest closes June 1st. newly-established high school or lyceum the mazUrkas, cracovierines and polo- . g.y , , • ’ fb mother though; Then I began breaking records. I be¬ terest in the programs and musical ar¬ in the Polish capital. Later, he became „a;ses and how the Polish peasants demurely placed her «c o„ the but one Patti. When sin aug “Home to show her da yliter how miserable Sweet Home,” people . 1 a. because lieve that if I hadn’t made up my mind ticles. Even with very young pupils I a private teacher. He had won the “i to sing and to play the violin P«™° ^A of -Sonambula ” one can be sit tin . i lly by and watching to work out my own salvation I might found that it was very convenient to confidence and respect of the best with such charm and parity. No one m the rondo of Sonambula. they knew that they wen completely PUZZLES. others work. ;L rote to her teacher have been crippled to this day.” This take out my article scrap book and tinder the spell of her h i.miful tones. Palish families and they were glad to couId g;ve him any information Marvelous Child Voice. and told her that be would discontinue tells what persistance will do. When read them some little bit of advice The answers to the puzzles in the place their children i; In his childhood Chopin had im¬ Doesn't it all seem like a fairy tale? the lessons foi ■ ck or so. Then the you hear a great pianist you seek to bearing upon the lesson. It is a won¬ May issue of The Etude are: bedded these folk songs in his memory, “How am I to give an adequate de- mother wrote to i:e of the little girl’s Yet it all happened onb. a. few years emulate, never think of the obstacles— derful help to be able to confirm the Double Musical Acrostic. As a Child Chopin Loved Music. and, impressed by their peculiar beauty, scription of the effect which that child’s ago. .cousins and invi led her to come for a just work. things you say with an article in print. he frequently interwove some especial miraculous notes produced upon my visit''for that > L. This cousin al- HebreW In his earliest years Frederic wai The picture book and the postal card favorite into his own compositions. enchanted senses. Perhaps if I say that Where the Queen Lives. ways practice .,ummer and winter, A r m i d A very sensitive to music and wept bit¬ Something Definite. book became great favorites with the and had grown t o look forward for her N i e 1 s G terly when he heard it. It was only As a youth he appeared in several I wept genuine tears of emotion, tears Now the queen lives in a beautiful younger pupils. Underneath each pic¬ German cities, and then planned to go which were the outcome of the original practice hour, Each day, the cousin I would like to give you some defi¬ D u b 1 i N with difficulty that he was comforted. palace in the lovely ;,rcen hills of ture I had printed with pen and ink: to London, via Vienna, Munich and and never-to-be-forgotten impression sat at the pian and played in such a nite advice for the summer'. Don’t E n c o r E His first teacher was Albert Zwiny, of I, The name; II, The date of birth; III, Wales. Here she has a home far finer way that our li: try to do too many things. If you can L u t h e R Warsaw. The child was very timid, Paris. The reception that he received her voice made when it first stirred my ide friend commenced The date of death; IV, The place of was so flattering that he re- innermost feeling, that may, in some than those possessed by many queens of to think in tin- only form one good habit your sum¬ and, in order not to over-embarass him, in fans way: “I have to do birth; V, A few notes about the musi¬ European countries. In her palace she something with mer will have been a valuable one. his parents arranged to have him share solved tio make that city his home. slight measure convince my readers of my • time, and my cian’s principal work. This was very has built a tiny theatre Lugi Arditti Here is a good habit to form.. In prac¬ his lessons with his sister. Liszt, Meyerbeer, Berlioz, Bellini, the extraordinary vocal power and cousin seems o have a fine time prac- instructive and my pupils liked it very Missing Musical Term Puzzle. The boy began to compose, and, even Balzac and Heine, the great men of beauty of which little Adelina was, at says: “The building is a handsome ticing. I womb ticing remember that a piece is as good r if I could play as much. 1, Turn. 2, Close, Trilled. 3, Quaver. before he knew how to commit his music and literature of the French capi- that tender age, possessed. I was one, oblong in shape, and sufficiently well as she do s if I practiced all as its weakest measure. It is very The postal book was also a great suc¬ 4, Sharp. S, Slurs. 6, Brace. 7, Bars thoughts to paper, he would request tal, at once recognized the youth as a simply amazed, nay, electrified at the summer instead of taking a vacation much like a chain. A chain might have spacious to accommodate three hun¬ cess. When my friends knew that I 8, Tie, Hold. 9, Note. 10, Rest, flat. his master to write down what he had marvelous genius and he was admitted well nigh perfect manner in which she and spending d iy after day wonder- a hundred links of steel and one link dred persons. The side walls are deco¬ was collecting musical post cards con¬ improvised, and these first thoughts to their society as a much desired artis- delivered some of the most perfect ing what to do 1 icxt?” The next week of thread. The whole chain would be rated with panels of pale blue and gold, tributions rained upon me from all di¬ 5 often altered and improved upon without the slightest effort or self c she begged her 1 uother to let her com- only as strong as the one link of thread. Hidden Music Instruments. between fluted pillars and highly ornate rections. You would be amazed to by the gifted boy. His first concert - sciousness. mence her lessn ns again and now she If you have one measure in a piece 1, Banjo. 2, Saxaphone. 3, Trumpet know how many musical postals there was given when he was eight years pediments. The drop curtain repre¬ realizes that ai iy one who has the that you are unable to play at a given and Cornet. 4, Mandolin. 5, Clarinet are. One ‘friend who went to Europe old. He was so unconcerned regard- HOW A LITTLE GIRL BECAME A Not Without Work. sents Patti standing in a 'Roman chance to study is really very lucky. speed do either one of two things: play and Trombone. 5, Oboe and Bassoon. sent me seventy-five. These were not ing the astonishment that he created QUEEN, Chariot,’ and driving two fiery steeds, the whole piece only as fast as you can 6, Melodeon. 7, Concertina and Flute. Don’t think that all this wonderful only portraits of musicians but pictures that he imagined that people were ad¬ as in the costume of ‘Semiramide. play the difficult bar successfully and 8, Double Bass Viol, Viola and Lyre. ability that the little queen possessed Never Get Discouraged. of musicians’ homes, famous opera miring his beautiful lace collar rather correctly or work upon the difficult bar i CAROL SHERMAN. came as a blessing from the skies. The theatre gives ample room for an houses, famous statues of musicians, than the youthful genius. Perhaps you have heard many of until you can play that bar as well as Patti was known as an indefatigable orchestra of twenty performers. All and scenes from the great operas. It As a child he dedicated a march to your friends play difficult pieces and every other bar in the piece. Form this the latest modern appliances for scen¬ Musical Abbreviations. the Grand Prince Constantine. This (For reading t Etude Junior Musical- Iittle porker. She had one great op- said to yourself: “I can never do that, habit and maintain it and your playing makes a very unique collection. portunity and that was that she could My 19-2-8-13 increases in tone. cres. violent man was the terror of those Clubs.) ery have been adopted. Scenery for six no matter how hard I work.” -But if all next winter will be one hundred per hear the great opera singers of the day Pupils’ Scrap Books. My 9-3-16-4 is marked, marc. around him, but he received the ten- There was once a Hule girl who of Patti’s favorite operas is on the you really want to do a thing and are cent, better. ,, 1 ^j.,1 jj- AX1C.RE. waa uuv-c a mut gn 1 wuu at the time when a child’s mind is most willing to wait, and practice while you Very cordially, My 14-1 is very softly, p. p. spot.” One day one of my little pupils came While my 17 is nearly'opposite, f, wait, you will very probably be able Aunt Eunice. York, who was destined to become a Then again she had what people call to me and said: “Why can’t we have My 13-20-19-7 touches lightly, stacc. the march and had it scored and it was to do that thing better than you ever scrap books too?” I was delighted to queen. She had very black sparkling “talent.” She was unmistakably smart The record of the early years of • My 5-16-12-9 is a shake, trem. played by the military band in the city. imagined you could. I . know a girl who hear this, and at my next pupils' as¬ eyes, and was so bright and happy that and made such fun of her work that it “child prodigies” is an unhappy and always wanted to be able to play SOME MUSICAL SCRAP BOOKS. My 2-15-4-6-20 precedes an aria, recit. all the other children loved her. They didn’t seem as if she were working at sembly I told them how to go about My 11-18 and y denotes the signa¬ How Chopin Improvised. distressing one. Teachers who pose as Gustav Lange’s “Flower Song.” She laughed at her when she told them that all. There is a well known story that making a scrap book. I advised them ture. key. philanthropists are shown to be only worked and worked until she mastered BY FRANCIS LINCOLN. Frederic occasionally improvised in she was _going to be a queen,„ . but many______you will_ _all enjoy_ hearing The tiny to get a good strong book and -then My whole of 20 letters is known by anxious to make reputation and money. the tuneful little piece and then she divide the book into four sections. The the drawing-room of the Grand Prin- of her little playmates lived to see her songstress had a way of secreting htr- said: “If I can do that so easily, I can every music student. Parents are shown as willing to sacri¬ I FIND that my pupils take a great first section for articles; the second for cess. Noticing his habit of casting up ascend one of the most important self in the scenery during a perform- sarn Chopin’s famous “Nocturne in “Practice makes perfect.” fice the future of their children for im¬ interest in making up musical scrap pictures of composers and their homes; his eyes and gazing at the ceiling, the thrones in the world, for she became ance and listening to the great singers E flat.” She learned the Chopin Prince said to him: “Why do you al- the ruler, not of some little European She had a fine memory and she would mediate gain, while the child prodig LOVERS’ LANE, SAINT JO T^sassisani£:ss£s; “‘.SlU, THE WORLD OF MUSIC. 5'IStifflS ?J^gnair" :“sssir at thforandT,,,!'";, Vi‘.usHn Colo^e°f y6arS DoweH^No^moreV^ NEW PUBLICATIONS. JfTS^< ‘?J ?a™ftreldTe>V — be **"*-*«• Tschaikowsky, his life and works, with Monnaie, Brus> is Easter. MncDowell's “Six Poems” h»= extracts from his writings and the diary “SESS#**** - ties byDf nf’thl’ °* °ne W» tour abroad.in 1888, by Rosa Edited by Edwin wsrtssr: •“ gSIS-51 ' ' ’ ~ ;). Price. $2.50 ggfFsg§?SSs i§r is a?5ss a^certafn0 ioliai" passage‘was'even T I don't believe I could teach music it it tion °f the 8reat Russian master is *HiysT.r'.wS' Fj? r» i? a ■1 sr ksa 1 "Sa :&xttvsma .swgHK CLAYTON F. SUMMY COMPANY »&- wasr.-Mwa gSK'ir; " Special Notices sratfSnKStiS poser’s work was little known, but his #i™rMPH ggmswi sggg % kSSFSx!! e analysis . of Tschaikowskj s occupies oyer one quarter of tl '^issimssmm cSSisaHMwr*-Ip g§pSSi PIPE ORGAN lutchings & Votey Four Manual Organ ts- Mozart’s biographers is^Otto ^ah* Suitable for Large Church or Hall whose work is exhaustive and as yet Jpi sgiSSK“?f. kSm ^3Ksr&SQ?fts^ gs siBIBiEli-: K£TnTi:'i£HVS^ 411 410 the etude T H E ETUDE RECITAL PROGRAMS. light, McIntyre; fcunaay Morning, Heller- A DISTINCTION. Austrian Song, Pacher; La Zingara, Bohm • SUMMER MUSIC SCHOOLS Blue Violets, Lege; Faust (4 hds), BrunnS • TAPPER’S GRADED COURSE Win!ier fif th* Chimney.1 tfuUak; Giant!, Ballet Music, Meyer-Helmund; Dance Can questions BY C. W. FULLWOOD. Witches James H Roger’s; Fur Elise, Bee¬ rice, Bariii; Cradle Song, Barili; Adieu, Eil NEW LIGHT ON PIANO TEACHING thoven ;' Menuet, from “Don Giovanm, Mo- enberg; Rondo Caprice, O’Neil; Lucia di Lam- Practical Correspondence Lessons zart • Consolation, Mendelssohn, Military mermoor (2 pianos, 4 hds), Alberti; Spanish March (4 hds), Schubert. Dance, Sarakowski; Bird Caprice, Blaetter There is a wide difference between man ; Bolero, Ravina ; Berceuse Iljinski ■ The For Teachers and Students Shepard Piano System Brook, Pacher; Butterfly, Lavalee; Marche answers study and practice. I have known of PU&n°l f4uz'(4iabndSKCGo°dard; Funeral Grotesque, Sinding; Lustsplel Overture (4 pianists giving a maximum of time to These Lessons are prepared and conducted under the supervision of the Author A Revelation in True Education March from Sonata, Op. 26, Beethoven, hds), Keler-Bela ; Duo—Marche Trlomphale (2 pianos, 4 hds), Goria. practice but a minimum of time to Thoroughly practical in plan and purpose Harmony by Mail Adds New Powers to Old ttfrn^.^Op!*!^ No.'?,^ChoplnV'Bohemian ’Polka! „ Reaper—The Angering of the study. They were pupils but not stu¬ A Revelation in Simplicity Methods Pupils of Miss Fay Marshall. CoN.HcN scMe depends upon expediency. dents. Study requires concentration of Analysis of material, questions, and Outlines for Home Study. H Written work to be sent in for Springtide (4 hds), Maylath; Flower Song SilTmoit general fingering s that which correction, also Courses in Harmony, Music Theory, Music Hrstory, etc. and Practical Value Combines with any—Vitalizes all The third finger upon all black notes, mind. Practice may be mechanical. Spaulding; Spring Showers (Caprice), Kern- fixes the al! white noteg with the FREE Specimen Lesson. “Harmony Sim- SUMMER COURSES, 2 to 6 Weeks Voices of Spring, Op. 584, No. 7 (4 hds) The mind may be off “wool-gathering” Behr; Dance of the June Bugs, Holst; The and tae and “f” in the right hand ALSO BY MAIL Merry Bobolink, Krogmann; Among the exception or in the left jlan(ji upon on some other subject, or a variety of Send for booklet of NEW IDEAS Daisies, Spaulding; Blight Butterflies, Fink- SKU notes thewSecondoflngerpis -ed.^A subjects. Mere practice makes a musi¬ Seranade D’Amour (4 hds). Von Blon; Song Pupils of Sherwood Music School. of Spring, Schmoll; Barcarolle, Dore; Spar¬ cal gymnast. Study evolves a musi¬ Rondo' Op. 73 (2 Pianos, 4 hds) Chopin rows Chirping (4 hds), Behr; Silver Stars witheutcate t^^jj^ntervening the JutervemoB blacl^note.’th^e^ 0n all Sthumbother cian. One is the semblance of music, Shepard School of Music ’ Etude in C sharp Minor. Op. 25, No. 7, (Mazurka), Bohm. Chopin; Autumn, Op. 15, Win. H. Sherwood; and second S £nd tWrd finger alternate. the other has the power of music. The AN ADVANCED Etude in C sharp Minor, Op. 10, No. 4, Pupils of Mrs. E. L. Alford. n°tes Sr, pXCeiient fingering conducive to one is superficial, the other is depth INSTITUTE OF MUSICAL ART Chopin; Waltz in C sharp Minor, Op. 64, No. “March Militaire,” Op. 51, No. 1 (4 hds), ia similar to the above fingering, THE A.. Y. CORNELL 2, Chopin; Le Soir (2 pianos, 4 hds), Chami- Schubert; “Aida” (4 hds). Jos. Rummel; of thought and feeling. The one is the OF THE CITY OF NEW YORK SCHOOL OF music nkde; Warum? Op. 12, No. 3 Schumann; “Serenade,” Schubert; “Valse,” Op. 42, No. counterfeit, the other is the gold of with prescribed courses assuring a "4“Av?"■» srwj-*S3 Frank Damrosch, Director Incorporated Summer School of Vocal Instruction Elfenspiel, Heymann; Waltz. Man lebt nur 5, F. Chopin; “Spring Flowers,” Op. 295, current value. Thorough Musical Education Einmal, Strauss-Tausig: Le Matin (2 pianos, No. 2 (6 hds). F. Behr; Die Mlihle” (4 hds) thervSs'rf fingers x, h'”.£tMUSICS OF MUSICAL ARTS Waltz, Op. 34, F. Chopin; Impatience, Franz Holst; Motion Song, “Little A• ’ •• in,” L. F. imposer has a style of his handsomest buildings on Fifth avenue, in Schubert; Thou Art Like Unto a Flower, An¬ Gottschalk; “Alpine Glow” (6 u i. Oesten; music, and eos ii ton Rubinstein; Rondo Briiliante, C. M. von ehs, Bachmann, ThomS, of doing it. this city. Surely no greater proof of the "Menuet" (violin), Paderewsk,; .»[ ,,nj Chaminade, Mo* tv.ski, Shiitt, Heins, Engel- Weber; Fantaisie Impromptu, F. Chopin; of the Valley, Smith; "Hope March” (4 llni and others have large Even a five-finger exercise will be success and efficacy of his method could Concerto, No. 9 (violin), Ch. De Beriot; violins), Guido Papini; Valse, Chopin; Hun¬ numbers of te i ts. Their works are by better done if a study of the relation- be desired.— The pominant, Sept., igoj. Rhapsodie Hongroise, Franz Liszt; Scherzo, garian Dream (4 hdsl, H. F. Faber: “Festi¬ rm excellence and import- Bb minor, F. Chopin; Hungarian Dance, No. val Procession March” (8 hds), Rathbun. kp composers show a defer- of notes precedes the practice; and a Our Summer Course PIANO Special Summer Course 5 (4 hds), J. Brahms. that seems to be ignored mental exercise of the scales before Y IKIIIL SCHOOL For Teachers and Others going to the piano will give a better grasp of scale work. This silent prac¬ Pleczonka; Mazurka, No. 47, Chopin; The FLY TO PIECES 19 West 16th Street, New York JUNE 24 to jUly 24, iqoo Storm, Weber; Star of Hope, from Batiste; tice will repay large returns in techni¬ Grand Conservatory Charm of Spring, Reynold; The Dying Poet, MRS. A. M. VIRGIL, Director. SEND FOR SPECIAL CATALOGUE Gottschalk; Valse Intermezzo, Dudley Mar¬ cal work. /\f 57W.93dSt.,bet.Central tin; Mazurka de Concert in D flat, T. H. The Effect of Coffee on Highly Organ¬ If all pupils could be induced to be ihates are valuable Ul III libit Park W. & Col. Avenue Leschetizky. ized People...... * drugs should be students, the teacher’s Work would be SIX WEEKS' SUMMER COURSE FOR TEACHERS Pupils of Gustav L. Becker. • livsician who understands easier and happier. For a teacher is For free year book and information address Special Rates—Beginning June 22d Prelude and Fugue, Op. 35, No. 1, Mendels¬ the music teacher. All pat- The only Music School Empowered sohn ; Sonata, Op. 69, Beethoven; Ballade Irugs and are dangerous if often handicapped by this superficial J. H. KEELER, Secretary AMERICAN INSTITUTE OF APPLIED MUSIC, 212 W. 59th St.,New York City in D minor. Op. 10, No. 1. Brahms; Drel “I have been a coffee u-c for years, idea of music on the part of pupils and by Act of Legislature to Confer Fantasie Stuecke, Op. Ill, Schumann; Pre¬ and about two years ago g t into a very Regular University Degrees h f T>li Me^°p0lUan v ofMusic) EDGAR °- S.LYER, President lude, Op. 45, Chopin; Etude, Op. 25, No. 7, parents. Chopin; Impromptu in A flat, Op. 29. serious condition of dyspepsia and in¬ There is the trouble. Many times FREDERICK MAXSON ira-e Coleman Gow, Daniel Gregory Mason, ^ate^Chitten^^ Chopin; Fantasie Impromptu, Op. 66, digestion. It seemed to me I would ORGANIST FIRST BAPTIST CHURCH annie Greene, May I. Ditto, Katharine L. Taylor, and others. Chopin; Valse de Concert in D flat, Wien- i Ihpir thoughts down upon the parents know not the first thing irculars and Catalogs. »8d year begins Sept. 28,1908. awski; Liebestraum, No. 3, Liszt; Valse fly to pieces. I was so nervous that at that I have musical ideas, about the importance of music study sical Sciences ; 45 Proiessors and Instructors. Seventeenth St., above Walnut, Philadelphia, Pa. KATE S. CHITTENDEN, Dean of tlie Faculty. Amabile, G. L. Becker; Poiichinelle, Op. 3, the least noise I was di-tressed, and to reproduce them by writ¬ Special course for Teachers and Profession¬ / No. 4, Rachmaninoff; Suite Anglaise, No. 3, ten I finish I have nothing in its true sense. Where a pupil comes Teacher of Organ, Piano & Harmony J. S. Bach; Preludes, Op. 28, Nos. 11 and many times could not straighten myself from a home with a musical atmos¬ als. Thorough course for beginners. 16, Chopin; Etude, Op. 10, No. 12. Chopin; up because of the pain. ; of 1 Parlor Opera Co. and Students' Concert Sonata, Op. 109, Beethoven; Hungarian ferring thei ■■ ocal^houghts to paper, phere, through a correct understanding C^WEIGESTER*^ Fantasie, Liszt; Etude in F, Neupert; Etude “My physician told me 1 must not eat by thinking t ight, and. next, by under¬ of the principles and aims of music, the Co. open to students for membership. in F sharp, Henselt; Air de Ballet, Mosz- any heavy or strong food and ordered a standing t! theory of the art of music Six Weeks’ Course thoroughly. Sometimes this understanding teacher has a clear field. THIRTY-FOURTH YEAR SUMMER SCHOOL diet, giving me some medicine. I fol¬ comes at a ; v early age, and apparently The pupil should be advised to think The Sternberg School of Music lowed directions carefully, but kept on Without much instruction. The instantane¬ DR. E. EBERHARD, President $65 for Teachers Pupils of Miss Mary R. Tost. ous insight ot the genius seems to reveal In out ail music as a mental habit. CONSTANTIN VON STERNBERG, Principal of VOCAL MUSIC Valse Venitienne (4 hds). Ringnet; Galop using coffee and did not get any better. a flash what others have to struggle for Thought must precede action—this rule 57 West 93d Street Complete Musical Education in all branches (4 hds), Calvin!; May Queen, Goerdeler; Last winter my husband, who was away years to acquire. What you need is a thor¬ For Singers, Teachers Private Lessons in The Brownies, ReinLold; Festzug, Blaesing; ough course ill harmony, counterpoint and must be often repeated until the pupil and Students Spanish Dance (4 hds), Gottschalk; Picnic on business, had Postum Food. Coffee composition with a good master. If you can- recognizes its importance and applies Fuller Building, 10 South 18th St., Dance, Spindler; The Song of the Katvdid, served to him in the family where he inot secure a good master, acquire Dr. H. A. PHILADELPHIA PA. nKern u* ; Czardasvoatuoo v(4 w hds),uuft}, iYiicmeisMichiels; ; uoilyDoily’s S Clarke’s “Theory Explained to Piano Stu¬ it as an essential principle in his music PIANO, VOICE OR VIOLIN gye-J0 Song, Gottschalk; Jolly Comrades— boarded. dents,” Clarke or Norris’ “Harmony” and en¬ study. And he must realize that no Rondo, Engelman; Flora, Wenzel; March, “He liked it so well that when he deavor to secure what knowledge you can by Including Room and Board. Forest ; Story of the Fairies, Oesten; Les self study. detail is so small as not to come under Clochettes—Roses—Fantaisie, Trill; Dance came home he brought some with him. GUSTAV L. BECKER alar and information, addres on the Green, Bohm; Cradle Song, Durfield; this rule. ROBT. fi, WEIGESTER We began using it and I found it most . 'J- 8. H.—Verdi’s “Emani” was imimu ,» Teachers Educated in Europe. of Butterflies. Egener; Butterfly, 1844, and leaped into immediate success. It One of the reasons of so much faulty VOICE CULTURE 807-808 Carnezie Hall fnl_N: fRomancg—Forgiven, Ferber ; Even- excellent. While I drank it my stomach is based upon the plot of Victor Hugo’" reading and ear training of to-day is 4o NEW YORK, N. Y. Leschetizky Technic for Piano. never bothered me in the least, and I Hernani.” While melodious and interestin; S,h«?;TWia.r*^Iarch of the Prie8ts, Mendeis- m Parts, it by no means ranks with Verdi’ this lack of study preceding practice. 1700 Broadway Italian and German Methods for Voice. Invitation to the Dance. Von Weber; got over my nervous troubles. When •Bjytw,, works, “Aida,” ‘Falstaff”“ ‘ ' ~ -" The pupil begins lessons with the idea ’" he Path of the Roses. Wilhelm; Sere¬ Otello. it is rarely gii Send ioc for booklet Belgian (Ysaye) School for Violin. nade a Amour, Von Blon; First Valse the Postum was all gone we returned to now, except in that everything must be done at the PRIVATE MUSIC SCHOOL coffee, then my stomach began to hurt Italy, where it still has so popularity. “How Beautiful Sing¬ piano. ing Voices Are Made” ^»upTfndasheBp& VIdvl St&»: me as before and the nervous condi¬ du"eu.ih;r Mr. and Mrs. A. J. Goodrich •slihi W-~What T°u need is a good work upon By studio talks, by the printed page, Plain answers to typi¬ Marks’ Conservatory of Music tions came on again. •sight-reading. We would suggest Mr. F. W. 80 Saint Nicholas Ave., NEW YORK CITY fsjsTife vvse*? K.8„ excellent books on “Methodical Sight cal questions about Voice Culture GUI LM ANT LESSONS BY MAIL “That showed me exactly what was by parlor lectures, by here a line and 2 West 121st Street, New York. Reading ' This work is in three short, prac- there a line—line upon precept—pupils, and the Art of Singing. Special Course for Teachers JVJu.rnd MV SSI rfi the cause of the whole trouble, so I quit te, Op. 107, No. stuad1v™'rf;^,ani.*n! rep?y it- parents and prospective students must “Musical Possibilities of the Aver¬ ORGAN SCHOOL hds), Boscovitz. drinking coffee altogether and kept on age Voice”.20c be shown the important distinction be¬ Pupils of Mrs. M. McDonald using Postum. The old troubles left Suit0 c°“Prehend the bass notes quite TT„>”ond'C <2 Pianos. 4 hds). Gurlitt; “The trafien’ Yo" will probably find t*~‘ - tween study and practice. WILLIAM C. CARL Unhappy Bear,” Spaulding; “Tallyho,” Swift- again and I have never had any trouble tendency to flat will cease whenl you read TRAINING^ BOYS’VOICES JOHNafDENNl’s MEHAN K e.e tlaei; “The Violet!” more accurately. Director DEVELOPMENT OF THE VOICE AND ™ since.” “There’s a Reason.” Read EXPRESSIVE SINGING hds),hds? ’ Sartorio; “Autumn..K?rn: Days”Gyps.v Life"(4 hds) (4 “The Road to Wellville,” in pkgs. COURTRIGHT SYSTEM OF A Thorough Education Lindsay: “Ping pong,” Walters' Rural chor„J'—SalIla- ai motet for soprano solo.solo, Carnegie Hall, New York Ever read the above letter? A new nod w 311,1 orchestra music, by Charles Gou- MUSICAL KINDERGARTEN HERWEGH VON ENDE for the Organist : : : Weddmg (4 hds), Mason; “Through Sylvan the’ written for and first performed at SUMMER TERM, JULY 20 to AUGUST 22 in Glades” (song), Warner: “Chapel In the one appears from time to time. They TAUGHT BY MAIL. The newest, qu’ “ VIOLIN INSTRUCTION Fall Term - Oct. 13th Dr. C. Edward Stubbs >aj*tSr Denver, Colo. Mountains” Wilson; “Fanfare” (4 hds) in A oti1!? ,of the International Exhibition Send for new Catalogue are genuine, true, and full of human Hall, London, May 1st. 1871. The Teacher of Kotlarsky. Soloist Metropoli¬ Flatterers.’’^Chaminade.’ CaMni; “Tha .Terem7ai? cIlosen from the Lamentations of tan Opera Concerts. On tour with Caruso in THE ETUDE wl l addres interest. trot1 ;is„ suitably reflecting the down- 34 West 1 2th St. New York trous Fra ndi^,on of France after the disa8‘ 21.2 West 59th Street, New York Latin namnf? Prussian War. Gallia is the 11 n name for France. Please mention THE ETUDE when addressing our advertisers A 412 THE ETUDE THIE ET UDE 413 ME well-known dances HOW TO LEARN BY ATTENDING understand why he changed the : As far as it is possible to ascertain ARTISTA pttct RECITALS.'PT7r'T,T A T ..Q •npr■v. of playingflavins’ in hishi9 interpretation.infprnrptnt;. S OF SPANISH ORIGIN. from records, this dance would seem CINCINNATI CONSERVATORY of MUSIC, established 1867. It is a good plan to carry the music always to have been in use in Seville Miss Clara Baur, Directress. BY LEONORA S with you to the recital, and follow the Cathedral, when the town was taken Faculty of International Reputation player note by note, as few students from the Moors in the thirteenth cen¬ SPECIAL SUMMER SESSION an be no question that one would be expected to know every num- tury it was undoubtedly an established Elocution MUSIC Languages custom and in 1428 we find the six boys t important auxiliary means the concert program of a great The Cachucha bore a very close rela- Also Special Normal Course in leading to a broad musical education artist, • to the Bolero, but the dance tune recognized as an integral part of the was originally sung and accompanied Chapter by Pope Eugenius IV. The PUBLIC SCHOOL MUSIC is attendance at the recitals of great So much for th'e printed pages. Now Location and surroundings ideal for Summer study. artists. Paderewski and many other the player himself walks out of the on the guitar. . dance is known as the “Los Seises,” For Catalogue and Summer Circular Address Another very graceful Andalusian or dance of the six boys, who, with famous virtuosos as well as famous little door at the side of the stage and MISS CLARA BAUR, Highland Ave. and Oak Street, - CINCINNATI, OHIO singers now go to cities of compara- towards the big piano. Notice the way dance is the Tirana, generally danced four others, dance it before the High tively small size. Paderewski in a re- he places his hands on the keys, and and sung to a very rhythmical air in Altar at Benediction on the three even¬ cent article declares that he is amazed the position of his hands and fingers six-eight time and accompanied — *u~ ings before Lent and in the octaves of COLLEGE OF MUSICAL ART at the development of musical taste in when he begins to play. Sparing a few The words accompanying the Corpus Christi and La Purissima (the Oliver Willard Pierce, A. IVf., President Indianapolis, Ind. small American cities. Few teachers moments now and them from the jmisic were written in four line stanzas, Conception of Our Lady). The dress A great Colle^e^conducted^ for serious^ Students only. A Faculty ^ called coplas, and had no estrevillo or of the boys is most picturesque, page who are successful can maintain a manuscript music, watdh the utterly de- sory for graduation. A College of Musical Art Diplom refrain. The Polo or Ole is also an costumes of the time of Philip III technic comparable with that possessed vitalized wrist and arm which alone can Write to-day for SPECIAL SUMMER TERM CIRCULAR. by the great virtuoso. The demands bring forth the extremes of perfect tone Andalusian dance, accompanied by being worn, blue for La Purissima and made upon their time by pupils make Yes, watch the player carefully There singing. It is said to be identical with red satin doublets lashed with blue for practice uncertain and often impossible, are few stronger characteristics of the Romalis, which is described as “a the other occasion, white hats with blue AMERICAN COLLEGE OF FINE ARTS dance danced to an old religious Eastern and white feathers are also worn whilst SHORTER COLLEGE,rome ga. Study with your teacher, but don’t ex- young people than those of initative- 1 FLORENCE, ITALY tune, l°w and melancholy diatonic, not dancing. The dance is usually of pect your teacher to do all. You must ness, and you will find yourself uncon- An advanced School of Aesthetic Culture. Music, broaden yourself by hearing as many sciously copying the movements of chromatic, full of sudden pauses which twenty-five minutes’ duration and in Painting, Sculpture, Languages, etek The one col- are strange and startling.” In its wild form seems quite unique, not resembling fine performers as you possibly can.— those whose personality nnisl affect you Large faculty of great masters—the best in Europe. The Editor.] strongly. energy and contortions of the-body, any of the other Spanish dance forms, for health. or, in fact, those of any other country. THOS. J. SIMMONS, A.M., I.L.D., President ol both College “That will be worth more than a Study, watch, and last, but not least whilst the feet merely shuffle and glide, mation on request. Write today. Address, Rome, 1 dozen lessons to you,” my wise teacher listen! it much resembles oriental dances and The boys accompany the symphony on used to say to me when there was a Listen to the wondrous singing tone is only danced by Spanish gypsies. It castanets and sing a hymn in two parts prospect in view of my hearing a Pad- and compare it with your own This' is sung in unison, by a chorus, who mark whilst dancing. For a description of erewski or de Pachmann recital, and will be the surest way to appreciate its time by clappint: their hands, and the the dance itself, I cannot do better than indeed lessons do pile upon lessons if marvel. Listen to the long, slow pas- words, usually o me what comic, have quote from an article in the Church we will only heed them while listening sages and hear how the power is sus- no refrain, as • the case also with the Times, written by one who has had the t0 a great artist play. tabled. Listen to the runs and trills Tirana. privilege of being an eye witness of It is hard not to just sit and listen of perfect form and smooth: ,-ss. antt Very little is known about the origin this unique performance. “ . . . The without any mental work however; hard listen to the great chords brought out of the Saraband:, but most authorities orchestra strikes up another measure, not to enjoy the moment to its full, with the “forward arm” movement seem to think i; . iental. It is a stately and, still singing, the boys advance, Moreover, there is so much spread out You see every sense must 1 awake dance in thr< half or three-quarter one row towards the other, cross, before us that unless our capacity for and eager to obtain the mane lessons time and was m.-times written for the divide, form squares, circles and other Kimball Hall AMERICAN figures, keeping time the while to the 243 Wabash Av. appreciation is trained we are unable to this hour has to teach Phone Har. 2003 derive any real benefit from the per- The last lesson is, of co c the music. One step to each bar of six- HINSRAW CONSERVATORY formance. greatest of all, for it is traini, the ear The Seguidiila. eight time. Their motion at first may ,ruled 1886 Now, to the student of music, who to full appreciation of that Inch work- The origin of the Seguidiila, both of seem a little stilted; but soon they get CONSERVATORY l school of music in wishes to learn from the masters, here manship for which all the resi merely the dance and i name, is very uncer¬ into an easy and dignified rhythmical DR. WILLIAM WADE IIINS1IAW, Director try. Unsurpassed fac- are a few simple rules for gaining a few an apprenticeship However i each tain; it would cm to have originated movement. Sometimes they sway to Offere a Special Summer * ulty of sevei ity. Courses of Course in all Branches of study thorough, simple lessons which will last, rather instance do not be discourage :i the in the province of La Mancha, from right and left; and then so manage the modern. Many f whence the n; Seguidiila Manchega. figures that, one by one, they all return VOCAL, » M T T C* ¥ /V PUBLIC than a vague, meagre memory of some- magnitude of it all overwhelm- you. PIANO, /VI \ ( SCHOOL thing that Before long fades entirely It has a long course, this school of In this form, > inch is considered to be to their original position at the end of VIOLIN, iTIUtjl V MUSIC awJ?.y' . “learning how to listen,” and it does not the original ■ it is very gay and each strophe, which is marked by a rirst, get a program and notice the divide its works—the whole spread lively, but tl; guidillas Boleras are rapid twirl. . . erate. Catalog and special cir- There do not seem to be any records order of the selections to be played, out before you, but it is on! by the more meastn and stately and the .11 Hall, Chicago, 111 JOHN J. HATTSTAEDT, - President If they are arranged according to the exhaustive study of the best bat the Seguidillas (m s very slow and senti¬ as to the origin of this dance, but the time-honored dustom as follows—Bach, definite’ ” ” artistic• - -knowledge ai mental. Souk > iters also mention the fact that it is so ancient and also so Beethoven, Schumann, Chopin and can be obtained. Seguidillas I las, said to be a com¬ unique makes it of very great interest, COLUMBIA Liszt, it will not be hard for you to bination of ti- ■ riginal form with the and no sketch of Spanish music, how¬ TEACHERS -SKS- place in your mind the classic, the Cachucha. Seguidiila is in triple ever brief, could be complete without SCHOOL of MUSIC WANTEDogf DR. TALKS OF FOOD some reference to it. sic and special subjects on romantic and the modern schools A time, usuall he minor key, played CHICAGO program like this is really a picture of on the guitai ■! occasionally accom¬ CLARE OSBORNE REED, Director DELATION AL BUREAU the development of the art of the piano Pres, of Board of Health. panied by tin f! ■ e, violin or castanets. THE IMPERTINENT PUPIL. If, on the contrary, the artist varies his Both the wo..! and music frequently Once in a while the teacher en¬ Special Engagement of selection. .and -..-.arrangement;■sviiici.L, ifn hene puts “What shall I eat?” is the iT.il partake of tl ; nature of improvisation, counters a pupil who is downright MR. A. K. VIRGIL for a quaint little French dance between quiry the Physician is met ' impertinent. It is a very perplexing with strang, modulations, and the SUMMER NORMAL SESSION Anderson Schumann and Chopin; if his opening not hesitate to say that in my ; words appem ; be both serious and situation. The impertinence may be due AND CHURCH CHOIR AGENCY in Virgil Clavier Method number is one of MacDowell’s sonatas- a percentage of disease comic. either to careless home training or to Secures Positions for Teachers of then there is ample space for you to by Poorly selected and improper;.• the unwise indulgence of some prevkus For catalogue and particulars address VOICE, PIANO, VIOLIN, ETC. study the form and meaning of these P*}red food. My personal c\ ri The Pavane. teacher. The impertinence creeps up A. S. FAULKNER, Manager 5 W. 38th St., New York j^errwor* STACCATO AND LEGATO. Visit the Beautiful Land of ^nlmfrof German made my throat ache/’ ^ °f mme Evangeline, Nova Scotia n and Russian mu- Host: “They made my ears ache n Francisco Chronicle, too.’’—New York Evening Telegram ’ lengthy article, in evi¬ BAND OF YOUNG dent good faith, relating to a Welsh Mr. Woody: “Music is a most fasci- kowsky would become more lamous as IN THE WORLD. village, situated in Anglesey County, nating study. Do you know, I’d like At the New York Institute for the the Mme of whichis Llanfairpwllgwyn- to sing, awfully?” Deaf and Dumb, which is run upon (who had heard him): jitth-' ■ ’ with the SOIBnOScorroborafn this a hoto ra h “0h’ ^ ^oV’—Boston Transcript. he contrapuntal class I set him to write drills and marches, there is a band PIANO out variations upon a given theme, and which is unlike any other band in ex- T mentioned that in this class of work istence. Not one of the performers can not only quality but quantity was of hear the music that is being played, we have not yet been inflicted with any swered Mr. Cumrox. “I can’t makeup importance. I thought perhaps he You know that Beethoven is said to and ORGAN would wiite about a dozen variations, have attempted to conduct after he be- They have a whistle language on itP—Ei peligo. They can w days in Nova Scotia,” to COLLECTIONS ticulately as a Bostonian speaks. And, e Gilder was one of the J. since they can whistle very loud and its at the debut of Tet- F. MASTERS c of the house to greet one in all probability, unknown now. little folks try to get along wi as little work as they can possi and yet gel tin ,-ugh their lessons with- beg^intheir musica THE MUSIC TEACHERS OF THE SOUTHWEST These young i>< -pie are always miser- ordinary door ke; !VATORY £ able. Try to ,io more than you think “As soon as the your teacher expects of you and you in his min will find when you grow up that the Kps he is COURSE 1M VOICE ^s for shame, ‘ ” world will give you more in return, horn. He nrnsi men learn musical no- • -S *I It is always the people who are trying tation, especially the mathematical side - 3 3 Hiss for shame, to get out of doing things who are in of it, so that he gradually gets an idea Everybody knows your name!” Q. When is it positively dangerous This cry is not sung. It is intoned, to go to church? “hot water.” The people who do more oftime. ^ ^ ^ ^ . f And so the Gomeras intone their gut- A.- When the organist is drowning tural language. It would be quite easy the choir, and a canon in tlu- pulpit is to whistle the “Hiss for shame” cry, firing away at the congregation. So it is quite easy to whistle the Gom- tha^ th 1 ha x. < 1.. n heir "belt?1" only sUrt off WILHEI.MJ AND WAGNER. of .the selec tu c u ~ , . .. . city gid^sked6 yo^ngNathan* Mme. Schumann-Hemk, the distm- 0f Willowby, who was trying to enter- pupil of the late August and“t Mlfnneap^rs^Schoor "of Music"," Oratory guished operatic singer, recently at- tain her at the church social Nathan tended a tea^ in ^Chicago at^ which a looked bewildered Dramatic Art n Strand, of ing are extrac “It is not u it hin the humble scope of «.The process 0f acquiring this ability tSSSTt SZZ/ZZSSmZ ZABEL BROTHERS -*-tags™-“ SiTi-lSSd gsfmusic printers £ co,nmb^^x^°iphs‘- and engravers giving it to W agner on his birthday, ent hearing powers, and for this reason ’ P„°oWetrSiain: "if have-made out *£ The VERTICAL MUSIC CABINET her by the t MUSICAL PINS were fine he gave his WAGNgR>g YOUTHFUL mange tor mmseir, CIATION OF WEBER. always glad to encourage individuality u,ulufl wr-oxi.rx. or originality. As a concert player, Wm Wch?rd Waper £. Undying from all I have heard from his con- Webers Freischutz at the home of temporaries, I should sav that no one his mother, he is said to have been so has ever arousll more entimsiasm or absorbed in the work that he could been accorded more unstinted admira- hardly be coaxed away from the instru- tipn by both artists and public—an ment. Once his sister came into the ifsETBSE teS8&»p* from the platform. Toachim and Wil- nounced her for interfering with the helmj—even as Lady Halle among performance of Weber’s opera. He LEARN TO WRITE MUSIC _ she said, “do tell me the -_ nam.e of some good piece of classical int Tnlstni t, v music for the piano! I am so tired of anniversary of his birthd'ay this SCHOOLS AND TEACHERS : £ 5S,itjss Advertise Your Fall Sessions in A MUSIC SCHOOL Haydn' and M„”" THE ETUDE DANA'S MUSICAL INSTITUTE THEO. PRESSER, Publisher SSSSffi the 1812 Oyer- thusiasm. “If there is anything in the SEND FOR SPECIAL RATES ■ 416 THE ETUDE FLETCHER MUSIC METHOD REED ORGAN MUSIC GRADE L 0. Polzer, J. School March, Op. 46. 1536. Oesten, Max. Norwegian Shepherd Song, Op. 140, 1. Read, E. M. Sunset Nocturne,. No. 1- SUMMER SCHOOL F»LAISJS 1503 Barnard, D’Auvergne. The Grenadiers,.SO 20 1. Rossini, G. William Tell,. Rawlings, Alfred. Postlude in D. { Engelmann, H, Op. 336, No. 1. Butterfly Waltz, S. Schmoll, A. Op. 54. March of the Crusaders, Reinhold, H. Op. 39, No. 13. Gipsy Song, . . 3817! Engelmann, H. Op. 566, No. 3. The First Dance 7. Schumann, R. Nocturne, Op. 23, No. 2 (Nachtstucke) Richards, B. Evening. (Polka),. 30 2. Spindler, Fr. Soldiers Advancing, . Rossini, G. Tyrolienne (from William Tell), •I The time is coming when you must decide how you and because of the ease with which he learns the technical 3821. Engelmann, H. Op. 556, No. 7. The Surprise (Taran¬ 3. Strauss, Joh. Thousand and One Nights,. Rossini, 0. Cujus Animam (from Stabat Matei will spend your summer vacation ; whether in study or tella). 3<* 5. Tschaikowsky, T. Op. 39, No. 8 (Valse),. Rubinstein, A. Melody in F, Op. 3, No. 1, . part—the names of the signs, their values, the construc¬ 3819 Engelmann, H. Op. 556, No 5. To the Dinner 6. Wagner (from “ Tannhauser”). Song to the Eve Tupley, Byron C. Festival March,. rest. Inclination prompts to the well-earned rest, but tion of scales, intervals, chords, theprocess.es of modulation, (March), 30 ing Star, . V erne, Oscar. Processional March. 1440 Landon, Chas. W. Melodious Easy Studies for Piano 2. Wandelt, B. Op. 13, No. 1. The Little Soldier,. . Wagner, Richard. Bridal Chorus, from Lohe duty may point in an opposite direction. In these days etc.—the teacher has the time to go behind all this and or Reed Organ (School of Reed Organ Playing, 3. Zernickow, E. Op. 13. The Daisy,. Pilgrims’ Chorus, from Tannhauser, .... the music teacher hardly dares give up her entire sum¬ Vol. I),.100 Wely, Lefebure. Idylle,. teach the cause. Thus the child is led to express himself Lange, G. Flower Song,.,.. 20 GRADE EL Wely, L. March of the Halberdiers. mer to a holiday, knowing that more and more is being Streabbog, L. Paul and Virginia, . - 20 Wely, L. Wely’s Celebrated Offertory in D Mi in his own music, to analyze the music of others, and his Streabbog, L. Op. 118, No. 7. My First March, . . 15 0. Armstrong, F. L. The Organist’s Musings. v. Wickede, Fr. Op. 83, No. 1. First Though expected of her. Streabbog, L. Op. 118, No. 2. My First Waltz,... 15 5. Battmann, J. L. The Flight. ear is trained to a degree of perfection (without any stress Weber, C. M. von. Invitation to a Waltz. 20 ‘ Battmann, J. L. Chapel March,. <1 Realizing that education, to be worth while, must bene¬ or weariness on his part) that is an amazement to those Weber, C. M. von. March Maestoso,. 20 Batiste, E. The Celebrated Andante,.. GRADE W. 507. Home, Sweet Home,. 15 Batti_in, J. L. Festival Offertory No. 1, . . fit alike body and mind, I take my Summer Normal Class who see the results. Clark, Scotson. Procession March,. Battmann, J. L. Orgai Clark, Scotson. Torchlight March,. Battmann, J. L. Op. 75, Nt away from the hot and noisy city to the cool and quiet of GRADE n. Clark, Scotson. Marche des Girondins,. The FLETCHER METHOD SUMMER SCHOOL Beazley.J. C. The Victor. 15 Clark, Scotson. Pilgrims’ March,.. Battmann. J. L. Op. 7 the country. Here the tired teacher can relax and grow Beethoven, L. van. Adagio from Op. 13. 20 Clark, Scotson. Belgian March. strong while her mind is engaged in grasping my System, *1 Mrs. Fletcher-Copp will have her summer school this Czibulka, A. Stephanie Gavotte,. 20 Fla veil, E. M. Devotion,. Oounod, C. Funeral March of a Mari season at Eliot, Maine, one hour and forty-five minutes D’Albert, C. Peri Waltzes,. 30 Gounod, Ch. Faust Waltz,. Knight, T. H. Hilarity March (Two-step),. which so inspires and prepares her that, when the course of Farmer, Henry. Retrospection. 20 Gounod, Ch. Marche Romaine (Marche Pontificate), Landon, Chas. W. School of Reed Organ Playing, . 1 two hundred hours is over, she goes forth rested and re¬ by express train from Boston. In this beautiful place one Friedmann, C. Op. 74. Bavarian Blue (March), . . 20 Gurlitt, C. Idylle,. Mendelssohn, F. Wedding March (from Midsummer Grainger, Alfred. At Eventide,. 25 Hanisch, M. Festival Polonaise, Op. 109, No. 1,. . . Night’s Dream).. • freshed and mentally prepared for a larger usefulness, a has the combination of country quiet, pine groves and sea Handel, G. F. Angels, Ever Bright and Fair, .... 20 Hall, King. Cantilena. Mozart, W. A. Gloria, from Twelfth Mass,. Hewitt, H. D. Studies and Exercises (Supplement to ’ ’ i, Chas. W. School of Reed Organ Playing, Petre, T. Op. 27, No. 7. In Good Humor. greater success and happiness than she had dreamed bathing, and at the same time is accessible to many beauti¬ Landon’s Schoo' of Reed Organ),. 75 >1. Ill, . Spark, W. Wedding Procession (Grand March), . . possible. ful points of interest on the Maine coast. Jungmann, A. Longing for Hot Le Defile. Marche Militaire,. 6. Tritant, Gustave. Spring Song,. Landon, Chas. W. Stu ” and Exercises (School Le Thiere, Chas. Danse Des Aborigenes,. 2. Voorhies, H. G. Frolicking March (Two-step), . . . The FLETCHER MUSIC METHOD of Reed Organ Playing, vof. 11;.. 1 uu Leybach, J. Marche Pathetique. 9. Wagner, Richard. Tannhauser March, arranged,. . •I W. Caven Barron, formerly of Leipsic, Germany, will 2794. Lange, G. Op. 78. Tanzlied. 30 Ley bach, J. Grand March in G,. Cjj (Simplex and Kindergarten) was the first system to have charge of the private piano instruction in the school. 2817. Lebierre, O. Op. 102. The First Violet,. 30 Leybach, J. Pastorale,. FOUR HANDS. 1520. Ley bach, J. The Gem of the Sea,. 20 Leybach, J. Valse Brillante. place music upon a psychologically true and educational <1 Also, there will be an opportunity for those who wish to — Lichner, H. Mattie’s Polka, Op. 135, No. 2. 30 Lichner, H. Op. 297, No. 6. Andante, from Sonatina 5. Behr, F. Hungarian Song. Grade II, Lichner, H. On the Playground,. 20 In D Major. 6. Dewey, Ferdinand. Little Folks’ Round Dance basis for the child. By the invention of tangible apparatus, study singing to do so with an excellent teacher. Reser\ a- Lichner, H. The Dancing Lesson. 20 Mendelssohn, F. Nocturne from Midsummer Night’s the child’s natural constructive tendency is appealed to, Lichner, H. The Parade March,. 20 4. Enckhausen, H. Op.68, No.l. Glen Waltz. Gradell tions for the Summer Class should be made at an early date. Lichner, H. Op. 104, No. 6. At Home. 35 5. Mendelssohn, F. War March o 0. Gurlitt, C. Op. 147, No. 1. Merry Hour March Losey.F. H. Op. 48. March of the Rear Guard, .. 40 Grade II. =^======^=^==== for information address- - Lysberg. The Fountain,. 15 1194. Meyerbeer. Chorus of Bathers, from Les Huguenots, 4. Handel, G. F. See I The Conquering Hero Comes, Mutter, C. F. The Body Guard. 40 3. Streabbog, L. Op. 105. Le Petit Carnival Polk Oesten, Max. Op. 166, No. 10. Departure frorr Home, 20 Grade II,. MRS. EVELYN FLETCHER-COPP Ortlepp, L. Op. 2. To Arms I (March), 1. Streabbog, L. The Golden Stars Waltz. Grade I, 107 Thorndike St., BROOKLINE, MASS, op F*. O. Box 1336, BOSTON, MASS. SELECTIONS FROM THE ABOVE SENT “ON SALE” AT OUR USVAL LIBERAL SHEET-MUSIC DISCOUNT Reed Organ ]Metbod JMuslcal Pictures School of CHAS. W. LANDON Reed Organ playing PRICE, 50 CENTS BURROWES COURSE OF MUSIC STUDY. I Dunning System PRICE. $1.50 FOREIGN FINGERING COMPILED BY CHAS. W. LANDON of Improved Kindergarten &nd Primary-Instruction for Teachers by Home Study. r-'- The method is superior in many practical points to those A MORE POPULAR COLLECTION OF MEDIUM IN FOUR GRADES Music Study for Beginners in general use. KATHARINF riiddowvc ..a.... __ GRADE PIECES HAS NEVER BEEN PUBLISHED Price of each, $1.00 (Sheet Music) P 502 Carnegie I It is carefully graded; every new thing is fully, clearly, A complete school, consisting of a melodious set of and concisely explained and illustrated. Not only how to Exercises and Etudes for each grade, supplemented by a the mouth speaketh” is do a thing is shown, but the whys and wherefores are given. Every piece in this work is a gem. They are adapted which prompted a class of I for the organ as well as for the piano. We never forget number of appropriate pieces in sheet form, especially FINEST CONSERVATORY IN THE WEST Every piece is especially arranged for the Reed Organ ; composed and arranged for the instrument. Studies and j writ* “‘sbiy e Roses” ^ Be sure that you get the genuine spf?j-al complexion safeguards, to insure a er of perfect skin condition and comfort. The daily habit of using bearing our Trade-mark on Mennen’s 5S£S! Toilet Powder every can. aft.-r bathing keeps the si Junburn insuring the mucn smoothcoveted andbi healthy, prevents Prickly Heat, Chafing and aenghtful; m the nursery indispensable..coveted browning” without burning. After shaving it is non-refillable boxes-the “Box tl 1906. Serial No. 1542. Sold ev^wh^o^bT^?! Jl“ GERHARD MENNEN CO., NEWARK, N. J. Walter Baker & Co., Ltd. ESTABLISHED 1780 I^MloIle1SentI}'fresli(?utatel!> T“1°“nl T“ilct p<>w'>er— SJI sample, DORCHESTER, MASS. Preo, for 2 cent stamp to pay postage, BrHfcftrhW Tallies, enough for six tables Root's Technic and Art of Singing A Series of Educational Works in Singing on Scientific Methods, tor Use in Private Instruction and in Classes By FREDERIC W. ROOT ■These works by Mr. Root constitute the only system in print covering this Op. 21 IV. Thirty, t MMppi eSsss-i Ivers & Pond "■ WSSU-srfi. st.oo y- Florentine Grand The Grand De Luxe. VheSynthfticMethod. enu"ci^on.P'lCh of consonants "This beautiful little Grand will delight every Op 28 . 75c VI. Scales and Various Exercises for 1 artistic sense. It is especially designed for (The General Principle of Vocalisation) the Voice. Op. 27 - 60c use in small rooms; musically it approaches perfection; its exterior is of exquisite beauty A paper pattern giving exact dimensions mailed free. sin*e£?f°SIT/OI%,rTh* pUclithe,r and,th,e author invite all vocal teachers and anyone (^at ^re^urnabU) 7o IVERS & POND PIANO CO., THEODORE PRESSER, Publisher HI Boylston St., Boston, Mass. 1712 Chestnut Street, Philadelphia, Pa. have been established over 55 YEARS r„ i T ^ W VOSE 6 SON vose pianos- S P1ANO CO ’ Boston Street, Boston, Mass. ehnic. Alexandria to present day writers. There are many ex¬ cussed with interest. cellent illustrations including pictures of famous organs severe self-criticism, and learn to judge his own Story of the Oratorio,” by A. W. Patterson; “Thirty “Celebrated Pianists—Past and Present,” b . Er¬ “Musical Sketches,” by Elsie Polka. and organists. A chronological table of organ events performance. As a rule, players work too much with Years of Musical Life in London,” by Herman lich. completes this very necessary book for organists and MAKING MISTAKES AT THE LESSON. One of the most popular of all musical books. Al¬ their fingers and too little with their intelligence though several decades have passed since the book was Klein; “Beethovan and His Nine Symphonies,” by This is the most comprehensive collection of hi iphies students. One of the most frequent exclamations that written, it still has a sale and is especially desirable Sir George Grove; “The Beautiful in Music,” by of the great pianists in existence. One him 1 and This extract, copied from a work written close teachers hear at the commencement of lessons is for children’s use. It is a series of interesting short Ed. Hanslick; “Psychology for Music Teachers,” thirty-nine famous masters of the instrument ade¬ upon fifty years ago, shows how advanced were this: “I don’t know how it is, but I can always play stories dealing with famous musicians. quately considered, and in almost every case e por¬ THE DEVELOPMENT OF THE ART OF by H. Fisher; “The Opera,” by R. A. Streatson. Thalberg’s ideas upon this most essential feature finely at home. When I come to my lesson I make Additional novels of interest to summer readers: trait accompanies the biography. It is a book ; every TOUCH. lover of the pianoforte should possess. of pianoforte-playing. so many mistakes that I never think of making when “The Prima Donna,” by F. Marion Crawford; “The BIOGRAPHICAL BOOKS. Dr. Adolph Kullak, in his “.Esthetic of Pianoforte¬ ( Additional books for piano students and u hers: I practice.” * Charlatans,” by Bert Leston Taylor; “Doreen,” by BY OSCAR BERINGER. playing," published in 1876, was the first to speak of Edna Lyall. Special Biographies. “Ear Training,” by Arthur Heacox; “Tin Great If you are a teacher, you have probably heard this .The biographies of the masters of the past and present Piano Virtuosos of Our Time,” by Von Lenz; “the fall of the finger,” which phrase inevitably im¬ thousands of times. If you are a pupil, you prob¬ GENERAL MUSICAL BOOKS OF EDUCA¬ are so numerous that it would be impossible for us to “Technic and Expression,” by Franklin lylor; plies that the weight comes from the hand or arm; ably have said it many times. It is a very annoying include the names of these books with adequate descrip¬ for otherwise, the uncontrolled fall of the fingers TIONAL VALUE. tions in a list of this kind. Should you desire to in¬ “Studies in Musical Graces,” by Ernest Fov.-’-s: “A condition and one for which it is somewhat difficult “Musical Education,” by Albeit Lavignac. would not be heavy enough to produce a tone. vestigate the life of any particular master, write to us History of the Pianoforte and Pianoforte Pi vers,” of the musical world of the last century.] to prescribe a remedy. The cause, however, is very The mission of this interesting work is to indicate to and we will be very glad to give you any information you The wonderful improvement in pianoforte-playing Kullak further insists upon looseness of wrist, and readily discovered. The nervous condition of the the students the essentials leading to success in the dif¬ may request. Many excellent recent biographies have by Oscar Bie; “The First Principles of I’i > forte Playing,” by T. Matthay; “Artistic Pianoforte Play¬ made during the last fifty years is to a great extent . finger-pressure in cantabile playing. . pupil is quite different when practicing aloud and ferent branches of music study. It is a very valuable appeared and these books can be procured at reasonable Germer, in his book on Tone-Production, holds to work by a practical writer who for some years has held rates. Among them are biographies of Pucinni. Strauss, ing,’ by E. Caland. attributable to the steady development during that when at the lesson. The pupil may have practiced the important position of Professor of Harmony at the Paderewski, Debussy. Bruneau, MacDowell, Joachim period of the modern ideas and theories concerning the old system of finger-work, or rather over-work, with great faithfulness and have attained some com¬ Paris Conservatory. The student who procures this Grieg and Leschetizsky. A number of excellent bio¬ BOOKS FOR VOICE STUDENTS AND but, with it, he advocates a loose arm. work can avoid much waste by directing his course more graphical books for young people by well known writers Touch. , mendable ability to play a piece at home. When intelligently, and the teacher can profit in like manner such as Thomas Tapper, Geo. P. Upton and others are TEACHERS. Touch, which nowadays we rightly regard as ot confronted with the idea that there is someone “The Philosophy of Singing,” by C. K. Rogers. from the same work. constantly on hand, and, if you will state your purpose, vital importance, was almost entirely neglected fifty Deppe’s Ideas. present who may know more about music, the men¬ we will be glad to advise you what work in our estima¬ "The Art of the Musician,” by Dr. Henry G. Han- Notwithstanding the threatening eomplexitv nested tal control over the fingers seems to fairly slip away tion will be of most help to you. A few biographies of by the title, this is one of the most helpful and .metical years ago. The present physiological treatment ot To Deppe is due great credit for being the first to c hett. special interest follow: despite all efforts to retain it. Sometimes this is doors upon voice culture ever written. No teacher can this most important subject was undreamt-of at that c0 in systematically for the loosely-supported arm One of the best of recent works upon musical analysis. due to the fact that the pupils have not given suffi¬ Dr. Hanchett has for years been giving public recitals “Beethoven, a Biographical Romance,” by H. Rau. read this work without becoming a better teacher. The time—no real theory of Touch existed. Where a in tone-production, but he was not sufficiently far This book, and its companion book devoted to the life writer was for years a successful singer, and her stvle is player did use the right methods, it was by the light cient time to securing the right kind of a mental con¬ of great pianoforte masterpieces with great success. At at all times clear, interesting and direct. advanced to realize the proper use of arm-weight m these recitals he has given oral analyses of the works of Mozart, while not claimed to be authentic, gives a of nature solely that he did so; his instinct brought trol. They practice too rapidly and do not give performed, and this work embodies many of the results of clear idea of the chief events in the life of the °reat Vocal Faults and Their Remedies,” by W. H. Beare. sufficient attention to technical details and to the his excellent experience in this connection. master m so fascinating a manner that the reader often him to the same conclusions that we have arrived at ^Caland a pupil of Deppe, went further than her fr^eJJ8t!n*™hiDF Mature about this hook is that many mental digestion of each phrase. Again, the excite¬ “Music and Morals,” by the Rev. R. H. Haweis, M.A. gains a better impression than could be gained from a by the light of reason. Such players as this were, master. She fully recognized the necessity of using reat"^ k10SraPby. The sale of the books has been very SIS ?au,ts are given special treatment, and ment of the lesson leads them unconsciously to play Few musical books have been more popular than this however, few and far between; the old stiff-arm and the upper arm. shoulder, and back. I will quote a =^0-des'- t0 devote Part of the summer to un- at a much more rapid rate than they are accustomed collection of criticisms, essays and paragraphs. The thufoJ? thelr we?k points and remedying them will find wrist tradition was still subscribed to by the majority few sentences from her book, which is called book has no central purpose as the title might indicate, “Tha wix extre™ely „ valuable book. Such chapters as of players, including artists of the first rank such as to play the same piece at home. The pupil should but is a highly interesting series of popular disserta¬ “Artistic Piano-playing.” . . . always remember that the nervous strain of the les¬ tions upon musical topics of interest to the music lover Prtsrion”e°‘‘Tt,T0vPi 7^ VocaI T"’»ng.” “Throat Com- Moscheles, Kalkbrenner, Cramer and Cfementi. “The hand must first of all he emancipated—must i?^r*}^U^a®®e^rThef\enno^.itor^S|DieeAcademies)0T,hi mtent0"’ T Vlbrat° are suggestive of the author’s son must invariably be reckoned with and that it is as well as the student. The topics range from philo¬ Colonists, The Women Composers, and The Foreign Com- To Plaidy and Thalberg the credit is due of hav¬ be quite free from the hampering weight of the arm sophical and ethical subjects to biographical and his¬ posers. The last class includes the names of musicians ing been the first to break loose from this tradition. very unwise to play the piece at a tempo equal to or torical sketches. of foreign birth who'have made their hemes LTS“S “Choirs and Chorus Conducting,” by F. W. Wodell. The hand must be light as a feather. The hand will Plaidy first taught octave-playing by a fall with the greater than that attempted at home. The lesson is, “Music and Musicians,” by Albert Lavignac. fo^Gsfrti10 lead % Vooal Apartment of the Etude be light only when it is carried, instead of carrying weight of the hand from a loose wrist and sup¬ after all, the crucible in which the piece is tried out. This book is difficult to describe as it is so compre¬ have accomplished important tilings 'n music are de° vahiiflileHaeePiber will at onee realize how practical and itself over the keyboard. The lightness and freedom let Wodell may write upon the sub- If it stands the test of the lesson, it is doubtless in hensive. Lavignac has the impulse of the bom teacher force! Wf ,:*tCTeSt and wHh Mr' Hughes" aUtomed ported arm, which excellent practice has been from thus imparted to the hand is effected through the indimensTw Kf an5 ?horal music must ,K'- This book '/ time to time exaggerated to such an extent, that good condition. indispensable to choir singers and choir conductors. It agency of the shoulder and arm muscles. pupils often were, and in a few cases still are, taught 369 368 THE ETUDE THE ETUDE sure—finger pressure.” This, touch requires con¬ to come to you as readily as they would if you were joint action between the extensor and flexor muscles older. They not only do not know about you yet, but of the fingers, and, when it is attained, the delicacy feel uncertain of the quality of your work. A young of touch will permit the player to get the best tone The Teachers’ Round Table person in every walk of life has to bide his time. from the piano. Again Christiani says close at¬ tention to accents has a surprising effect in improv¬ Some Important Questions. Readers ing the touch. How? Because he demands that CONDUCTED BY N. J. COREY Letters From Our “Will you please answer the following accents be given with the pressure touch, the effort which are troubling me? to make the softer notes properly causes the ex¬ The Teachers’ Round Table is "The Etude’s ” Department of Advice for Teachers. If you “1. Why are dots used instead of writing tensor muscle to check the flexor in its descent, and have any vexing problem in your daily work write to the Teachers’ Round Table, this action is the basis of, a good melody touch, out le*‘2. Why and if we feel that your question demands an answer that will be of interest “3. What that indicates the soft We are convinced that among the rank and file Let us consider ourselves and see whether we may of which very naturally by touching lightly the pas¬ to our readers we will be glad to print your questions and the answer pedal? of the readers of The Etude, there are teachers and not be the cause of our nervous pupils’ wrong notes, sage touch is developed, because in the melody touch What does a students who could send us letters upon vital musical by putting too much emphasis on exactness, and, the key is held down until its neighbor is clear topics of the day that would be well worth publish¬ consequently, an additional strain on his already down, that is, you transfer the pressure from one s the third pedal o note to another, while in the passage touch the ing. In order to encourage these writers we will busy mind. As the next lesson hour draws near, let TROUBLESOME QUESTIONS FOR YOUNG present taking vocal lessons, and am anxious to learn give one subscription to The Etude fpr every letter it be remembered what Ries says of Beethoven as a hand lies so lightly on the keys that the moment TEACHERS. enough about the piano, and, if possible, to master the “8. How ci ik one’s self of glancing back accepted. The letters should be not more than 500 teacher, “Comparatively careless as to the right notes the second finger feels its key the first key is re¬ art of sight reading to such an extent that 1 may he and forth beti and keyboard? words, nor less than 400 words in length. They being played, but angry at once at any failure leased, thus making rapidity possible. Again The Reed Organ Student. “9. Why is r B sharp used when F or C could be writt should be written upon one side of the paper only, in expression or nuance, or in apprehension of the Christiani says, “A really great pianist may show Your progress upon the piano will defend upon and should be distinctly marked, “For The Etude character of the piece, saying that the first might his superiority by striking a single note.” How? the intelligence of your teacher, the amount of intel¬ 1. Simply as a convenient abbreviation. Letter Box.” They must not be articles but letters. be an accident, but that the other showed want of By so gauging the rapidity of his touch that he gets had1 so much help from the department, I would like to ask for a little advice. I am a young teacher of the ligent application you bestow upon it, the amount 2. Originally to indicate legato. They are now While they must bear upon practical musical edu¬ knowledge, or feeling, or attention.” the best tone the piano is capable of. This may, piano, and have also studied the pipe organ. I now of your natural aptitude and your age. Elsewhere commonly used to indicate phrasing. cational subjects, they must be filled with human T. S. G. B. perhaps, be done instinctively; then it is, as the have one pupil who wishes lessons on a small reed in this department you will find a consideration of organ. I was far advanced on the piano and thor¬ 3. Una corda. interest. Every word, every line, every paragraph Germans say, done “by the grace of God.” It may this latter qualification. If you have a good teacher, must be necessary, pertinent to the subject of the oughly conversant with all the scales and arpeggi 4. Indicates that a heavy, marcato effect is de¬ A NOVEL “COUNTING” HINT. be said that the cultivation of this slow touch will before I studied the organ. I would like to know if follow his directions explicitly. For learning to letter and alive with enthusiasm. Do not choose sired, proportional, however, to the degree of power result in a sluggish action of the hand, but there is I should teach the scales and arpeggi with their vari¬ read piano music at sight get pieces that seem easy deep or involved subjects. We want letters upon To the Editor of The Etude: of the context. more precision when the two muscles work con¬ ous motions in same manner as upon the piano? Also, to you and play them through, one after the other, everyday problems, opinions or relations of ex¬ I enclose a little experience I had in teaching, would you suggest a course of study that might be 5. Two main divisions—finger and wrist staccato. jointly than when the finger is thrown or dropped at proper tempo. For this practice do not learn periences that will help the teacher or student to which I thought might be of use to some other used with beginners on the reed organ, as well as 6. Sustaining pedal—for prolonging single tones. and momentary control of the extensor muscle is those who have made a little progress?” them and do not repeat many times. As soon as a work better. Of course, only a few letters can be teacher. 7. Place the point of the finger on the edge of a lost. As soon as the sensation of conjoint mus¬ piece is learned, it is no longer being read at sight. accepted, but even if you do not have your letter My pupil was a dear little creature with a flower¬ This is a problem that is liable to confront any table and let the entire weight of the hand rest upon cular action is recognized and established, it en¬ In oi;der to have enough music to practice, buy one accepted, you will have had the advantgae of putting like face and a halo of golden hair, and was teacher at any time. The reed organ is an instru¬ it, adding much pressure as well, oscillating from the hances speed instead of being an obstacle to it. of the various collections of easy music. In order your thoughts into tangible shape, and this is one struggling with the mysteries of the first music ment capable of* furnishing much pleasure, when wrist up and down. Keep the finger in its correct, A new piano with soft hammers does not show to acquire a feeling for chords, which is of great of the best mental practices in which the teacher lessons. As time went on she absolutely refused to rightly handled. It needs special attention, and, in¬ well-rounded position. Afterward raise finger high the difference in touch greatly, but a piano with the value to one in playing accompaniments, there is no or student can indulge. “count.” Surely it could not be stubborness! She deed, most piano players make but a sorry effect and strike as hard as possible on table. Practice hammers somewhat hardened by use will show it better sight-reading exercise than taking the hymn seemed to thoroughly understand, but her rose-bud upon it in their first attempts. It is used in many faithfully every day until no further difficulty is plainly, and such an instrument should be used in book and playing the tunes, one after the other, experienced. Do not be discouraged if it takes NOTES VS. STYLE. lips were sealed and not a sound would issue from small churches and those who have to play it should determining the question. If the difference is plain from cover to cover. If you will practice these, weeks to bring about the desired result. To the Editor of The Etude: them. An appeal was sent to mamma, all to no give it careful attention. It is found in many homes avail. in such an instrument, the principle holds good with without repetition, up to time, thus training the eye 8. By taking music that does not involve difficult One of the most serious errors made by music throughout the country, coupled with a laudable to quickly grasp chord successions, you will doubt¬ Then a bright thought came and at the lesson all pianos, and accounts for the different "touches” of positions, keeping the eyes fixed upon the music and teachers of to-day is that they mistake “note teach¬ desire to make best use of it. It is not found in as less be surprised at the amount of progress you .will hour when the little fingers were behaving so well pianists, for no matter how great a “genius” the refraining rigorously from looking at the hands. A ing” for music teaching. The style of the composi¬ great numbers now as in the days before the advent but still with no counting to be heard, I said, “Let performer may be, he can not make a tone from the make in this class of work. The book can be played certain amount of glancing back and forth is un¬ tion and its interpretation seem to have become en¬ of the cheap piano. But, judging from the sounds us take turns counting, you can say the first, I the piano without mechanical means. The genius instinc¬ through several times to advantage. avoidable. tirely without the province of some teachers, and that emanate from some of these instruments, after second, you the third, I the fourth. Now say yours tively employs the muscles of his hand in such a For vocal sight reading I have for years used 9. Simply because in a given condition F or C they spend their time solely in determining whether they have been used for a time, a well-played organ out loud so I will knbw where to say mine.” manner as to get the best tone, and when his method “Sight Singing Exercises,” by Gilchrist, with great could not be written. There are seven letters rep¬ the pupil puts down the right notes at the right time. could furnish much more pleasure. A smile flitted across her face. It was a new game, is known, may it not be employed, to some ex¬ success. The collection of exercises is in three resenting the seven tones of the diatonic scale. In If our present-day teachers get their pay for teach¬ As far as the motions of hands and fingers are and the counting began. So earnest did she become tent at least, by those less gifted? books. The first is a collection of diatonic time ex¬ writing the diatonic succession upon the staff no ing notes alone they are extortioners in the first concerned, they should be precisely the same as upon that in attempting to count her “turn,” she was ercises; the second, interval exercises. Although letter can be repeated. In writing the scale of F degree. There are few students of music beyond Elmer Cook, the piano. The correct finger stroke for the piano is soon unconsciously counting the second and fourth these exercises are more profitable when used under sharp, for example, the letter succession must be F, the lowest degrees of proficiency who cannot de¬ Philippine Islands. the correct stroke for the organ, the only difference also and discovered that counting wasn’t such a the direction of a teacher, yet you can practice them G, A, B, C, D, E, F. Each of the letters is sharped cipher, at once, every note on the printed page, and being that the various gradations in the strength of dreadful thing after all. It was “just fun.” by yourself and acquire much facility. If you wish except B. If the last two letters were written as give its representative tone. There is also not a the blow are not necessary, as an increase of power ‘I have used this plan with many a little pupil to gain substantial facility you will avoid the use you suggest, F and F sharp, the ’succession would pianola on the market that cannot baffle, in me¬ is not gained in that way. The great difference be¬ whose lips were otherwise sealed and it proved of the do re me syllables. It is a good plan to prac¬ not be diatonic, for F would appear twice and E not chanical exactitude, the technic of even our best NOME. tween the two instruments lies in the application of satisfactory in every case. tice with the pitch names, A, B, C, D, etc., and with at all. As a curiosity in this connection the follow¬ artists. But which do you prefer to hear, Pader¬ To the Editor of The Etude : legato, which is much more constant upon the organ. the scale numbers, 1, 2, 3, 4, etc., in order to acquire ewski, or your baby brother pushing the pedals of Flora J. Manlove. Piano pupils when properly taught should possess ing represents the sounds of the scale of C major, I cannot say how much pleased I was to rea< a feeling for the relationship of the tones of the although only three letters are used. I think it will your neighbor’s pianola? this legato, as no true legato can be produced upon scale, but otherwise the syllable la will do for all TONE PRODUCTION ON THE PIANO. Mrs. N. S. Carey’s idea on scale practice in the Ma represent graphically to your eye, however, why the I was once offered the privilege of attending a the piano without it, but I am sorry to say it is not practice. pupils’ recital (on the organ) at which some fifteen To the Editor of The Etude: Etude. so universal as it ought to be. It would be most ad¬ seven letters must be used in order to logically pre¬ sent the diatonic succession. or twenty students played compositions ranging from In an article on tone production on the piano i My opinion is that the tonic minor should b vantageous if every piano student could practice Securing Desirable Pupils. the first grade of difficulty up to Bach’s master¬ the January number of The Etude, Mr. Herve I taught before the relative minor, but the differenci upon a reed organ for a little time every day until “I have been teaching the piano for nearly two pieces and the technic-trying sonatas of Guilmant. Wilkins closes some very interesting and, I thinl in the signature must be made clear to the student the real meaning of legato could be thoroughly At the close of this recital the teacher gave his pupils at a time. Can you suggest any way by which sound remarks by saying, “It follows from the abov as it will be useless, as far as comprehension wil understood and felt. The nature of piano tone is usual talk, mainly on the subject of “notes vs. style.” I can secure more? I live in a suburb of this large city, reasoning and explanations that the use of snappin such that it is difficult to train young and unde¬ He complained bitterly that they (his pupils) in¬ go; then the relative minor and its signature. which is already overcrowded with both old and young finger motions and a solely percussive touch ca veloped ears to distinguish a good and poor legato. teachers. I have repeatedly read in The Etude your variably came with the lesson only half learned. Do not be satisfied with knowing all the scales Starting Music Late in Life. not result in expressive piano tones.” Tyndall say The discriminative power itself needs much train¬ advice to young teachers, not to teach in a large city Consequently, he had time at the lesson hour only for you must also know the chords, both major anc ing. at first, but circumstances do not permit of my leav¬ that when the hammer of a pianoforte remains i: minor. ing here at present.” “Can a man begin music at the age of twenty and correcting wrong notes, and never had the oppor¬ Therefore your beginning organ student should be accomplish much?” tunity of teaching interpretation. contract with the string three-sevenths of th period of vibration of the fundamental tone, the in One word for our good friend, the metronome trained in exactly the same manner as a piano pupil. Any advice that I may have given in regard to This man, a master of style and notes as he was, It is impossible to predicate exactly in regard to tensity . of the overtone is nine, estimating th In the first place, it surely is a help for our nervous As he advances, the paths will diverge, because of the teaching in small communities did not mean that had the habit of stopping a pupil every time he’ this. There is always the possibility of an exception foundation tone at one hundred. When, howevei system. I have noticed many articles, but I would multitude of piano effects that are not possible upon young teachers with homes and connections in large heard or saw a wrong note, and having the passage to all experience. It depends altogether on how the duration of contact is diminished to three the organ, due in considerable degree to the pedal. cities should migrate to small towns to find a clien¬ repeated, even though the error was due to an ac¬ hke to suggest my plan. Many think there should much you wish to accomplish. If you desire to wentieths of the period of the vibration of the funda Exercises for finger, wrist and hand motions should tele, or learn how to teach. You would find the cident, and not as the result of ignorance or faulty be a beat for every sixteenth-note, but in case of a become a virtuoso pianist the probability is that yftu mental tone, the intensity of the harmonic rises t< be the same. Scales, arpeggi and finger exercises for small cities just as overcrowded. My advice in this practice. few measures in triplets in the right or left hand, will fail; but if you have a love for music and will 357, while, when the string is sharply struck'with : the cultivation of facility upon the keyboard should regard was intended to try and offset the tendency Now we would not for a minute advocate in¬ what are you going to do? My Pla„ Gf work is to be taken up in the same manner as upon the piano, in small towns among teachers to become discon¬ intelligently apply yourself, you can, without doubt, attention to notes. Notes form the material into very hard hammer, the intensity amounts to co?’ d W'th fiftyfor an eighth-note, and if triplets although they cannot, of course, be practiced in the tented with their surroundings and lack of advan¬ learn to play the piano brilliantly, which is as much which we put style. Every teacher will admit that f.r°™ tbl® may safely infer that as the mode o same extended forms. Theodore Presser’s “First tages, and to assume that if they could only locate as one can say of the majority of players. Virtuoso there is a time, which comes again and again in attack determines the rapidity of the movement o ’ . ey wd ”ot always be in both hands, and Steps in Pianoforte Study,” is an admirable book in some large city they would more easily find pupils. pianists are few and far between. The trouble with his busy life, when he is a little lax in his own the hammer, it also determines how long it wil your time will be correct throughout the piece, from which to teach the preliminaries. With this In experimenting along this line, such teachers have learning to play the piano after maturity is that the work, and when errors creep in, which are always remain in contact with the string, for the quicknes: fneed fr!CtlCed '* 3 while and steadily increased the may be taken Landon’s “School of Reed Organ generally met with cruel disappointment, finding tendency of the muscles is to become stiff, and, of more telling to himself than to his average hearer. lthn t eb°-d wdI be determined by the rapidity oi nZt -l Vth fifty f0f quarter-note and steadily Playing,” in four books, representing as many their difficulties increasing a hundredfold on reach¬ the ligaments, to lose all pliability. Consequently These times must be guarded against in both teacher the attack; hence, no matter what kind of an actior grades. “Classic and Modern Gems for Reed Organ,” ing the city. those who acquire a control over their hands during and pupil, but to be constantly boring the life out mfnf T “21 ha?Vth,? mode of att*ck must deter Se the’ 1 Te Sh°uld be measures whi<* *tick- will provide you with a choice collection of pieces. You would better advertise yourself in every way their yonthful years have an incalculable advantage. of a pupil, by paying supreme attention to trying tTe tone K'ang£arbe (clanff-tint) or quality oi Play them hke theTeTb S,Xteenth-n0te until you can When the pupil, is near the completion of these, it you can, and advertising does not mean only a card Indeed a child can hardly begin too early to get to accomplish the impossible, is, to say the least, The metronomic rate should only be keot ad- will be time for you to make preparation for the next used to the keyboard. Under such conditions the out of place in the common-sense world of to-day. I think that the direction to “strike the fingers in the newspapers. But you will need to make your¬ steps. I would advise in all such cases that the muscles and ligaments naturally grow and conform Let it be stated a little more plainly that we firmly like hammers” has caused much misapprehension' self and your work felt in the community. Try and Sainnff tbtU ^ begi" ‘° stumb,e- try it slow work be done thoroughly, as when the interest is themselves to the desired conditions during the years believe it to be impossible for the average pupil, of throw6 ?IreCtlon 1S good enough, for one does not make yourself an active influence along as many throw a hammer at a nail, but guides its direrti on and SamC resu£t’ dr0P wbat you are working once aroused in students, they are very likely to of constant practice. After maturity they become only a few years’ experience, to play a lesson for ™ on and take up something else. lines as you can think of, and in connection with want to continue their work by taking up the study set and assume conditions that are only overcome by the teacher, whose great superiority he recognizes, a tactful muscular control. Taken in this sense the certain organizations. Bring people’s attention to of the piano. the utmost resolution. It is impossible to fix any without making quite a few mistakes. There is a ■ p ayer should not lose control of the finger“ mil ft to explain° ehinktvr yourself; a teacher has not time your work as much as possible. Can you not ar¬ definite age limit for the setting of the muscles. It calm composure and supreme command over self an sp "d M,e7hlhlng duHng the ^sson hour. You range recitals for your pupils. They may be small Piano Instruction for Voice Students. varies with different individuals. One celebrated which comes only after years of experience in our if you don>| l w °Bey y°U want for instruction; affairs in your own home, but they will set your “I should like to ask for a little information- relative virtuoso is reputed to have acquired the most of his chosen vocation, whatever it may be. Progress ** y°UrSelf’ you ™ke slow pupils and their parents to talking, and the more to learning to read music at sight, and also to learning vou can make people talk about you the better. technic after the age of twenty-eight, but this is to play the piano well enough to be able to accompany {Continued on page 40s.) Mss. John Galbraith. my own singing. I have taken a number of piano les- Being a young teacher, you cannot expect pupils 371 370 THE ETUDE THE ETUDE OFFERTORY IN G,^FOR^ THE ORGAN—A. F.