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

2-1-1919 Volume 37, Number 02 (February 1919) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 37, Number 02 (February 1919)." , (1919). https://digitalcommons.gardner-webb.edu/etude/654

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. PRICE 20 CENTS FEBRUARY 1919 Page 65 TEE ETUDE SELECTED RECENT PUBLICATIONS OF MERIT NOTICE:—On January 1, 1919, the Subscription Price of THE ETUDE Advanced to $1.75 the Year jut The Progressive Musician is Here Given a Resume of the aj RENEWAL.—No receipt ia sent for renewals. On Subscription Price, $1.75 per year in United PRESSER’S MUSICAL MAGAZINE the wrapper of the next issue sent you will De Noteworthy Music Works Published During Past Months ^ States, Alaska, Cuba, Porto Rico, Mexico, Hawaii, printed the date on which your subscription is paid Philippines, Panama, Guam, Tutuila, and the City up, which serve, as a receipt for your subscription. of Shanghai. In Canada, $2.00 per year. In Eng¬ land and Colonies, 10 Shillings! in France, 12 France! Liberal premiums and cash deductions are allowed for ’-tj-— By the Theodore Presser Company -^ in Germany, 10 Marks. All other countries, $2.47 obtaining subscriptions. Single copy. Price 20 cents. MANUSCRIPTS—Manuscripts should be addressed to THE ETUDE. Write on one side of tMicRed' REMITTANCES should ^be made by ^°rt"' Although every possible care is taken if id ted*S tates° poet age3 stji mP8 are always reKjy^^asK Teaching Works for Elementary Piano Instruction theu^possession or* in "transit?’ Una'^fiUble manuscripts will be returned. A MONTHLY JOURNAL FOR THE MUSICIAN, THE ADVERTISING RATES will be sent on application. INTERPRETATION STUDIES DISCONTINUANCES.—Owing to the educational RuHeMUSIC STUDENT, AND ALL MUSIC LOVERS. Advertisements must reach this office not later than the lM STUDENT'S BOOK SPELLING LESSONS IN TIME character of THE ETUDE a majority of its readers do not wish to miss an issue. Therefore.^the ^pub- School of the Pianoforte, Vol. Two AND NOTATION FOR THE JUNIOR GRADE Edited by James Francis Cooke following'ieaiJe?reCe<*111^ ^ ^ '° m’Ur' mKrtl°n By Theo. Presser Price, 75 Cents Months^subsTriptioVbeyond expiration of the paid- By Mathilde Bilbro Price, 30 Cents By F. C. Bomschein Price, 80 Cents up period. Those of our subscribers not wishing to Entered at Philadelphia P. O. as Second-class Matter THEODORE PRESSER CO., Publishers, A logical sequel to the Beginner’s Book. It can avail themselves of this convenience of rem.tting under the Act of March 3, 1879 1712 Chestnut Street. Philadelphia, Pa. be used by any student who has done the work of This work acquaints the pupil with all phases of These Interpretation Studies arc intended to in¬ later will please send a notice for discontinuance. Copyright, 1918, by Theodore Presser Co. the first grade up to, but not including, the scales. notation. The work is all done by writing words on cite the pupil’s imagination. Each title is suggestive, A complete treatment of the scales forms the center of the work. Major scales receive detailed treat¬ the staff, even going as far as preliminary chorl subjective or objective; thus through subtle emo¬ ment up to and including four sharps and four flats. writing in various scales. To teach a fuller knowl¬ tional influence the physical conditions of each study At the end of the book all the scales are given. edge of the added lines and spaces in both clefs, this can be readily apprehended. They are especially Aside from scales, special attention is given to grace work is ideal. adapted for the junior (second and third) grades. The World of Music notes, broken chords and arpeggios, syncopation, I hand crossing and wrist motion. London lms a society for communal boomed wellIknown8as°the gronii opera, through the initiative of the hymn practice to further ease iu congrega¬ PLEASANT PASTIMES FOR THE national anthems of other countries. The Bracale Opera Company. The majority of tional singing at church. They have already CHILDREN’S RHYMES MELODIES OF THE PAST chloroform bottle and the 'bandage. It lms held a hymn festival. These novel hymn been found to prevent the “circular thlnk- Italian Government is behind a movement to the singers are Spanish or Italllian. practices are being very well attended, and From A to Z By M. Greenwald Price, 50 Cents YOUNG PLAYER circulate it amongst those who can use it repertoire is Papllucci, Madam. Butterfly, the hymn festival numbered several thousand ‘w.hi<.'h„. ‘I S8heid woSnds orchestrally or Otherwise. Captain Guarda- The. Masked! Ball,Gioeonda By M. Greenwald Price, 75 Cents The good old tunes are always welcome and By H. L. Cramm Price, 75 Cents " bassi Italian Bureau of Public Information, goletto, Aida, Linda di Chamounix, Thais people, as audience and singers. Hotel Vanderbilt, New York City, will in- and Tosca. An interesting little book containing an attractive always in request. Each melody presented in this A recreation book for beginners that may be taken A Unite Roceoeo, by Louis Victor Saar, teaching piece for each letter of the alphabet. The The Oratorio Society of New York The Sioux City Municipal Sym- was one of the features of tile Chicago Sym book is first given with its original harmonies and up with any system of technical instruction. Rhyth¬ has given ninety-two Christmas performances phony Society’s season this year. The work title of each begins with one of the letters of the otherwise, copies of the Italian national phony Orchestra is to giw a series,. ot was splendidly received. accompanied by a verse oi the text. Then follows an mic feeling is the fundamental principle of the little of The Messiah. anthem. ten concerts this season, under the direction alphabet, and each number is in characteristic style i ngra have been plentiful sin< with the text, which may be sung. A very taking interesting variation or paraphrase. All are easy The national hymn of the Jewls Music has taken its seenre place as Mr‘ Maggee’ pieces in this book, and a variety of keys are gone Commonwealth of Palestine is said to I if the armistice. Mis- * — collection for young folk. to play. through. a solid industry since the war began. Apple- ve„. York City linn a Czecho-Slovak Ixecutive Secretary of the identical melody sung by Miriam i .tin s Year Book gives a Art. Club, which features the performance ■hiladelphia and Chair- nommomorotp f*TOSStniF of tllP Ik'd •‘'•"I ' ranch of work for the ranghi^from’^ich1 practiciH'^tliings'^s^boots of their native music snug or played by of Musical Clubs, has and shoes, $590,000,000 ; woolen goods, $701,- Czechoslovak artists. _eating how wonder- Maryland announces a musical P°?hi:s Cd«« music; American Comic Opera, which shall :o spring np as a part memorial service to commemorate the the armistice and serve Albums of Piano Music of Unusual Worth own*’ua°’ond’ of” the ^main* industries°of8 the ZtZl "fyll, dnTVi! embodTal* the I. country. About 2,000,000 people in this best features of the French Opera Comique, I Snrl.lv of Philn- country are employed in some form of musi- has been projected, ;s’a"pr’ize of $100 for a cautai ALBUM OF DESCRIPTIVE PIECES to interest the people of tile whole State in cal activity. The dav is long past when ALBUM OF PIANO PIECES BY rir i i-uiNfc ULD HUNGARIAN the celebration. The chief mover In the music can be dismissed lightly as the filmy The St. Louis Symphony Orchestra Price, $1.00 WOMEN COMPOSERS project is the Oratorio Society of.lialtimore, web woven by day dreamers. It is one of j« adding to its popular Sunday concerts, a Owing to the characteristic style of the pieces, MELODIES FOR THE PIANO whose conductor is Joseph Pachc. The pro¬ the practical things of the century, and the novelty in the shape of Community singing : solo voices with piano score. Full particu¬ Price, $1.00 men and women who find their living in it that is, the participation by the audience in which afford a change from the conventional forms By Arthur Hartmann gram will include Berlioz’ Te Dam, in lars may be secured from S. J. Itiegei, secre- Price, $1.00 thanksgiving for the victorious outcome, and are of the same stuff as the business people well-known ballads and songs, led bv t in- ---->■ street, Philadel- of composition, this album will appeal to every piano Women composers have made wonderful strides Verdi's Requiem, in memoriam of the heroes engaged in other trades and professions. assistant conductor of the orchestra. It has player. There are twenty-nine novel numbers in in the domain of art. There is a delicacy, a refine¬ In this unique book some of the most distinctive _ . proved a signal success, and will probably and characteristic of the Hungarian folk-songs have who died for their country. M. Henri Fevrier, the French com- ,)e repeated in the near future, Tlie red flats of revolution is flying this album that portray various moods, pictures, ment, and a tenderness displayed in the compositions poser, is in this country pending the produc¬ over the erstwhile Kaiser’s Royal Opera scenes and occurrences. of women composers. This album contains some of been collected. There is interesting data in connec¬ A novel experiment has been tried tion of his new opera, (Hsmontla, in Chicago. England has a Church Music So- House in Berlin. And under its august roof, the best representative compositions of successful tion with these melodies and their origin in thr recently in San Francisco. Two great or¬ Monna Vanna, another opera, had its eletVf whose object iu organization is to which has long re-echoed to grand opera, women composers. introduction. gans, synchronized carefully, were played in premiere in Paris, 1909, and was later pro- restore to church use some of the treasures there was enacted the most comic of all SUNDAY PIANO MUSIC duo. The effect was thrilling, and the vol¬ duced in New York. 0f sacred compositions which have been for- comedies—an attempt at the democratization A Collection for Church or Home ume of tone was extraordinary. Over a of art. For, inspired by the new creed of ab¬ Ti.i* Society of American Singers is gotten or overlaid with less valuable mate- solute equality, the chorus, if we may believe Price, 75 Cents STANDARD ADVANCED PIECES STANDARD PARLOR ALBUM mile of pipe was used iu the building of the re\dvingS with great success, the light and rial. They aim to displace the merely cou- whiZifal operS of Gilbert and Sullivan, ventional repertoire of choir directors ^ the newspapers, came out boldly and insisted Pieces of the highest type, but of moderate diffi¬ Price, 50 Cents Price, 50 Cehts upon solo parts—whether thev could sing culty, admirably adapted for Sunday playing at Oscar Hammerstein, the impres- LhlymTnifPra KS“»fC°S SurinTi.^1 SS& X constant ‘ them even indifferently well ... *- This volume contains such pieces as the good sarlo, is “coming back.” Ilis contract They vorld-ti home or for use in church services where it is not player delights to turn to continually, not pieces of .of, piece,s of intermediate difficulty, opera! which latter is often so taxing to This society was organized in 1905 an Lon- eled solo.wos and demoted them to the rank possible to have an organ. The best composers are mnnl ttl ad?pted for home playing and entertain- of silence, made with the Metropolitan in people with a sense of humor. don. and file of the chorus, and there ensued such the virtuoso stage, but real advanced pieces by ent. 1 he pieces are all of light and cheerful char- 1010, by which he agreed to keep out of a vocal babel, such terrific and vociferous represented, both classic and modern, some of the standard, classic and modern writers. Such com¬ grand opera, will expire on January 1, 1020. huteneWrtiter 'ar,gel>' for purposes of entertainment, —* - — part of those who coveted the most exalted inspirations of each composer being posers as Haydn, Mozart, Beethoven, Chopin, Men¬ but nevertheless having real musical value. Many of Hammerstein declares himself well prepared solo parts t_nselves, that by nightfall no included. A most useful volume. delssohn, Moszkowski, Liszt and MacDowell being for the coming venture, with new scenery and I-, . . .t.v " . sing above a whisper. Worse and the most popular composers are represented. costume novelties in huge quantities. more ot it—everyone wanted to he director represented. of the opera, regardless of his fitness. And MISSISSIPPI RIVER SCENES Alexander Wallace Riniington. CONTENTS FOR FEBRUARY, 1919 since the appointment of a director implied By C. W. Kern Price, $1.00 TWELVE PIECES FOR THE A.K.C., R.It.A. The inventor of the “color a ruling “class” in that his dicta must he NEW AND MODERN SONATINA organ” lan instrument used in researches Page Page obeyed, every man who aspired to the post A suite for the pianoforte of charming character¬ ALBUM PIANOFORTE into the relation between color and sound) was opposed by the rank and file of the com¬ istic pieces lying chiefly in the fourth grade. They By G. F. Handel prjCe, 50 Cents is dead in Gloucester, England. at the ace Vm, TGv'ii'tn.v:. Your Artv • 8 The ROle of the Cadenzas. 84» pany. Finally, out of the confusion, by some are truly American, being suggestive and descriptive Price, $1.00 of 04. He was, for some years, the Pro¬ Are You Loyal to pJry 70 An Hourly Recital Robert M Francis 84 unbelievable miracle, Richard Strauss was of a trip taken by the composer upon the Mississippi Not all the pieces in this volume are Sonatinas. Thev^are fJ°m the works of Handel, fessor of Art at Queen’s College, and while How to Piay Two Notea Against TgjP ^ A Piea for General Musicianship. ^ ^ iney are not difficult and are especially suitable as there he carried on extensive investigations River. These numbers are excellent for teaching They are pieces of similar nature by various com¬ into the subject of color and music. Ilis posers, such as Merkel, Spindler, Lichner, Becker educational material for third and fourth grade pu- TheiseSst^ent.'8. « voted a considerable increase of salary to purposes and also make very novel and taking recital theories were accepted by Scriabin, and the entire chorus. It is to be hoped that numbers. and others. Altogether this is an important volume nr H Js6 „Sel£Ct,mg and ,editinK ha* been done by adopted in his compositions, notably Prome¬ Herr Stratiss will be inspired to set this Dr. Hans yon Bulow and the work contains a preface theus. Mr. Rimington wrote two bonks. . Sarnger1’ Florence**!!iifckip’. Rhein'- EtSd^:iLs^°rUILesson Series, Beethovefi? from an educational standpoint, inasmuch as it aid Werrenrath, T.imaki Miura. Rondo in C Major, interesting Socialistic episode to music as tends to cujtivate a taste for a better class of music by the editor that is very valuable and illuminating. Colour Music and Architecture Seen Through „ , J ? "A, . m.vihmi" Iiliin- Constantin r. Sternberg SO mirth-compelling as that of Till Pulrnsiiirl FAVORITE COMPOSITIONS the Painter’s Glasses. lie was also an artist How_to Correct Common Rliythmic^lJUm ^ Quegtions and Answers. 100 and Bis Mrrru Pranks. It would require * By M. Moszkowski Price, 75 Cents and also will act as a stepping stone to Sonatas for the average pupil. of note, having studied in London and Paris, A weak Snot in Piano Teaching. Voice Department. .Arthur /.. Manchester 111) The pianoforte compositions of Moszkowski con¬ ALBUM OF PIANOFORTE PIECES and he exhibited at the Paris Salon, the A \\i ak spot o //. V. Reed 74 Organ Department. stitute a large and important section in modern musi¬ By Carl Heins Price, 75 Cents cal literature. The compositions in this album are All of Heins’ compositions are exceedingly tune¬ continually represented on modern recital and con¬ ful and most of his pieces are of an easy or elemen¬ ;; cert programs. All of these have been carefully tary grade, but all are musicianly in construction and edited. This album should be in the library of every of educational value. This collection contains the advanced pianist. best and most desired pieces of this writer. 5 55

An Opportunity to Ascertain the Real Worth of the Publications of the Theodore Presser Company THEODORE PRESSER COMPANY To afford a better opportunity of judging the genuine value of the books listed on this page we will gladly send any of them for examination. To further assist MAIL ORDER SUPPLY HOUSE FOR SHEET MUSIC AND MUSIC BOOKS in the selection of music, we have catalogs covering every classification. We will gladly send any of these gratis. 1710-1712-1714 CHESTNUT STREET, PHILADELPHIA, PA-

n *""*"*■*w m THE ETUDE THE ETUDE FEBRUARY 1919 Page Great Impetus to Music Study obtainable material and the special reason for devoting these that the teacher may be offered, at this time of great suggestions in teaching works

PIANO COLLECTIONS VOCAL COLLECTIONS

MASTER PIECES. The 21 best composition ARTISTIC VOCAL ALBUM FOR HIGH VOICE $1 00 ARTISTIC VOCAL ALBUM FOR LOW VOICE . 1 00 CECIL!AN CHO.R. Sacred two part Songs lor MEN’S CLUB COLLECTION. MATHEWS. Standard First and Second SACRED DUETS. For all Voice.. SINGER’S REPERTOIR. 36 Songs. “ Standard Third and Fourth Grade Piece STANDARD SONG TREASURY. 48 Songs.. “ Standard Fifth and Sixth Grade 1 STANDARD VOCALIST. 50 Songs. TWO PART SONGS. Women's voice.. BUCBEEDAVIS, L A. Merry 1 GLEE SINGERS’ COLLECTION. Mixed voice. WOMEN’S CLUB COLLECTION.. hood Times. Vocal or li CHAMINADE. C. Album o( Fav. CHOPIN. F. Complete Wallies MODERN DANCE ALBUM. ORGAN WORKS MODERN DRAWING-ROOM PIECES. 1 1 Selected Works (I. Phillip; .. MOSZKOWSK! M. Favorite Compositi.ns. AMERICAN ORGANIST... ORGAN REPERTOIRE. Pipe Organ Collection MOZART, W. A. Sonatas, 2 vol.., each. 1 PRESSER, THEO. Velocity Studies. Furnishes “ Sonatas, Complete. 1 help in an unoccupied field. NEW AND MODERN SONATINA ALBUM. 1 BACH, J. S. Eight Short Preludes and Fugues REED ORGAN PLAYER. Collection of classic PARLOR and SCHOOL MARCHES. CLASSIC AND MODERN GEMS for Reed Organ and modern pieces. PIANO PLAYER'S REPERTOIRE OF POPULAR LANDON, C. W. Organ Melodies.. ROGERS. J. H. Graded Materials for Pipe Organ. PIECES. 39 Popular Pieces. An instructor especially for pianists. POPULAR HOME ALBUM. 46 Pieces. STAINER, Dr. J. The Org.n POPULAR PARLOR ALBUM. ' Reed Organ Method.M Paper STANDARD ORGANIST. Pipe Organ Piece. POPULAR RECITAL REPERTOIRE. 31 Pieces . School of Reed WHITING,GEO. E. 24 Progressive Studies forth. ROGERS, J. H. Toy Shop Sketches. Pipe Organ. To follow the elemootary stage. ROWE. DANIEL. Tone Stories for Boys and Girls OREM, P. W. The Orga ’’ The Beginner's Pipe Organ Book. A standard

FIRST DANCE ALBUM SCHOOL AND HOME MARCHES. FIRST PARLOR PIECES. SCHUBERT. F. Imoromptus. Moments Musicals. FIRST RECITAL PIECES. SCHUMANN. R. Selected Work.. FIRST SONATINAS. MUSICAL THEORY, REFERENCE FIRST PIECES IN THE CLASSICS BOOKS, GENERAL MUSICAL Second grad.* leachmg pieces of unuai LITERATURE “ Melodies of the Pan. SONATA ALBUM, Vol. I, IS Sonatas by Hay. “ Children’s Rhymes from A lo Z .. OREM, P. W. Harmony B« GRIEG. ED. First Peer Gynt Suite, Op. 46

’’ Tunes and Rhymes (with words)... . BENDER G.C. Business Manual lor MusicTeachera RRY. Descriptive Analyses of Piano Work*. loathe.,, ‘ Stories of Standard Teaching Pieces. . HANDEL ALBUM (Pres, “ Youthful Diversion. (with word.). CLARICE, H. A. Harmony, A Text-Book These Companion volume* furnish HANDEL, G. F. Twelr. Piece, far the Pianoforte “ Well-known Fables Set to Music (with word.) Intended to enable the pupil to grasp easily HARTMANN, A. Fifty-one Old Hungarian Melodies STANDARD ADVANCED PIECES. 28 Pieces... and comprehensively the facta and rules of the without which student Playable versions of old folk melodies ar¬ STANDARD BRILLIANT ALBUM. 27 Piece, ... ranged by a master hand. STANDARD FIRST PIANO PIECES. 72 Pieces. HAYDN, J. Sonatas, Vol. I. STANDARD OPERA ALBUM. “ Sonatas, Vol. II. Melodies from the great operas arranged in HEINS, CARL. Album o P.annfort. Pieces the best manner in intermediate difficuhy HUDSON. Musical Poem, for Children not beyond the fourth grade. Subjects with COOKE, i. F. : d History of Music. " Musical Picture Book which all should be familiar. KERN. C. W. Mississippi River Sketches^ STANDARD PARLOR ALBUM. 41 Pieces. stoJ ”l!t.mns^nVm0u6i3c"lore°,'Mosll mdibh- SKINNER. 0. R. First Year in Theory. . .! . STANDARD STUDENT’S CLASSIC ALBUM 150 excellent portraits and illustrations. SCHMITT. H. Pedals of the Piano. STREATFIELD. Life Stories of Great Composers SUNDAY PIANO MUSIC. COOKE. J. F. Great Pianista on the Art ol TAPPER. First Studies in Music Biography. KROmGeMANN,'rWKlRle.Not«RU'..tiou.. Ten Pianoforte Playing. A History of Music for Children. Direct, excellent little teaching pieces. Personal conferences on Technic, interpretation, ex\ readable and never heavy. Full sketch of KUHLAU, F. Sonatinas. TREBLE CLEF ALBUM. Sion and style with oar most distinguished virtuosos. LEFT HAND RECREATION ALBUM 20TH CENTURY DANCE ALBUM. ELSON. L. C. Mistake* and Disputed Poiots io LICHNER, H. Sonatinas, Ops. 4 49 66 VERY FIRST PIECES, THE Music and Music Teaching. LISZT, F. Album of Celebrated Work. WAGNER-LISZT. Album of Transcriptionl GROVE S DICTIONARY OF MUSIC AND MUSI¬ LITTLE HOME PLAYER. Piano or Organ YOUNG PLAYERS ALBUM. 70Pieces. CIANS. 5 wols., 4,000 pages. 1 HEACOX, ARTHUR E. Ear Training. WODELL, F. W. Choir and Chorus Conducting..

VOCAL METHODS AND STUDIES TEACHERS’ SPECIALTIES

GREENE H. W Standard Graded Course of S1EBER, F. Elementary Exerc i 8-Mess BILLS OR RECEIPTS. Pad MUSIC WRITING PENS. Per doxen 1 Singing. 4 books, each $1 Studies, Op. 92, Soorano. PRESSER’S FIRST MUSIC WRITING BOOK MARCHES), S. 20 Elementary and Progressive “ Op. 93, Mexxo-Soprano. STANDARD PRACTICE SLIPS. Pad of 100 Vocalises for Medium Voice, Op. IS 1 “ Op. 94, Alto.. STANDARD LESSON RECORD. STUDENT S HARMONY TABLET MYER, EDMUND J. Vocal Instructor A practical VACCAI, N. Practical Italian Vocal Method. guide to artistic method.. 1 TIME CARDS. Lesson and Practice Record^ REDDALE, F. The School Singer. For normal V1EHL, G. Graded Studies in Sight Singing. Package of 25. classics; includes a large collection of songs A complete sight singing manual for class or R00T* JMJ^Methoieai Sight Singing. The WHELPTON, G. Vocal Studies for Soprano and ough the Keys. “ Student’s Manual ol Sight Singing. Clear,

Catalogs That Are Classified Guides 'I 'HE present high cost of production has necessitated a temporary of musical works, including Singer's Hand Book, Piano Study Guide, Hand advance in prices. All the Book publications on pr,ce Book for Violin Music, Hand Book for Pipe and Reed Organ, Choir and Chord* listed on these pages are temporarily advanced «(/ /0 listed Hand Book, Hand Book for 4, 6, 8 and 12 Hands. Catalog of Juvenile Musical Publications. Thematic Catalogs and complete Catalogs of Vocal and Instru¬ mental Music will be sent to you on request, without obligating you to buy. form will be sent gratis upon request Our Octavo Catalog is extensive and comprehensive, continually increasing with many notable accessions. We publish anthems, choruses and part songs, all styles, and in all degrees of difficulty. We aim to assist in every way possible "supply house)* c Philadelphia, Pa. the busy organist and choral director. m -ANNUAL SUBSCRIPTION $1.75- THE .... , . "• ' -—------f ' ■ Page 68 FEBRUARY 1919 ____* _____- _—-- IrunswK THE ETUDE i©m Insures VOL. XXXVII, No. 2 FEBRUARY, 1919 Single Copies 20 Cents

Routine Kills! always rare and it is right that their services should com¬ rior Phono; ‘v •1111 ^ Once in awhile we gently purloin an editorial which is too mand high fees. But—please compare what the great teacher good to pass. Here is one that is particularly good for music receive with what the great physician, the great lawyer or the teachers—who are often far too prone to fall into a rut. It is great engineer receives. What would a lawyer expect as a fee ^Tf -q The Brunswick Method of Repro- from Prof. Edgar James Swift’s excellent new book, “Psychol¬ in the case of a business that was likely to earn $200,000? —the interest on $4,000,000.00 ? No. 1 auction includes the Ultona. a ogy and the Day’s Work” (Charles Scribner’s Sons). Now we are coining to it. Teachers on the whole are .. „;nJaving The Ultona consists of an arrange- “Routine kills. If it does not kill the body it blunts its sensory edge. Response to stimulation, both external and miserably underpaid. Even during the recent soaring prices, internal, is slower and less efficient and it kills the mind. The few have been brave enough to raise their fees. No serviee p^sssw: distinction from bodily death is that he who is mentally dead is more important to the state than that of the teacher. attachments-nothing to take off or put on. thinks that he is alive. A man who never or rarely takes a Teachers the world over have shown themselves capable of han¬ vacation does things mechanically, does the ‘next thing’ mech¬ dling the biggest problems. President Wilson is only one of At a turn of the hand, the Ultona is adapted to play any anically and his digestion works mechanically. The writer thousands of instances. The Etude will earnestly support typeof record. The proper diaphragm is presented the exact once saw a motto on a business man’s desk which read, ‘Do the any movement to secure higher fees for teachers. None deserve weight, the precise needle. Thus the requirements of each next thing.’ Now, one who does the ‘next thing’ never gets any¬ what they earn more than the pedagogs, particularly those type of record are met. where. There is no selection, no discrimination of values. A who give over their lives to music. So each record, whatever make, is played exactly as it startling change of environment, with its necessary alteration should be. The Ultona demands no sacrifice in tone, as of habits, throws one out of gear for the moment. That is its Music and Morals value both bodily and mentally. The things that one has been The Rev. Hugh Reginald Haweis was among the first attachments often do. doing are no longer a part of oneself because one can no to write a popular book upon music in the English language. The Brunswick owner can choose records without regard longer do them. So a man is able to view them objectively. By popular we mean a book intended to introduce certain to make. Every singer, every band, every musician, every He has a better perspective. He sees proportions more clearly. phases of music to the amateur. The title of the book was selection may now be played at its best on the one phonograph. The worries of business are not as troublesome, since he sees “Music and Morals.” It appeared at a time when the general that some of the matters are not so important as he thought public was not at all convinced that musical people were espe¬ when he stood facing them. Their magnitude diminishes with cially moral and at the same moment when musicians were very distance. Other things settle themselves; this mental composure anxious to establish the moral and ethical significance of music. in) IjS. 7 Equal in importance to reproduc- SI acts beneficially upon digestion. Change of scene animates the We have just passed through a great war in which music VpLeason wo. £ tion is tone amplification. The mind by relieving it of the weariness of ‘the same old things;’ has been found to be of immeasurable value in keeping up the Brunswick Method of Reproduction also includes a new idea and the mental refreshment puts one into condition to antici¬ spirits of the soldiers and in promoting morale. Morale and in acoustics—The Brunswick Amplifier. pate one’s meals. Lafer, on returning, the old takes on a new morals are by no means the same thing. Morale is that tiling look, and the man begins his work with more alert judgment which keeps the minds and bodies of men loyal to the great Old-time ideas were at variance. Some makers still cling because his metobolism is improved. William James once purpose to which they have dedicated themselves. In it morals to metal construction. Others use a combination of wood and shocked certain Puritanic, naive people, devoid of humor, by played a very powerful part. The Y. M. C. A., the Knights metal—a wooden horn and a metal casting as the “throat. saying that even a spree has its value. Any break in routine of Columbus, the Y. M. H. A., the Red Cross and the Salva¬ is refreshing, and the sharper the break the better.” But the Brunswick Amplifier is oval in shape, and built en¬ tion Army, as well as the invaluable Commission on Training Why not plan now for a vacation (if even but one day in tirely of wood, like a fine violin. It is molded of rare holly-wood. Camp Activities, have enabled us to win a victory without sac¬ length) that will be a very marked change. You will never rificing the best in our own armies. All of the aforementioned Sound waves need vibration to reach their fullness. You regret it. -,--— agencies used music to excellent advantage. will note that The Brunswick tone is richer and more natural Sixty Dollars An Hour! We are not contending that the man who is gifted in Strident, metallic notes are absent. Sixty dollars an hour for musical instruction! music is necessarily a moral man. We have known far too Impossible! Not at all—a celebrated master teacher in many cases of Unmoral men who have been talented musicians. Make comparison. Let your ear decide, Try to find an New York city is getting that sum right now. Sixty dollars an The question is, however—would not these same individuals equal to Brunswick tone. hour! Phew \ We know of lots of teachers who never dream have been less savory members of society had it not been for You’re bound to end such a search at a Brunswick Shop, of getting more than that for a whole year’s instruction. their musical experiences? It is difficult to think of one being where every opportunity will be given you to decide for yourself. Sixty dollars an hour—and cheap at the price. What saturated with so much beauty without having one’s soul makes one man’s lessons worth sixty dollars an hour and elevated. Hear this remarkable instrument before you decide. And another’s worthy fifty cents? The law of supply and demand. What, for instance, might the Kaiser have been, had it not you’ll avoid regrets. The man we are thinking of has trained violin virtuosos who been for his musical experience and music love?—for music have become world-famous. Some of them have earned as was the fine art in which he had the best training? One thing high as two hundred thousand dollars in a year—if rumor may for certain—he was not waging war when he was composing be believed. Suppose such a student had taken forty lessons operas with Leoncavallo, or debating upon the merits of pro¬ The. a year for five years or $18,000,00. The interest upon the ductions of the Opern Haus in Unter den Linden. Surely sum he is reputed to have earned in one year at 5% would be he would have found the pursuit of such a matter more profit¬ $12,000. Ever hear of a better bargain than that? There able morally and materially than his sacrilegious and beligerent ^rnpmuvick are only a few teachers in the world who could do such a thing partnership with Gott. and because the supply is limited the most famous one is able Questions of music and morals are always to be qualified to demand $60.00 an hour and get it. by the individual, but considering the subject by and large The surgeon, who in thirty minutes, performs the appen¬ from many years’ experience in music, we feel very strongly The Brunswick-Balke-Collender Co. dix operation and receives $1,000.00 as his fee, thinks nothing that the power of the art to refresh, inspire and edify the General Offices: CHICAGO and NEW YORK of it. A great lawyer may give a little bit of important advice human mind must have a reflexive value upon the power to and get a $5,000.00 fee. Great men and great women are work for good over bad in man—tli

Please ETUDE when addressing advertisers. TEE ETUDE FEBRUARY 1919 Page 71 Page 70 FEBRUARY 1919 Are You Loyal to Your Art ? a”');:?!’:-'’ aia;a;;T»8a?aa:;.■■’asaaaa ' a a a,:;:.-; i:,... : , ! *, By Edward Baxter Perry , m,blicly tarred and feathered by the rank and fiVof the musical fraternity, as a lesson to them m fight for that cause fearlessly and ^ needs file of the houJd not bt forgotten, moreover, that A former friend of mine in Chicago, with whom I to others. . t even justified by necessity. Tfe often discussed ideals and standards in playing and hardships “ f What Helped Me Most in My Career must be, irrespective of the cost• V? ' f the uplift- composition some years ago, had a very terse remark thouldCbe much better off in the end if they remain*! returns in hard cash; using your a y beings with which he usually clinched his arguments in favor to 'hdr art and to themselves. Them anion , ing, refining and purifying »f®h st dollars, 1 cimolv by the short-sighted get-rich-quic], Stories of Struggle Days from Foremost Present Day Artists of aiming at the popular taste and pleasing the masses as you can reach. If you betray your trust 10 ^ {or, as he put it, “Them Asses”), namely, 'High Art fdeT1’They might exist fairly well, a, lea* in 1*, as many have done, and are doing,others, but, lines of work if they chose so to do. Othtn butters no parsnips.” ...... , and should be scorned as such, not only by others, BISPHAM HINCKLE MIURA ORNSTEIN I ventured mildly to suggest to a popular singer (with T ! Hont so and are still doing so. as long as they art what is harder to bear, by yourselt. .f GARRISON whom I once appeared in concert in St. Paul) that one nntem to do plenty of honest work for a modern SAENGER MERO WERRENRATH . No matter how humble your P ° f ’he back- con !lt It is not absolutely essential to be a star oi of his numbers was hardly up to the artistic standard are only an obscure private on picket duty cause, of the program. He sneeringly replied, ‘ To the devil o!COfirst magnitude. Resides, there is always teaching OSCAR SAENGER counts for so much in a teacher, was such as to influ¬ early childhood all my energies, my thoughts, my time with Art! It is shekels I am after.” o i back upon; for. singular though it seems, th„t Noted Teacher of Singers ence any one who came under supervision, as he aspired from morning until night were devoted to study and It is hardly necessary to remark that neither of these lre thousands upon thousands o people who care Mb It was chance that led Only for the highest in his art. practice. Childhood days and playing with other chil¬ men has ever been heard of in the higher ranks of the rl for the best music and could not be dragged to a me into the musical pro¬ Besides teaching singing I was appointed an examiner dren are almost unknown to me except from hearsay. profession, though both had talent and promise I good concert, who nevertlielew want their children «I| fession, I had been edu¬ of voices at the conservatory, which gave me the oppor¬ Luck, chance, opportunity, or whatever it may be could cite many examples of a like nature, but these faught, even along the lmes of classical music; and ml tunity to diagnose thousands of voices during the nine called, are elements in almost every career, but no one suffice to show a certain trend of thought, or shall I ,he "r X “Sf cated for a business se ect every time the best tcacbcr they can find. career, and at the age of years I taught there. I consider this experience #he can accomplish anything in this world with either or say lack of it, in the musical profession of our day. SS” Died SK5 Action, True to the Lush stands well in the profession and whose standards* most important that ever came to me as a teacher. The fearful and growing competition with ragtime eighteen held a responsi¬ all of these factors alone. One must have the founda¬ strict and ideals high. This is a conundrum « «** ble position in a large At the age of twenty-three I accepted an engagement tion -of education, and the knowledge to utilize them (that worst curse and ultimate degradation of musical Be True to the Dream of Your Youth psychology which it is wholly l*yond metosoWe.1% art) cheap, and often vulgar, shows, minstrels, commercial concern, of to sing with the American Opera Company in the properly and advantageously if and when they present if they cio not want the best mus.c should they desire “movies,” and—last but worst—the vaudeville, which which my father was the repertoire of leading baritone roles. This was followed themselves. They sometimes provide a shortcut to the to have their children trained to .1? Let them uteris the honest musician has to meet in his fight for an ex¬ head. I had, however, by a concert tour through Germany and Austria where top of the ladder of fame, but they are of a fickle ^„rh as they please alx.ut “that classical, high-brot istence, creates a terrible temptation to lower ones received a musical edu¬ I sang in all the leading cities. On my return to the nature and no reliance or dependence must be placed stuff)” as they call it. they, nevertheless, will pay for it standards or abandon them for the sake of the money X.u£V.ho..b' ;;!™Ts sr cation, studying the vio¬ States. I continued in concert work for awhile, but the upon them because of their very uncertain and indefi¬ lin at an early age and which one must have to live; and cater to the great, for their children. „ . demand for my time was such that eventually I gave up nite nature. They stifle energy and determination, the By the way, that term "high-brow, so often had appearing as soloist at ever-increasing demand of the general public for the as*=why not give it what it wants and reap the reward. public appearances. My private classes grew so large most useful attributes of an anfbitious and struggling light, cheap and merely sensational entertainment, rather nowadays as' an epithet of ridicule or many concerts; later A number of good artists are acting on this theory at evitablv marks the user of it a* a person of I'wmidE- that I was obliged to resign my position at the con¬ artist. than serious, worthy art in any form. For alas, we conducting the largest servatory. the present time, and selling themselves and all they gence and still lower education. We know that tk amateur orchestra in To sum up, I should say that industrious application cannot forget and find it difficult to ignore the indis¬ Perhaps it will interest the aspiring young teacher have and are, to the managers of vaudeville circuits, chimpanzee and the primitive savage have K* mi Brooklyn. to my studies and constant work and practice have been putable fact that the fools are and always will be to know something about the financial end of the pro¬ because it pays. Personally, I never attended but one narrow foreheads, the frontal development of my greatest helpmates in my career, together with the vastly in the majority. The artist in any line must As a boy, I sang con¬ fession. Having received my education at the conserva¬ vaudeville show in my life, and that on the insistence skull is not far advanced, allowing iliac they Ml tralto, and my father keeping in view at all times of the desired object. I work for the few who have some brains and some of a friend who was critic of a local paper and was tory, it was only right that I should he willing to work taste, .and let the great crowd take the results of his small and untrained intelligence, and that it will t* who was musical took have never permitted any discouragements to deter me obliged to go to write it up. Otherwise I should not there for a small stipend, and it will encourage the work or leave them as they please, in spite of the generations to develop in them the normal brain of fc great pride in develop¬ from my ambitions so long as I felt convinced of my call him a friend. It took me months to get over the young teacher who works for a small fee to know that scriptural injunction, “Cast not your pearls before civilized man. and the intellectual capacity which » ing this talent. As a ability to carry out and attain my ideals. experience, and I have not yet fully recovered. The I received one dollar the hour, half of this amount one of its functions. Those who prefer .hat eU*« youth I developed a bari¬ swine.” nauseating disgust and bitter self-contempt caused by going to the accompanist, and that I did. this for a There is another standpoint from which to regard associate with it if they choose. Some of us do not tone voice and was much the knowledge that I actually belonged to a race who period of nine years. But success came with hard and DAVID BISPHAM this matter beside the merely financial and selfish one. The chief thought to be borne in mind, however,» Oscar Sabnger sought after to partici¬ could patronize and seem to enjoy such things, conscientious work, for after I devoted myself to pri¬ It would be easy for any general at the front to secure that in every community and every school there an pate in dramatic and Eminent American Baritone amounted to positive physical suffering. vate teaching my remuneration increased rapidly to far more than his salary by selling out to the enemy; some more advanced souls who need and welcome <* musical productions. This treated a desire to become Being d escended There are still left in every community some refined, four, six, eight, ten, twenty, and recently thirty dollars but does he owe nothing to his country, the cause he work. But many of them arc young, impressionalk a professional musician, but my parents opposed this. from plain English, aspiring souls that need and want the best we can give the hour for my services. serves, and incidentally to his own self-respect? True One day on my way to business I met a, friend with Quaker, Philadelphia them. For them we must live and work, we who hold and easily swayed by surrounding influences. Let ts My life has been one of incessant labor, sometimes art is a sort of religion, like fidelity, loyalty, patriotism then for their sakes stand firmly and openly and m- whom I had sung at a number of amateur perform¬ working from half after eight o’clock in the morning stock I was brought up and the like; not a mere money-making proposition. that the musical profession is a lofty and sacred call¬ ing, worthy of every effort, and if need be, of every afraid for our highest ideals in art and in everyth®? ances, and he told me that he was studying singing at until late at night. To be able to do this, requires great in surroundings that Those who think of-it solely as the latter had far bet¬ else. I would rather live and die poor and sleep at Us the National Conservatory of Music, where he had care to maintain health. Regular hours and a horse¬ had hut little music in ter give it up at once and forever, and select as a life sacrifice. Is not self-respect worth more than a some¬ what larger bank account? Does not the sense of hav¬ in a pauper’s unmarked grave, as some of our best ce«- secured a scholarship. Waxing enthusiastic over his back ride in the early morning have sufficed to accom¬ them. Musical procliv¬ vocation the manufacture of shoestrings, chewing gum, ing helped even a few who were worthy of it weigh posers have been fated to do, than to rcvtl in hsxnp studies and the prospect of an early appearance with plish this for me. ities I had, but without or something which the world, as a whole, really wants for a few short years, conscious all the time that 1 the National Opera Company, which was one of the cultivation little can be and which will pay far better. If you deliberately enlist more in the final balance than a greater accumulation As I have said, it was chance that led me into the was selling my art and myself for a few pieces ot Conservatory’s enterprises, he urged me to go with him musical profession, but after that it was ambition to expected from nature. in the service of art in any form, you are—or ought of this world’s goods? ..:i_ and have my voice tried. On the spur of the moment arrive at the head, persistence in following the course The more marked the to be—doing it with a real love of the cause, ready to I should like to see such renegades as those referred I decided to join him and instead of going to business I saw would lead me there, and willingness to work, aptitude, the more it that day, I went with him to the conservatory. Mme. work, work—any amount and at any time—that are should be helped; and while it is true that “a Fursch-Madi was the directress at that time and Mon. chiefly responsible for the success I have had. poet is born, not made,” Jacques Bouhy, head of the vocal department. I was it is also true that his given a hearing and to my great surprise, was accepted YOLANDA MERO natural urge must be Play Two Notes Against Three and enrolled as one of Mon. Bouhy’s pupils. The die Distinguished Concert Pianist smiled upon by circum¬ How to was cast, for my acceptance meant the signing of a You ask me what has stances. As a singer I and Other Unusual Rhythmic Combinations five years’ contract with the conservatory. I was to helped me most in my was partly born and be taught singing, acting, dancing, theory, harmony and musical career, and as partly self-made, and the languages. By Ernst Eberhard, you propound this ques¬ fate has never frowned Now began a rather strenuous time, for I was obliged tion I ask myself what long upon me. This shows the exact mathematical value of each ties can be conquered in the above way. the rule affb to continue in business and still find time for my it really has been. I was just a stocky, Passages which contain unusual rhythmic combina¬ studies. This entailed hard work from seven in the red-headed lad, eager to tions possess a rarfe charm when their peculiar idiom is note. To further illustrate the difficulty, let us take ing, of course, equally to quarter, eighth, sixteen? First and foremost, I four notes against five. The lowest common multiple notes, etc. morning until almost midnight. After a year’s study feel suie, was the defi¬ get away from books grasped and understood. Proper execution of them is, I secured the tenor solo position in a prominent Brook¬ of 4 and 5 is 20, the number to count. The division A few pieces and exercises containing unuaa nite object I formed to and play—not the piano, for it was considered wrong one might say, a knack, and like all knacks is difficult lyn Church, of which Charlotte Welles was the organ¬ of the counting is as follows: (count 4 to each of the rhythmical difficulties, a study of which will benefit w work indefatigably until to have one in your house then—but to play outdoors; before and simple after acquisition. Difficulties of ist. One of the chief factors in my success has been five notes, 5 to each of the four notes) : student, are as follows: I had either succeeded and as I played I sang. I had an alto voice, they said’, this nature are dependent upon: First, a correct men¬ the influence of this fine woman and splendid musician, tal conception of what is to be done and how it is to Grieg, Scherzo in E minor, Flegie in A minor. or had become con¬ “that might develop into a baritone”—whatever that who afterward became my wife and who urged me to vinced that my talents be done; second, upon sufficient muscular control to iTT4, r6~7 8, 9 10 11 12, 13~ 14 IS 16. 17 18 19 20 Chopin, Prelude in C sharp minor So. I®. * f continue in the profession. was. As yet I had no ambition for music, for I knew were not of an order to permit of the execution of the thought. ual changing from triplet to even rhythm « “ none; but later when I went to’college and travelled, j—'j r~. j ."j At twenty, I began to sing in concerts and recitals, entitle me to success. Since two notes against three is the most commonly right hand. and saw and heard the great world I began to crave and it was at this time I had the good fortune to meet That meant that I had encountered of rhythmic difficulties, we shall first pro¬ r r r r Eludes is A flat N*. 26. in F minor No- 25. in frank van der Stucken, who took an interest in me music and the theater and nothing could keep me from ceed to learn how to conquer that. Taking the lowest 1 2 3 4 5, 6 7 8 9 10, 11 12 13 14 IS, 16 17 18 19 20 set a standard for my¬ following my bent. Of foresight I had none, but per¬ minor No. 14 to be accented in triplets as and gave me the first opportunity to appear in a num¬ self and that hard, con¬ common multiple of the number of notes contained in sistence and pluck I must have had or I would still Fantasie Impromptu. ber of his popular symphony concerts. The friendship sistent and continuous the difficulty (2 3) we get the result 6, which is the have been a nonentity in my uncle's wool house The student will necessarily have to play very slowly Liszt, Au Lae dc H'ollenstadt, a continual changii of this sterling artist as an influence in mv life and work would be neces¬ numbes to count in conquering the difficulty. We musical career, I consider invaluable. Both Frank and until he acquires rhythmical feeling sufficient to enable from triplets to even rhythm in the left h*»< sary in order to reach While some fellows can play anything, mv fingers count the three notes thus, 1 2, 3 4, 5 6; the two him to dispense with the counting, If the hands are Schubert-Li$zt, Serenade, two notes agninst three M alter Damrosch, also extended A helping hand to the that goal. Undoubtedly never would go with ease to the proper place on anv properly trained and the proper mathematical relation¬ the same hand. aspiring young artist, thus opening the way for a nothing can be attained instrument at all. My eye reads quickly, however and notes are counted, 12 3, 4 S 6. Illustrating it ship of the notes are thoroughly understood as given successful concert career. Rrcs, Etude Op. 31 No. 5, very good and together w without work and cour¬ my only mstrument is the voice which I took especial graphically gives us above, the student need then only listen for the During my fourth year at the conservatory, M. Bouhy the age to undertake diffi¬ pains in cultivatmg. I seized every opportunity that accented notes starting each division (the beat notes) resigned his position, and it was on his recommendation Right Hand, triplet. 1 2, 3 4, 5 6 Mozart, Fantasie in C minor (not the sonata » cult tasks, as well as to came my way to glut my ear with "concourse of sweet and make them come in together, the intermediate that Mrs. Thurber offered me a position as vocal which is full of unusual rhythmical difficult* overcome and outlive sounds;’ and. fortunately for me. the better the music notes slipping in. Ultimate perfection comes after the instructor there. When I began to teach I felt more should not be passed by. the discouragements which come to all who strive for student has trained himself to listen to two or more the better I liked it, and I sought the acquaintance of The reader is eamestlv advised to follow the rea* than ever the great privilege of having studied with lofty objects. The higher one's ambition and the more parts or voices at the same time, an absolute necessity M. Bouhy. He was not only a great singer, but a those who helped me to satisfy my nature’s longing. Mv of this article with the study of Playing Two one desires to accomplish the greater are the disappoint¬ Left Hand, even rhythm for artistic performance. All similar rhythmic difficul¬ splendid musician as well, and his personality, which masters were good and my friends believed in my abil¬ Agatnst Three,'1 by Charles W. Landon. ments encountered in their attainment. Ever since my ity to make a success, so I left business, after a seven THE Emt THE ETUDE FEBRUARY 1919 Page 7S Page 72 FEBRUARY 1919 Maria and although I had been singing and studying REINALD WERRENRATH IcTth" ase of ai*. I “P ** ”»*> » shment- was begun too late, however, or I should have accom¬ Constant studying, close application and keeping fc “Perseverance ana plished much more than I have done. It was only by nhvsical condition perfect are the prune requisites. I, hard work have been the hardest work and intense application that I ever among the all-tmpor- fs not the voice alone that counts, but learning ho* „ ‘got where I did. tant things, but the use it-and it makes me very happy to look bade a: Luck’ Yes; and guidance, too, I had, of a kind I greatest help »n tne “ v graduation from the Academy of Music: in Toldo. never understood. At home I had little encouragement. world is to make up for it gave me an opportunity to appear in Mascagnis My own mother never heard me but once in public. She your mind to be told of famous Cavallieria Kusticana-the first time a foreign had read of what might befall me “on the stage. your mistakes. The ooera had been heard in Japan. And from that day How to Correct Common Rhythmic Blunders Dear soul! I had her full approval later, when she value of this cannot be on I have tried by the same study and application that realized that nature had called me, and she dared not overestimated. Be not I have spoken of before to make each hour of everyday oppose her will. So I went, and still go, with her By CLEMENT ANTROBUS HARRIS only willing, but glad, better than the day before. blessing on my career, always remembering her bidding to be told of your er¬ It is my belief that each and every one should have to live up to the highest I knew in my chosen profession. rors, and take the atti¬ an ideal. We do not achieve them all, because when tude of ‘Well,, there we reach the place aspired to we find that another ideal Rhythmical errors are due to one of two principal time. For each of these is played as if it was the may be something in MABEL GARRISON has taken the place of our fondest ambition and we causes: other. Obviously, therefore, the difficulty is not a what he says, after all.’ 1. The pupil has a knowledge of time-values but physical but a mental one: the remedy consists in Prima Donna, Metropolitan Opera House Do not make up your keep on climbing and climbing. To be successful one no ear for them—it is not sufficiently realized that the associating a given rhythm with its proper written mind that you know it must not mind the fact that we do not succeed in “Opportunity — that sense of time differs as much in different individuals character. The treatment to be applied must be based The remdy lies in directing the student’s attention all, but give in occasion¬ attaining our ideals—but as long as they serve as guide is, the lack of opportun¬ as the sense of pitch. on this fact. to the essential notes of the melody ally and realize that the posts to the land of our career's desire then they too ity, seems to be the hue 2. The pupil has an ear for time-values but not an The pupil should have it impressed upon him that and pointing out that what these lack in length, being reason why you are and cry of aspiring have served well. accurate knowledge of the written signs for them. the second of two equal notes is exactly half way To do these things requires courage—courage in the very short, must be made up to them in accent. artists. Let me say probably not where you In the latter case the remedy is simple if not always between the preceding note and whatever follows, face of what may at times seem unsurmountable obsta- A very similar fault is common in the rendering of that there is no such thought you would be, easy—the student must make up his mind to thor¬ whether a note (of whatever length) or a rest. “A or ought to be, is be- cles—courage to do our very best always. the short appoggiatura. This should be taken out of thing as lack of oppor¬ oughly master the chapter on Time in the Rudiments truism 1” someone exclaims. Granted; arithmetically retnald Werrbnrath cause the fault is within I am afraid that I haven’t said much that will help the beginning of the note it precedes, and accented. tunity. The man that Primer. There is little to learn, but this little must it is a truism, but musically it is very far from it. your readers—but the main things toward a career, as Too often its time is taken off the end of the note it goes out in search of a yourself. Do not blame others for something you become as familiar as one’s own name: in a rapid follows, and, the end of a pulse being its weakest part, hearing will find dozens lack, but investigate and bear in mind that there is I see them, are: Ambition, passage there is no time to work out or ponder over of them. a reason why promotion has been so long in coming Study, time-problems; the interpretation of the written char¬ the note is unaccented, and the whole effect weakened. “There are hundreds to you. You may perhaps have fallen into bad hab¬ Ideals, acters must be recognized instanter. It will encourage of agencies, managers, its, and have deluded yourself that they, are all right, Courage, young or timid students to point out that in many Six-Eight and Three-Four and impresarios who so take advice from others and give in. This can More ambition, pieces, even of classical music, there are very few Each starred note is half way between the preceding A measure of 6/8 time are ready to hear art¬ easily be accomplished without giving up or being More study rhythmic figures, and that if these two or three rhythms ists and can always disheartened. . . note and the following one. Cultivate the sense of the be thoroughly mastered the time of the whole piece mid-way point. place them if they are “I seldom give advice to beginners, as every indi¬ and a belief that the bigger opportunity must needt follow the lesser opportunity well accomplished will be known. In the 307 measures of Sydney Smith’s To correct the opposite fault, that of playing a dotted competent. It isn’t the vidual has a different problem to solve, but there are well-known Tarantelle ii{ E there are only 12 differ¬ lack of opportunity that two things which should be considered in everyone s note and that which follows it, as though they were ent rhythmic figures, and many of these differ but equal, play the passage without the shorter notes, and the aspirant suffers case before they decide definitely what their future is FLORENCE HINCKLE slightly. Certain rhythms occur millions and millions (Mr*. Herbert Wtthcnpoon) sustain the dotted notes as though they were of the from, but the lack of to be. The first is to find themselves, and not per¬ of times in music; how great, then, is the reward for is often played as though it were a measure of 3/4 time, next longer denomination. This reduces the passage preparedness for the sist in any line of endeavor in which they do not seem American Concert and Oratorio Soprano a very little really careful study! And how great the work for which they suited. Sometimes it takes quite a long time to dis¬ to its melodic framework, devoid of ornamentation. “No outside help is foolishness of neglecting it! apply-# Whenever, as a cover that effort is being wasted. Take my own case. Then think of each shorter note as leading to, almost lasting or worth while. In the second case—lack of an ear for time—the beginner, I applied for I began the study of the violin when I was ten years as a short appoggiatura to, the dotted note which fol¬ Success in a musical remedy is not so simple. It is, however, remarkable church or oratorio old, and studied five years before I realized that I lows it, not as coming from the dotted note which career is entirely up to how even in this case faults fall into groups. And the work, I had the neces¬ would never make more than a mediocre violinist. precedes it. Then, remembering that the dotted note the individual. Many purpose of this article is to show how the commonest and vice versa. I have known quite advanced sary material and knew it thoroughly.havmg prepared Young as I was it was a wrench to give it up and turn is exactly three times as long as the shorter one, play students complain of and most troublesome of these can effectively be dealt players to do this. Explain the difference between the it with as much forethought as in later years when I to something else. It seemed as if I had wasted five the passage as written, thus: not having' friends to with. Very often both faults, lack of knowledge and arithmetical value of the measures, which is identical, had my “audition” at the Metropolitan Opera House. years. In later years, of course, I found this work help them find oppor¬ of ear, and too often carelessness and indifference and their rhythmical value, which is quite different. Being prepared, I found to be the all-important require¬ had been a tremendous help. It was my father, George Werrenrath, then one of the foremost tenors of the tunities, but the man added, tffe met with in the same perjon. ment at all times. day, who realized the possibilities of my voice and who waits for outside “There is another thing which is so often overlooked Impaled On the Bar urged me to turn all my efforts in that direction. I help will not get very Notes Versus Rests by artists even after they have been appearing in pub¬ studied with him for a year, until his death, and dur¬ far. Instead of wast¬ Anyone wishing to write a homily on the perversity Elementary pupils often find themselves impaled on lic for some time, and it is an invaluable thing to bear ing that time I was made to realize the second thing ing time asking how, of human nature could wish for no more apt illustra¬ the bar-line; that is to say, they hesitate at the end in mind. Fit your selections and programs to a certain I want to make a point of. Never acknowledge de¬ why and wherefore, he tion than that afforded by the mistakes in time made of every measure; “run and stop, run and stop,” so extent to your audience. By that I do not mean that feat. No matter how difficult or distasteful the task,-— should go ahead and do. by beginners in the divine art. For (a) a whole note to speak; not infrequently they get over with one hand an artist should ever change or lower his standard. On “Friends can boost a it must be accomplished. Nothing can be brushed is sure to be played as a half, followed by a half rest, before they do with the other. This is due to executive the contrary I believe he should always help in edu¬ person occasionally, but aside. B'rushing aside or neglect retards growth men¬ while (6) a half ne'e, or one of much shorter value, power being ahead of reading power. In simple music cating the public at large to know and appreciate better tally and musically, and creates a psychological effect if the person cannot followed by rests su ficient to complete the measure, is Silence Has Its Strict Duration the harmony generally changes at each bar, and the music. For instance, a beginner often sings the songs that is difficult to master. In other words, ‘Meet make good, the opportunity is worthless. It is the equally sure to be held down, or sustained by the voice, It is much harder to keep time during silence than right hand is kept waiting while the left hand finds he likes and sings them to any and every audience with¬ obstacles and overcome them.’ same with a singer as with a composer. New compo¬ for the entire measure! Remedy: (a) write a whole during sound, and when only listening than when play¬ its new chord. Give copious reading exercises, and out taking the trouble to find out to whom he is sing¬ “Keep these things in mind primarily, be optimistic, sitions arc not accepted by the publisher and less fre¬ rest and ask the pupil to observe it while counting ing or singing, at least if one has no copy. There is direct the pupil (1) to play, say three times, from the ing. Now a program which would please a Carnegie think of your work as a golden opportunity, and above quently by the singer, if the composition is not worthy, four. On his doing this (which he is likely to do) always a tendency to hurry the counting during a middle of each measure to the middle of the next; (2) Hall audience in New York might not be enjoyed by all do not be ashamed to be told of your mistakes.” and the same applies to singers who cannot make good, correctly, ask him, as though surprised, why he did measure or more of absolute silence, and also during the harmony almost always being assigned to the left an audience of high school girls in Alliance, O., or St. no mater how great outside help may be. not play a note in the middle of the measure. And on the indefinitely longer period of a facet (“Be silent”) hand, to read the left-hand part first; (3) if the Joseph, Mo., and a program which would be praised by TAMAKI MIURA “Opportunities are not rare as many would have ns his protesting that there is not one written, exclaim: when one is not performing himself but has to keep passage begins with a short, unaccompanied and un¬ Boston or Pittsburgh critics might not find equal favor Japanese Prima Donna, Most Distinguished Singer believe. There are more opportunities than there are of Her Race “Quite so! Then why did you put a rest into this time while the other members of a choir or orchestra accented note in the right hand, followed by one in a Southern or Western mining city, where the gen¬ good artists to fill them. Every manager in the coun¬ try will tell you that he always has room for another measure (pointing to the one with the whole note in) are singing or playing. Nevertheless, this power can accompanied by a chord in the left, to get this left- eral public does not' have time to know the intricate There are so many good artist. when there is not one written?” be largely developed during private lessons by the hand chord ready beforehand. harmonizations of the more pretentious programs. I elements entering the Another and most efficacious method of securing the teacher playing or singing while the pupil alone counts Very often the reverse is the case: the pupil can have found that my selections were just as important life of one who aspires “As I said before, it is entirely up to the individual to find himself and develop the characteristics and observance of rests, especially in a long staccato pas¬ or beats time. A more severe test, which should fol¬ read the passage quickly enough but cannot play it. as my rendition of them. A certain foresight is neces¬ to please the operatic public that I hesitate to qualities peculiar to himself. When he has learned this sage, is to direct the player to tap the lid of the piano low, is for teacher and pupil simultaneously,'silently, If the teacher plays the piece while the pupil counts sary. he must learn to conserve time and energy. It takes with his finger, taking care to touch the wood with the and invisibly, to keep, at an indicated pace a given aloud he will easily be able to arrive at a correct diag¬ “I will tell you something which has been part of my comply with your re¬ quest for fear that many years before an artist reaches his goal, as most number of measures, complete silence, perceptibly mark¬ nosis*. daily thoughts ever since I made up my mind to be “cushion” or as Richter once called it in England, “the some of the things of them have pictured a very high pinnacle.—and ing only the last beat. a singer, and to which I feel I owe my earlier persever¬ meat of the finger,” not the nail, at each rest, or after Triple Time which have confronted rightly so. ance and ultimate success. If this thought is brought to each staccato note. It is so exacting a test that me would cause some "Time is the essential and precious thing, as a stu¬ young students will be able to do it with only one hand The Scotch Snap and the Appoggiatura It is harder to play or sing correctly in triple than mind every time the student feels he is being imposed in duple or quadruple time, owing to the two consecu¬ natural singer to recon¬ dent has many things to crowd into a day if he means at a time. I have known the most obstinate cases It is natural for a longer note to come on a stronger upon, or when he thinks a less talented person is unjustly sider being heard. tive unaccented pulses. So much so, that turning triple to do standard work and do it well. He has a sing¬ cured by this simple device. accent than a shorter one, and consequently it generally given the preference, it will help him understand. It is Next to one’s own ing, a coaching, a language, and as a rule a harmony into quadruple time by making the third beat twice as Another plan, where the rest equals a beat in length, precedes the shorter bne in the measure or the group. this: There never is the slightest opportunity for ambition for the or a composition lesson, and probably others as *'***• long as the others, is quite common! In this case the is to substitute the word “rest” for the numeral repre¬ A piquant effect, particularly characteristic of Scot'ish advancement for the person who does not know the achievement of success so only through a carefully regulated program can h< culprit does not count four, being quite unconscious of senting the "count” or “beat” in question, thus and Hungarian folk-music, is obtained by flying in the particular work assigned to him. If the other man gets it seems to me that the be expected to accomplish good results. He must lean1 the revolution he is making, but simply repeats the face of the normal rhythm and making a short note the job it is because he has mastered it. Remember helpful influence of to stop the little leaks which sap his energy and vital¬ vowel of the third count, thus: that it is the survival of the fittest, and if you want to some deeply interested ity and economize not only in money but in thought -tj X_J X I X J_j_*_ precede and be more accented than a longer one in the be in line for the work of your envied confrere, you person counts the very and time as well. He must concentrate both though! the same beat. So much more usual, however, is the must know how to do his work as well as he does it. most. When a girl of and energy, and thereby increase the efficiency of the normal rhythm that careless players frequently and Opportunities are being lost every day by those who not ten in my native Japan, component parts, which later go to make him a finished quite unconsciously relapse into it by taking the shorter Equal and Unequal Couples only fail to do the right work, but are too lazy to take I heard the American and efficient product. Do not waste a single minute oi note out of the end of the preceding note and mak¬ the trouble to learn to work right. There are plenty wife of the Ambassa¬ your day, and you will not only notice an increase m Just as perverse is the treatment usually accorded ing the longer note fall on the accent, thus robbing the of opportunities for all who are prepared. All you dor from Holland—a the amount of work accomplished, but also how wel to (a) two equal notes, and (6) a dotted note followed rhythm of all character. Robin Adair affords a famil¬ The teacher is not always blameless in this and other Tamaki Miura Mrs. Loudon—sing Ave have to know is your job.” (Continued on page 76) by one of the next shorter denomination, in simple iar example: cases. He does not always sufliciently explain the THE ETUDE THE ETUDE FEBRUARY 1919 Page 75 Page 7-4 FEBRUARY 1919 To Piano Success Technical Roads nature -of accent and of different rhythms. Haying By Ernest R. Kroeger made sure of himself in this respect he should direct Painstaking practice lasting over a long time Another E his pupil to accent strongly the first beat, and vault pamstak g P ^ ..crossing” in a scale, a short over the bar-line quickly from the “three” to the ‘ one. Probably the principal problem inHhe secun”® °ach good technic is the equahzmg of dm fi * ■ is thumb hasf to cross under two or sometimes three More rarely the two notes are made equal without ‘hu c two and a half inches longer. This crossing prolonging the measure, the player unintentionally ac¬ hand the fingers are unequal in strengt • next. Secrets of Success of Great Musicians by all means the strongest:; ‘he middle fing h mugst be done imperceptibly to the ear To the listener complishing a difficult feat, counting 3/4 and playing the forefinger follows, and the fifth nnger t there must be no break whatsoever. How is this done? Prepared Especially for Tiie Etude by the Distinguished Pianist-Composer in 6/8 time, thus : in certain combinations with other* th finger is Different “methods" have different means. In one case the hand is immovable in a level post too. and the EUGENIO DI PIRANI th^^Tmgb^aP^'of^the^tuden^^ He must humb practices gymnastic exercises, until it canatUin he desired end. In another the wr.s and elbow are held outward, and the thumb thus falls into position. In another, the wrist makes a distinct bend, as the Chopin long fingers are being used, and in this case the thumb power, and the problem is to equalize: them, sc> that easily effects the crossing, but there must be no tighten- What is the reason why, among many musicians ers only those who have ,written at least half a dozen another; a group which included Liszt, Meyerbeer, Hil¬ matters not which finger is employed. All sorts ° ing of muscles or tendons in order that the quality of A Weak Spot in Piano Teaching who are equally gifted and efficient, some (very few!) operas, as many oratorios and several symphonies.” ler, Mendelssohn, Berlioz, Heine, George Sand, the exercises have been written for this purpose, one remain good. This is another point where long- succeed, and the others not at all? Countesse d’Agoult, etc. Indeed the wonderful recip¬ tions to strengthen the weak fingers may be sought out continued practice is absolutely essential. Then a third On another occasion he pronounced Chopin an artist It is my opiriion that an investigation of the career Judicious and systematic practice every day is, or important matter refers to chord work, which ,s dis¬ of the first rank. “His best works,” Liszt wrote, “con¬ rocal influence of all these gifted men and women upon By Herbert William Reed of musicians endowed with talent or genius reveals to course, the best means to use for securing results. tinct from running or legato work. In this case per- tain numerous combinations, of which it must be said each other must have been immeasurable, for every one the acute observer some special personal or artistic There should be no let-up, even if years are necessa y cussion is necessary, and wrist practice is a feature of that they did nothing less than create an epoch in the of them engraved a name in more or less indelible traits which are responsible for their success or, also, Years ago a noted teacher said to her pupil, “Young to reach the goal. The first-class pianist does not care daily routine. Often a good legato is secured, but treatment of musical style. His pieces conceal their letters in the golden pages of history. man, why don’t you use the pedal more? You employ what fingers he uses. He has so trained them that “attack” is weak and ineffective. Unfortunately, there for their failure in art. The same is true of all men depth behind so much grace, their erudition behirlt so it less than any other pupil I have.” “But, teacher, I they are all the same to him. He can play for a long are too few good wrist studies extant, and frequently of great achievements. much charm, that it is difficult to emancipate one’s self His Individuality don’t know how or where to use it,” the boy replied. time without fatigue. In fact, he could not be a hrst- the teacher has to give the pupil problems. But these The demonstration would, of course, be an incentive As a pianist also, Chopin showed an individuality “Well, just USE it,” she replied. “It will all come to class pianist” without being able to do so. But his pub¬ are easily invented, and stiffness so-m disappears With for other artists to acquire, if possible, that fascinating which stands unique among the piano virtuosi. Schu¬ you in this way. You will learn how, if you will keep lic work is the result of years of. intelligent and cease¬ ■persistence. The main thing is to keep in mind that force which conquered or, on the other hand, to avoid mann relates that he had the good fortune to hear on experimenting with it.” And this was all the in¬ less labor. Let no one imagine that he has discovered practice must be a matter of years before artistic re- those faults which were obstacles to victory. Chopin play some of his Etudes “and he played them struction along this line that I ever got from the bril¬ a “short cut” to the desired end. There is no such ealized but it is worth all the labor expended th6 success of Chopin is due to so many interesting very much ‘a la Chopin,’ ” he said. “Imagine an Aeolian thing. It is the case of polishing the diamond. An ac- liant pianist and—in many respects—very good teacher. and significant factors, that the writer has selected his harp, provided with all the scales, commingled by an nr,,l inf'nllihle technic is the result of the most It set me to experimenting and thinking as well. “If career for first consideration. Please do not think that artist hand into all manner of fantastic, ornamental com¬ a teacher doesn’t teach it, are there no books to tell ,a this is to be made an occasion for another biography of bination, yet in such a way that you can always dis¬ fellow how?” I questioned. I began to look up helps the great Polish master. There are already the notable tinguish a deeper ground tone and a sweet continuous on the subject. I was doubtless a long time about it, Pieces That Advertise the Teacher works of Karasowski, H. T. Finck, Chopin and Hqne- melody above—and you have an approximate idea "of ker, as well as the occasional writings of Schumann, his playing.” but eventually learned considerable as to the “How” By Mae-Aileen Erb and “When.” Meanwhile I was determining in my mind Liszt, Heine and others which give intimate glimpses Heine also was among the few contemporaries who received. They should, of course, lie of contrasting recognized the rare gifts of Chopin. He wrote that his that, if I ever had a class of pupils, I would,teach the The teacher’s best advertisement is in the pupil him¬ of the, life of Chopin. With recourse to this excellent character. The one should be of a brilliant t>B*. which favorite pianist was Chopin, “who, however,” lie adds, use of the pedal along with other things self. No amount of printed matter or personal can¬ reference material, it has been possible to review those will display to advantage the acquired technic; the other “is more of a composer than a virtuoso. When Chopin In my years of experience I have found that there is vassing can convince prospective patrons of the teacher’s outstanding characteristics which permitted Chopin to should be slower and more expressive, so that people is at the piano I forget all about the technical side,of qne great weakness in most music teachers. New ability so conclusively as will the proof of it. This soaP.to immortal heights. playing and become absorbed in the sweet profundity, pupils so frequently make some remarks like these: proof is demonstrated to the majority of people by the will also have an opportunity to judge your ability Frederic Francois Chopin (born 1809 in the small a teacher of interpretation. When these "advertisers" the sad loveliness of his creations, which are as deep “I don’t know the least thing about where to use number and kind of pieces the child can execute village Zelazowa-Wola in Poland, near Warsaw; died are in playing shape, encourage the pupil to play them as they are elegant. Chopin is the great inspired tone- the pedal.” creditably. — 1849; in Paris) offers a very interesting study on this for others. At every lesson ask him if he hi* played poet who properly should be named only in company “I just put it down and let it up as I feel like it.” All the careful drilling on hand position, technic and subjjjit, being endowed with a rare musical genius them for any one since you last saw him; if so. ques¬ with Mozart, Beethoven and Rossini.” “The use of it makes the sound louder, so I never use interpretation naturally should bear fruit in the com¬ and still not being fully understood and appreciated by tion him as to whether lie played them well and if they About his “rubato” playing Listz writes that Chopin position. Keeping this important fact in mind, a teacher his contemporaries. The fact that after his death his it in very soft playing.” created a good impression. If you grade his lessons, was the first to introduce into his compositions that should spare no pains in making each piece serve this works aroused general admiration, stimulates still more “SHE never told me anything about the pedal.” always give him credit if he has played for any adult peculiarity which gave such a unique color to his im¬ purpose. Weeks are spent in the preparation of a com¬ the historian to investigate the cause of the world’s Over and over again, it is "the same old story; so I friends during the,past week. The more the p*»il plays, petuosity, and which he called “tempo rubato," “an ir¬ position; therefore, do not, through hasty selection, undervaluation during his lifetime. have come to put the blame almost entirely on the the more widely his teacher will lie advertised. regularly interrupted movement, subtle, broken and lan¬ teathers themselves for this appalling-ignorance on the compel a child to work on an unattractive piece or This fact was recognized by his most intimate friend, one technically unsuited to him. It will give the pupil guishing, at the same time flickering like a flame in Have A Comprehensive List Geotfe Sand, who writes in her autobiography: “Chopin part of pupils. no pleasure in the learning, neither will it give the the wind—undulating like the surface of a wheat fields- In these days of bad pedaling and of an abundance of Now, the wide-awake, up-to-date teacher will not have has not been understood hitherto, and to the present day like the tree tops moved by a breeze.” friends who hear him play, any delight in listening to a limited list of teaching pieces, which she will let grow pianistic helps, there is no excuse for any teacher not it, for when a child forms an aversion to a composition he is underestimated.” So unlucky was Chopin’s first Another of Chopin’s enchanting innovations, which explaining the uses of the pedal and teaching it early hackneyed through too frequent use. It is not advis¬ period of his sojourn in Paris that he could not make he introduced frequently in his nocturnes, consists in he rarely plays it well. able to give the same piece to all the pupils. Most cer¬ in the game. For the information of any who wish to a living there, and was on the point of emigrating to the unique and exquisite fioritare, or dainty little notes The following story, told to the writer this summer tainly it would not be as inspiring for a child to learn be set right on this important subject, I will mention America, although in this time he had already com¬ which suddenly descend on the melody like a spray of by a retired musician, shows to what extreme means a the same selecton that his friends, Ethel, Jack and some useful books I have run across: pupil will resort in order to escape playing a disliked posed his two piano concertos and a great part of his dew drops glistening in all the colors of the rainbow, Robert, have been playing, as it would be to learn a Frederic Chopin “The Pedals of the Pianoforte,” by Hans Schmitt, composition. Miss H., when a child of twelve, was other compositions. Chopin’s love of elegance was revealed in his earliest new and unfamiliar one. From a Contemporary Print chosen to play a showy piece at a recital. It was too youth. When he was nine years old, his parents allowed probably contains a more complete exposition than any A teacher should always be on the alert to increase difficult for her to play well. SJie realized this and Chopin’s Aloofness him to play at a charity concert in Warsaw. The other existing volume;’and the advanced student or his knowledge of attractive teaching material. One of pleaded with her teacher to allow her to play a simpler One of the reasons why his merits were not imme¬ young musician was so small that, to array him care¬ teacher will be amply repaid for a diligent perusal of the best ways to do this is to form the habit of attend¬ selection instead. b'it to no avail. Secretly the child diately recognized was, probably, his personal aloofness. fully for the important occasion, his mother stood him its pages. A simpler volume is “First Steps in the ing recitals of well-known teachers and conservatories. decided that her number on the program would never His Refinement—his shrinking aversion to all that was upon a chair. The boy was very much interested in his Study of the Pedals,” by Carol Sherman. Mark down on the program the compositions which materialize. Accordingly, the night before the concert crude, ugly or grotesque, his love for ease and elegance from their overpowering magic.” And Schumann new jacket, and particularly pleased with the large appeal to you, make a note of the approximate ages she stood in a drenching rain, hoping thereby to bring —rriade of him a kind of “snob.” He dedicated his com¬ wrote: “To be a poet one needs not to have written collar thereof. After the concert his mother took him of the children that played them (this will help you to on a serious cold. Recital day came— but no sign of positions, not to brother artists, but to baronesses, wondrous volumes; one or two poems suffice to make a in her arms, glad to see that he was not entirely ex¬ compare the ability of your own pupils of that age with the longed for indisposition. To the recital thereupon countesses, princesses, who let him feel the weight of reputation, and Chopin has written such.” hausted. “Well,” she asked, “what did the audience A String Wind Instrument the performer), and observe how each number is re¬ she had to go. But shortly before her number she their jjracious protection. In fact, three of his pieces like best?” “Oh, mamma,” returned Frederick, joy¬ ceived by the audience. Then order the selected list Ever since the time of Tubal Cain man has been try¬ hastily arose and left the room.' When search was are dedicated to baronesses, nine to countesses, and four German Opinion ously, “everybody looked at my. collar.” from your publishers and add them to your teaching ing all manner of means of making music sounds. The made for her, she was found in another room, lying to princesses. In his letters from Paris he wrote: Germany’s critics and musicians, however, never con¬ The satirical, mordant nature of Chopin is shown in repertoire. Type or write the titles and composers of lyre, it is said, takes its shape from the sheell of a very limp and moaning as if in great pain. Her “I have pleased the nobility here exceedingly. I move sidered Chopin as a giant to be compared with Bach. the following anecdote. Being once invited by a Paris all the pieces you have found satisfactory in a loose- tortoise, over which gut strings were drawn to pro¬ parents had to hire a carriage to take her home, and it in the highest society, among ambassadors, princes and Beethoven and Wagner. Only Schumann praised him parvenu to a dinner party, the lady of the house re¬ leafed notebook, divided into several sections for the is needless to say they were not informed that the “ill¬ ministers.” Accordingly, he looked down with a kind unconditionally in his essays, and said of him: “Hats quested him to play something for her guests. Chopin jecting horns attached. All kinds of attempts'have different grades. This is very convenient, as new sheets ness” was all a sham until a good many months had of contempt upon his fellow artists. off, gentlemen! A' genius.” was not in the mood for complying with the desire of been made to make keyboard instruments from instru¬ can be added as your available list grows. Again, in elapsed. Of, Thalberg, another renowned pianist of his time, Perhaps just in this limitation of Chopin’s muse is to the lady, who became soon quite insistent. “But my ments that were originally designed to be played by closing, always remember, when you give a pupil a new he said: “He is younger than I, pleases the ladies very be found the secret of his fame. He felt perhaps not dear lady, I have eaten so little!” protested Chopin. hand. Benjamin Franklin, for instance, made an in¬ Each pupil in the course of a season should be given piece, that, as “the proof of the pudding is in the eat- much, makes potpourris on Masaniello, plays the forte sure enough to brave the deep waters of great instru¬ Of Aloys Smitt, the pianist, Chopin said that he was strument which he called a Harmonica. It was nothing at least two “advertising” pieces—pieces which will ir.g,” so is the proof of a teacher’s rank in the im¬ and piino with the pedal but not with the hand, takes mental or Vocal works. It is even said that he was not forty years old, but in his compositions eighty. more than the old-fashioned “musical glasses,” made serve to show the thorough training that the child has pression his pupils make on their hearers. tenths as easily as I do octaves, and wears studs with able to write the orchestral part of his piano concertos, His famous prelude in D fiat was composed in Ma¬ in the shape of bowls, graduated in size and “hung” diamqnds.” When Liszt, who volunteered to write a and that he requested Kalkbrenner, the pianist and On an axle which could be revolved by a foot-treadle. jorca, when he was there with his friend George Sand, review of one of his concerts, he said; “He will give composer, to write for him the score. Just the coM seeking relief from the terrible sickness which had A specimen of the instrument may be seen in the He Didn’t Have To Learn me a little kingdom in his empire.” “Liszt, himself said centration of his* genius upon his favorite instrument, befallen him. Phthysis in its last stages made him Metropolitan Museum of New York. Mozart wrote Ernest Hutcheson, the noted pianist, tells a story of Chopin, that he was “the most ingenious mocker.” of which he was an unrivalled master, allowed him to extremely irritable and nervous. George Sand, whose E?n adagio and a rondo in which it was employed. One “What note is that ?” asked the teacher, striking an¬ No wonder that in his lifetime he did not find the create imperishable works of art. It was thus—as heart was notoriously of a very changeable nature, lost related to him by the head of a European conservatory other. popularity he deserved! of the queerest instruments, however, is the Anemo- Schumann says—that Chopin became the pianoforte her patience nursing him, and declared to him bluntly which will entertain many teachers. A new pupil ar¬ “Minor,” came the prompt answer. chord. This was a keyboard instrument, the tone be¬ Another and more deep obstacle to his general recog¬ genius par excellence, and in his field he stands above that she had enough of the company of a crank, and “What note is this ?” then asked the am»zed teacher. nition is, the fact that he limited his creations to the ing produced by a series of small bellows forcing air rived at the conservatory for examination. The teacher the greatest composers, whatever their names, or their that she therefore had irrevocably decided to go away ‘ Diminished,” blandly- retorted the pupil. pianoforte, and that argument was used, indeed, as a against strings, something after the fashion of the struck a note on the piano and asked : artistic achievements in other directions. and leave him alone, Chopin was deeply shocked by “Where did you learn all that?” inquired the teacher, disparagement of his creative power. Liszt, however, Aeolian harp. It was invented by Schell in 1789. Herz, Great good fortune was also Chopin’s in the remark¬ this news and, while George Sand was taking a walk “What note is that?” scratching his head. took up the cudgels for Chopin. He remarks: “It has the pianist, in 18S1 invented a similar instrument. able group of musicians, poets and artists who were as¬ in the garden, he wrote that exquisite Prelude, which “Major,” answered the smiling pupil. I didn t learn it,” responded the delighted pupil- I been customary in our days to regard as great compos¬ sembled at that time in Paris, and who inspired one Neither of these instruments was successful. always knew it.” should express his unspeakable pangs, and the litanies T11E ETVDl THE EJ'UDE FEBRUARY 1919 Page 77 Page 76 FEBRUARY 1919 Most in My Career What Helped Me sung by the priests at his funeral. When George Sand (Continued returned she found Chopin insensible, stretched upon ^"singhfmmute relax the vigilance on yourself for** the floor in the midst of a pool of blood caused by a it is done. You will begin by^workingberter every future depends on yourself and yourself alone, m -hemorrhage and on the music-stand the prelude he day and soon you will be working fa frarne of ;“”ote no less an authority than Pope, who daiw. had written, the ink still wet. Shortly afterwards and eventually you will find yourse which you that there was A lumberhouse of books m every head, Chopin died from the implacable disease. mind that nothing can stop the momentum which you muster up a goodly amount of w.ll to work diligent have subconsciously acquired. The resu and well and use every available asset thus acquired Main Factors your work will cease to be a drudgery, or even a hart^ transmute knowledge in o achievement." When and How to Begin the Study of Bach Resuming—the reason for Chopin’s failure in the ship, and will become a rare delight. beginning of his career was his haughty, mocking nature which * alienated the affection of his fellow- By LEROY B. CAMPBELL artists and, secondly, his having confined himself only Composer and Pianist to piano compositions. His success, paradoxical as it began to compose when When I am asked what is the hardest thing I have I freed myself from the may seem, was due to the latter reason, as he was Some time ago, ten teachers throughout the United had to overcome I say, from an obvious point of view, limitations of keys and It is not strange at all that the young pupil has no not at once plunge into the most complicated move¬ afterwards considered the composer for piano par States contributed through the pages of The Etude a the attitude of the public towards my music. In my tone relationships and great liking for Bach, but it would be strange indeed ments, so the piano student had best avoid the most excellence. Of course the intrinsic merit of his music, “Self-Help Course for Plano Students.” Various if he did like this music which is so far removed from composition, as in everything else, I discard all co - when I began to realize complicated music at first, or too early in his course. which was first recognized only by a few connoisseurs, etudes, pieces, etc., were prescribed for the different that of his daily life. As a matter of fact, we teachers ventions which are no longer living necessities, ltie that all tones are related was afterwards universally hailed as the assertion of grades from one to ten. should be more than pleased if the young pupil even origin of a convention is always a living need. Con¬ and that music is plas¬ Why Bach Should Come in the Later Grades a'true genius. Among other items the Bach inventions were shows a receptive disposition toward our best tuneful ventions come out of life and cannot exist except as From Chopin’s career the young musician can learn tic beyond what was included at some point in the course by every one of teaching pieces, considering that he no doubt hears In the “Self-Help Course,” comprising ten grades, the outcome of the common experience of groups ot a few important things: to be friendly and benevolent to dreamed in the past. the ten contributors, and while the teachers agreed twenty pieces of trash which are published to one good the writer placed Bach in the eighth grade; this gives colleagues; to concentrate upon the one thing for which people. Life can never be formed on them. They are I often hark back to almost to the grade upon the place in the course for piece. the student three full years in which to play Bach. By the more conventional his gifts seem the most inclined. Better to be promi¬ always the result and can never be the cause. the various etudes and pieces, yet there was a wide Only a few weeks ago the writer attended a con¬ this time he is older and an appeal can be made to his nent in one matter than to be “Jack of all trades and •People are, however, nearly always held prisoners forms; and some of my divergence of opinion as to where this Bach study cert given by Sousa’s Band. The band was playing that interest in the idiom used by the old masters. Of music is as simple as i master of none.” I remember what was said of an by the rules which they themselves create, and the mo¬ should be given, extending from the second grade by excellent march, Stars and Stripes, when a fellow near course, he does not like Bach at first because the idiom ment a convention limits development it is outgrown folk music, for because over-ambitious musician: “He cannot play, he cannot one teacher to the eighth grade by the writer of this shambled out muttering, “I came in here to hear some is strange to him, and this is perfectly natural. Dur¬ and is only a hindrance. The casting off of old cus¬ I live in 1918, it docs not compose, he cannot write, he cannot speak. In one article. It is to be supposed that each one of the music, not this high-browed stuff!” This true incident ing my past years of teaching, I have had a great toms and established rules is invariably a shock to all mean that I may not ex¬ word, he is a universal negative genius!” Mingle teachers had good reasons for placing Bach where he simply illustrates how wide the masses are separated number of students come to me, many of them study¬ perience things which as much as possible with gifted musicians and o*her those whose life and thoughts are based on rules. But did in the course. from good music, to say nothing of Bach. ing Bach. These students ranged, as a rule, from the what are rules? The essential truths of life and art have been felt for cen¬ prominent persons. That will inspire you. Strive It occurred to the writer that it might be interest¬ third to the sixth grades. They each and every one could never be destroyed were one to destroy all the turies. Then the older ing to know some of the “good reasons” why Bach after something original, individual, unique, with¬ Bach as Present-day Technic for the Young had a most healthy and outspoken distaste for Bach. out which no work of art can achieve genuine value rules in the world. My compositions violate rules, and mediums are adequate was placed by him in the eighth grade and while the Another faction of teachers claim that technic cannot The reader knows this to be true, as well as the writer. and win universal admiration. yet there is not a note which is not essential to the to express and suit bet¬ readers may not agree, yet it will surely supply food design of the whole. The rules of composition must ter what I have to say. for thought. make any progression without Bach study. I will Some few students in the earlier grades are not averse not be outside one in books but be so absorbed that Everyone has within grant that a Bach technic may not reach perfection to Bach, but these are rare indeed. “Touch” in Piano Playing they are an essential and unconscious part of every him both past and pres¬ Why Bach Does Not Make an Immediate Appeal to the without the study of this idiom, but again, please So are people rare who admire fine-etchings in black- composition. They are not things that one puts on ent. and naturally old Leo Ossntis Student remember that Bach style is not the prevailing idiom. and-white, or the exquisite little Pompeiian statues in In fact, when one compares, in all seriousness, the while composing and can lay aside at other times. That forms of expression arc Suppose we approach the subject from two sides; the Naples Museum. Such works of art radiate their By C. M. Estill modern idiom of melodies, chords and arpeggios with kind of music anyone with a normal intelligence can in everyone's consciousness. But to express the spiri: first, the musical, and second, the technical. beauty just the same whether there is a receptive eye- the contrapuntally flowing style of Bach, there is very learn to write. But to create is more than merely to of 1918, that which is essentially new and which oont In the first place, the music of Bach does not create brain or not. In an art gallery one finds a crowd little in common. To a great many pupils, and I might say teachers build on preexisting rules; it is to build on great truths before us lias experienced; a new medium is necesur; an overwhelming enthusiasm when presented to the around the highly-colored pictures of Vibert, Gerome also, the term “piano touch” is not entirely understood. and to be the author of that out of which rules grow. We have to-day much to express, which in the realm ot student in the early grades. Now wait just a moment We often see the statement that Bach is the key, the and Fortuny. A few admire the modified colors as seen There is a rather vague idea that it has something to Because I discarded well established conventions I art is as new and vital as the developments of modem —I did not say that it should not make an excellent sine qua non, without which one would find it impos¬ in Millet, Turner, Innes and Corot. Only two or do with producing a tone of a pleasing nature. This is have been regarded by the public as an outlaw or some¬ science. New wine cannot be put into old bottles. appeal, I said that it does not make such an appeal, and sible to play our modern music. This is absolutely three do we find in the room of master etchings. proved in the oft-expressed: “She has such a lovely thing between a lunatic and an imposter. So it is fair I am quite certain that the majority of teachers will without foundation, for anyone with a good talent and Bach represents above all exquisite drawing, beauty What Has Helped Me Most touch,” and “His. tone is exquisite.” That the expert to say that, from that point of view, the hardest thing agree on this point. consistent practice could become an expert in our pres¬ of line, unity and symmetry and, since, as we have ent piano music and never see a piece of Bach music. noted, very few grown-ups appreciate these finer player who has induced such a remark has employed 1 have had to overcome has been to convince my pub¬ I consider the thing which has helped me most Why does this excellent music fail to make an instant artistic attributes, is it any wonder that the young, in¬ not merely one touch, but has judiciously used a suc¬ lic that I am both sincere and. sane. Infinitely more in my career to l>e the fact that through my writing appeal to the early grades? We might answer this experienced student shows but tardy recognition of cession of different touches or strokes, does not come difficult and less apparent, a problem has been that of and playing I try always to express myself. I do thmp question by asking another: Why do not Shakespeare The Bach Style as Compared With Present Music finding for myself what was and is essential in music, as I feel them, without regard to whether it is tk the masterpieces of Bach? to the mind of the average listener. ■ and Milton in literature or Angelo and DaVinci in The phase of Bach which the usual pupil practices that my own work might be built, upon the same under¬ way they have always been done and accepted- One In the following paragraphs I have set forward the painting Aiake instant appeal to the young? Not be¬ (the Preludes and the Inventions) is composed of a lying truths and be the expression of them only in a can never play with conviction another man’s interpre¬ How to Interest the Student in Bach six methods, and the results of each, of producing tone, cause these artists are not great masters, but because rather complicated and, for the most part, quietly- different form. When I fully realized these things tation of a given composition. Neither can one com¬ in varying degrees, from the loudest to the softest tone their works are too deep, and above the heads of the flowing legato for both the left and right hand; this It is indeed and in truth a pity that all cannot be and could distinguish ’ between what was essential poser write in another composer's idiom with any trot possible. For exercise material we recommend at first, younger students. Things that are worth while require work is nearly all in the middle of the piano. There brought into this circle of highly organized minds who truth and what was mere formula I had won the hard¬ conviction. It may be done as a trick, and one may single notes, then parts of scales, simple chords, accom¬ a struggle for their attainment—the law of compensa¬ is, as a rule, much sustaining of one tone, while the can and do sincerely enter into the full appreciation of est battle and at the same time the most subtle one. learn to become an expert mimic, but the place for imi¬ tion is always in evidence. paniments, melodies, etc., that are within the scope of other fingers of the same hand are occupied with these finer values of art life. Many can be led by easy Naturally, at first, I was unaccustomed to my own tations is not in a concert of serious music. The student must be led by degrees into the appre¬ contrapuntal figures. stages, if care is exercised to present each stage at the the player. It has been the writer’s experience that a new medium, and I have had to perfect my technique The young student may find imitations useful for i ciation of these great masters, but he surely must and Modern music requires an altogether different right time. A few young students who have been sur¬ pupil’s playing becomes free and devoid of monotony, in it and learn its possibilities and limitations (for it period and through them learn all the various possibili¬ should be led, for it is a great misfortune if one should technic; large skips, especially in the left hand. Often rounded in the home with the better class- of music, when given tangible material of this kind to work with. has its limitations) and in freeing myself from these ties of his instrument. Beyond this, only sincere ex¬ miss the exquisite experience attendant upon the asso¬ the left hand strikes one lower tone, followed by chords painting and literature will often play a moderate At the same time a greater interest and insight in the lies the future of my music. The moment a thing is pression of what the artist himself feels can be of in: ciation and appreciation of inspired master works. I in the middle of the piano. The hands move freely amount of Bach’s easier pieces, such as the arrange¬ work in hand results. Of course there are innumer¬ perfect it is complete. I am interested only in what is terest either to the artist himself or his public. say led, not forced into this excellent company of mas¬ over the whole keyboard. There are copious passages ments by Leefson, Spalding or Faelton. They will do able other phases of touch, but the following classifica¬ unfinished and still to be done. Many people naturally feel along conventional lines ter minds. The writer was given doses of Milton and of regular or irregular arpeggios and sustained melo¬ this provided some interesting stories about Bach have tion will prove helpful to many: The most vital time I have passed through, and what and, in expressing themselves so, they are thoroughly Shakespeare too early in life, and as a consequence, dies in either hand. paved the way. “The Child’s Own Stories of Great 1. Hammer Stroke.—Hands down on keys. Tone pro¬ I suppose would be called the turning point in my sincere, but I do not sincerely feel things convention¬ has never since entered into these works with the keen It is plain, therefore, to be seen that the usual Bach Composers,” by Tapper, answers this purpose admir¬ duced by using entire muscular force of arms. career was when I commenced to express myself music¬ ally and to play so could only be hypocritical enjoyment which many others experience who ably. Almost any child will be interested in these Result: Harsh, unmusical, but of use in certain ally in my own idiom. Up to that time I had been try¬ is quite inadequate for the requirements of modern The artist must first and foremost be sincere and true approached them gradually. music. The fact of the case is this: Bach practice en¬ stories but, as just mentioned, only those from the strident passages, martial music, and the like. ing to say what this century has to say in the language to himself absolutely—relentlessly. If he does not be¬ ables the student to play Bach or other writers of the better environment will study the music without pro¬ 2. Drop Stroke.—Hands six inches from keys. Tone of the past century. The result was a compromise on lieve in his own artistic instincts how can he ever make The Musical Idiom of Bach vs. the Idiom of To-day polyphonic epoch, while the practice of modern music test. Thus the youth with the poorer environment produced by weight of the elbow and relaxed both the language and the contents, and I only really others believe in them? must have a longer probation under the tutelage of a arm. Result: A bell-like tone of great carrying There is another very important reason why the best prepares one for the later-day music. young student does not take kindly to Bach. The I will go further and say that I believe the Bach teacher who will keep ever before the student the idiom with both hands occupied in complicated figures highest ideals in art, interesting experiences, such books 3: Modified Hammer Strode—Hands down on keys. Overtures, Past and Present music of Bach is, for the most part, an idiom peculiar is undesirable material for practice in the early grades, as Tapper’s “First Biographies,” “Chats With Musical Tone produced by muscular effort from the arm, Wagner was by no means the first to attempt to lead to the polyphonic epoch which culminated in Bach’s ture to Freischutc. introduces a famous melody, now except in the case of very clever students. ’Students,” and plenty of music in the lesson and at the followed by immediate relaxation of the arm and own works about the middle of the Eighteenth Cen¬ the audience to sense the atmosphere of the coming frequently heard as the hymn Jewett; but the mekxb recitals from the best masters. A few of these stud¬ wrist. Result: The large tone employed in the play by providing a musical prelude of real appropri¬ tury. This idiom has been on an ever-increasing The average young student needs music in our does not appear in the opera in any part. Beethoven modern style, i. e., where his attention can be given ents may take kindly to the six pieces from Bach, ar¬ average forte passages. ateness. Gluck, for instance, in his famous preface decline since this period until to-day the Bach style-of wrote three overtures for Egmont before he fell that almost wholly to one hand, while the other is occupied ranged by MacDowell. My idea is to surround each 4. Pressure Stroke.—Hands down on keys. Tone pro¬ written to explain the musical philosophy of his opera, contrapuntal writing is employed very little. The with some simple chords, easily repeated figures or pupil with the proper influences from the beginning, to duced by pressure or weight from fingers only. Alceste, wrote: he had created the desired atmospheric prelude. present day idiom is an entirely different style of music. sequences. give him opportunity to take up Bach whenever he Firm fingers, soft hand, and relaxed arm and “I have deemed that the overture ought to apprise It is not until recent years, however, that it has The musical idiom' upon which the impressionable become practically compulsory for the composer of child of to-day is brought up, is a Style almost entirely If habits are perfected according to the attention, will, but not to force anyone to study it until a musi¬ wrist essential. Result: A quiet, singing tone, of the spectator of the action to be represented an^j, so to cal desire has been developed through some healthy speak, constitute itself the argument.” standing to preface his acts with music which i* a that of a melody with chord accompaniment. The then music which will allow the greatest degree of un¬ great carrying quality. interest. The forcing process has never proved suc¬ ♦ Most overtures, however, are little better than some¬ real part of the act. The acts in Wagner's operas: really child is immersed in this idiom morning, noon and divided attention would surely be best. If habits are 5. Modified Pressure Stroke.—Hands down on keys. cessful in my experience, while persuasion and patience Tone produced by pressure from the weight of what ingeniously contrived potpourris of the favorite begin with the first notes of the preludes, not with the night; music in the home, the graphophone, the promoted by freedom from mistakes, then our present- church, the popular entertainment, the park band, the day music would again suit the case best. In Bach, have won over many a student and have made him a the hand only. Firm fingers, relaxed arm and melodies in the opera. It was not beyond the com¬ ascent of the curtain. real Bach enthusiast. wrist essential. Result: A non-carrying tone, use¬ mercial sense of some of the composers to do this delib¬ On the other hand, Mascagni, in his Cavalleria Rusti- kindergarten, the school—at every turn and in every both hands being occupied with complicated figures, the place the young hears one idiom and only one. Con¬ attention is dissipated and the pupil is continually mak¬ ful in accompaniments, certain arpeggios and erately to popularize their melodic merchandise, just cana, developed the intermezzo until it has now in some sidering the fact that youth is the impressionable age, ing mistakes. The Making of a Real Bach Enthusiast scales. as the orchestra in present-day comic operas, pounds recent operas—notably those of Wolf-Ferrari. Monte- is it any wonder, in view of the above conditions, that Bach is excellent material, however, for more mature 6. Dusting Stroke— Flat relaxed finger. Tone pro¬ out the “hit” of the opera as the audience is passing mezzi and others—taken en the complexion of the Pre‘ The making of a Bach enthusiast is quite parallel to out of the theater. the young pupil does not take kindly to an idiom as work. After the student has attained some fair de¬ duced by the motion of dusting, or wiping the Jude, although these intermezzi are in reality complex the development of appreciation for the old masters in In other cases the overture had so little connection far removed from him as is that of Bach? The child gree of technical perfection, Bach makes an ideal test keys. Result: The quietest possible tone. Use¬ little pieces in themselves, entirely different in form painting. The only door by which one may enter into ful only in demonstration and in certain porta¬ with the opera that it was difficult to identify it as a of Mother Goose lore had best have a gradual and as to independence of motion in arms, hands and the sincere appreciation of such grand old masters as part of the work. Weber, in his very beautiful over¬ from the old concert overture of the Raymond or P°ei' careful preparation before plunging into Shakespeare! fingers. But, just as a juggler or tennis player does mento passages. and-Peasant type. Fra Angelico, Botticelli, Leonardo and Angelo is by THE poDi THE ETUDE FEBRUARY 1919 Page 79 Page 78 FEBRUARY 1919 Telling the Pupil How to Practice intimacy with their lives and environment. One must not look to find the same kind of paintings by them as By Morton B. Knafel by later artists, but, by understanding the period in which the old masters lived, the lack of appreciation comes uponsrua a master-work &>£'”» from one of the y given them, their devotion to art and what art might the spirit of thte »iMU*. rltle. of toUaVi Florentine School of painters. -.firmed mv have been without the uplift which they gave to their Not a few years of experience has ^firm^my the »t«>*l* m.-a-ur-, dmiid u, epoch, one develops a real sentiment, a genuine admira¬ 'V Mit’of nractlee: also, the pupil should in sonii. m„nn,r belief in this manner of preparing the stu^nt fo ,B h tion not alone for the old masters, but for every work •study and while the few rare cases are f Jeat *»>•!'> l:;r.:;r^.Si,n^!,rVl^?t they produced. did seem to enjoy Bach early in the grades yet-the great ilnclv'on tht details! 'This may l»- throuah Wi owa dih,' In the same manner, the student must know Bach, majority will find it to their best advantage tc.take up »nr«r ^ must know him intimately through story, history and for him. El -uthor •*»-- — *»•» this master at about the seventh or eighth grade Cer his music by every and any legitimate source. tianly those studying by the use of a Self-H Ip _ > When the average student reaches this stage, he is who incline strongly t. such as was given in The Etude, could not consistently usually somewhat advanced in the grades; perhaps he take up Bach earlier. A few students will never like How many of us have been told in our early student would be classified technically in the sixth or seventh Bach (not everyone likes olives, nor Milton nor • days just how to practice! How much time and labor grade. He is now mentally and technically ready to Venus de Melos), but by following the course presented might we have saved, how much sorrow and discour- enter into Bach study with real enthusiasm; he has a in this article, a great many sincere and earnest Bacti agement might we have avoided had our instructor only healthy desire to practice and to play the master¬ atiflmciactc will siirelv result. • told us just how to go about the work at home! How pieces of Bach and the other old masters, even though Has the Art of the Piano Reached Its Zenith or many more music lovers and musicians would there be to-day if the teacher’s guidance had extended into the practice hour! Is It Capable of Further Development? Bach for Beginners The teacher tells the student to prepare a certain piece. Without the slightest idea wliat he is to do or By Edwin H. Pierce how to go about his work, the student begins to rattle A Historic Conference Conducted Through the Co-operation of a Group of the Foremost the teacher is not an organist, it is perfectly possible to the thing through very quickly—fumbling, stumbling. Etude An article under this title, by the well-known teacher Pianists of the Day in the Interests of Readers do the same, using piano music. In this case, we woukl Stuttering miserably till he has played the whole com¬ and writer, Leroy B. Campbell, recently appeared in recommend Liszt’s and Tausig’s wonderful transcrip¬ position. Having come to the end he begins all over HAROLD BAUER OSSIP GABRILOWITSCH RUDOLPH GANZ The Etude. With the practical conclusions which were tions of Bach organ-fugues for the piano, and several again and repeats it over and over, always groping stated, viz.: that the pupil should have reached a PERCY GRAINGER JOSEF HOFMANN ERNEST HUTCHESON of the numbers found in the Bach Album put out V aimlessly, without thought or care. And when he reasonably advanced grade, and should be led, not ALBERTO JONAS ALEXANDER LAMBERT SIGISMUND STOJOWSKI forced, into the study of this great master’s works— leading publishers; for instance, My heart ever faith¬ brings it to the lesson it is so utterly ruined that the the present writer finds himself quite in accord. But he ful,” from the Whitsuntide Cantata (an arrangement instructor almost despairs of ever correcting the faults. cannot agree with the arguments by which this con¬ by Sara Heinze or by Saint-Saens) ; the Bouree in G The student, knowing that he had applied himself con¬ clusion is reached, nor with Mr. Campbell^ idea of the minor, arranged from the sonata in that key for violin scientiously to his practice, becomes depressed and dis¬ An Editorial Preface • alone; the Gigue in B flat, from the English Suites; the best modus operandi for creating an appreciation of couraged and what more, loses all of hit self-con¬ In March, 1918, The Etude invited a group of very of the outcome of the conference for it is not over¬ traditions from all of the different art centers of this Preamble in E major, from the sixth violin sonata; Bach. fidence. distinguished pianists (several of whom, during the stating the facts to say that it is of historical signifi¬ country and Europe arc represented. also several of the more tuneful preludes in the “Forty- The best zvay to create an appreciation for a com¬ Tell the student that practice is a slow, analytic pro past few years, have given a part of their time at cance. An expert stenographer was present and took The discussion followed the plan of considering the poser is to give his best works a masterly performance cess, in which the brain, after carefully mastering the least, to the practical problems of teaching the art of copious notes, from which the following was prepared. piano and its art: (a) from the standpoint of the in¬ Understand, I am not recommending that these pieces matter before it, directs the fingers what to do. and arrange for them to be heard early and often. piano playing), to a private dinner held at Claridge’s It is impossible to present all the views given in this strument itself; (b) from the standpoint of the inter¬ The present writer was very fortunate in his first —some of them extremely difficult—be given at first Tell him that he is to learn a very small section at a Hotel, in New York City. One or two were good one issue, and the discussion will be continued in other preter; (c) from the standpoint of the composer for to the pupil to study; they should be played for lum piano. introduction to Bach—at the age of ten, he heard the time, say a measure, and that it must lie learned thor¬ enough, though prevented by absence from the city late I. V. Flagler (a consummate organist when in his by the teacher, long before the pupil delves for him¬ oughly before proceeding to the next Tell him what issres—other artists not included in this issue being from accepting the invitation, to send in their opinions The first installment of this conference appeared in prime) play the G Minor Fantasia and Fugue, the A self far into the actual study of Bach. the learning process is; that with each repetition there included in previous and in later issues. The Etude for December, and contained a remarkable The fact of my mentioning so many “arrangements” in upon the above subject after the dinner. Minor Prelude and Fugue, the Toccata in F Major, etc., should he an improvement on the previous rendering of The Etude desires to call the attention of its readers statement from Mr. Percy Grainger upon the piano this list deserves a word of explanation. In a certain The artists participating represent many of the most on the organ. He was carried away with enthusiasm the measure; that in each repetition a new detail to the -wide experience represented in this discussion. of the future. The January installment took up the sense, everything we play of Bach’s on the piano is an and desire to play them himself, and although it was should be added. Advise the student to learn to do the brilliant, experienced and active minds in the field of The artists have been trained in different schools by most interesting phases of the mechanism of the piano. “arrangement,” for how could Bach write for an in¬ some four or five years before he was able to do so, fingering, technic, phrasing, pedaling, interpreting and sincere pianistic study. The Etude is especially proud teachers of many different inclinations. All the best The conference will conclude next month. strument which did not exist in his day? Do not be yet it was constantly before him as a goal, and helped memorizing before going to the next measure. That is deceived by the fact that the music is written like lighten the drudgery of the intervening course. Thank important! piano music on two staves, for right and left hand; EDITOR OF THE ETUDE heaven, he never heard of the Inventions until years particularly at a time which looks forward, anxiously doing this they spend entirely too little time to teach the likeness goes no further. The clavichord and the Listen for Every Sound afterward. The Well-tempered Clavichord he used to The piano has received such interesting attention and hopefully, to the limitation of armaments, for the understanding of the art of music itself. A few study by himself, but selecting only the more attractive harpsichord were very, very different instruments from Tell him to listen for every sound he produces and that we may safely turn our discussion to the art of instance. Progress may, of course, be indefinite, or the piano, and they demand a different style of treat¬ months ago I read an article in The Etude—an article numbers, much like Sidney Smith (the clergyman, not use his critical judgment till lie gets the dydamic and playing the instrument itself. Mr. Lambert has ven¬ even, infinite, though it also is relative: but definite excellently worked out, devoted to the analysis of the ment ; so that a Bach violin sonata, or aria from a can¬ the musician), who, when he was a boy, claimed to tone color ha has in mind. tured the assertion that the zenith of technical achieve¬ achievement within set limits is both human and ar¬ way of playing three notes in one hand while the tata, or suite for ’cello, or fugue for organ, or what have read through the Old Testament in a single Sun¬ Tell him that the mind must horouglily grasp what ment was attained at the time of Franz Liszt. Liszt tistic. That is, properly, the function of art which other hand played four notes. The writer took great you will, arranged for piano by a competent pianist- day morning, “skipping the nonsense, you know.” is to be done before the fingers do, and that it must himself, however, it should be remembered, was very should never be confused with sport. Inventors can pains to go into elaborate details over this and I have The sensation that the writer used to get from a big musician nearer our own day, are really far better consciously guide each finger in this intensely concen¬ modest about this and went so far as to predict still be lured into devising mechanical novelties devoid of rot the slightest doubt that there are hundreds of fugue of Bach, in his boyhood, was the same that one piano music than anything Bach wrote for the clavi¬ trated work, and unless he does concentrate, his time greater pianistic achievements from some of the aesthetic value; instrumentalists may develop an utterly teachers who do likewise. Don't try to play three experiences in watching the rapids below Niagara chord or, harpischord. On the other hand, the violin, younger pianists of the day. inartistic attitude towards their medium of expression. and effort are absolutely wasted. How much more against four slowly. You might have a brainstorm. Falls, or in seeing a violent wind blow over a wheat- the organ and the human voice are essentially the would we have accomplished had we been taught to There can be no question that much artistic playing Simply play each hand separately over and over until field—the motion, the rhythm, the vital complexity, the same to-day ias two centuries ago, though in the case ALEXANDER LAMBERT is actually prevented by too much attention to the concentrate! the tempo is fixed and then put them together and kaleidoscopic changes of harmony resulting from the of the organ there have been several radical changes Please do not misunderstand me. There are men to¬ mechanical side of pianoforte study. On the other keep at it until the problem is mastered. If you learn movement of the voices—the sense of power and energy. in construction. day who probably have exceeded the “mechanical” hand, if the mechanical side is neglected, the whole In the re-study of the same works after reaching ma¬ advise the student to watch the condition of the arm the meaning of a phrase in French, such as “Quelle est As for the study of the life and times of Bach, as technic of Liszt, but what have they gained by it? foundation of the structure falls. There is no more ture years, he was able to see that in boyhood he made wrist and fingers, and to note what movement of the* cette ville?” and have mastered the pronunciation and an aid to appreciation—all that is excellent as a means facilitates the rendering of the passage. The studen They do not play any better. need for purely “sportive” virtuosity than for the many mistakes in details, some of them quite absurd, have fixed the phrase in your memory, you do not of general culture, and should not be neglected. But should in his practice repeat that particular movemcn equipment of the piano with alarm-clocks—even if but that his conception of the music as a whole was go around like a parrot repeating that phrase all the to say that one cannot otherwise learn to appreciate till it has become a habit, so that the passage shoul RUDOLPH GANZ these could nicely mix' with a group of marimbaphones quite correct. rest of your life. Bach’s music is a libel on Bach. Music that cannot be never be played without that condition being presenl Not better, but faster. And there is one satisfac¬ in the orchestra. Leave to the piano its personality— In the personal instance just cited, the works of Bach and, revere its dignity! Mind you, I am not disputing the need of practice which aroused enthusiasm were organ works, but if visited without a guide-book is of dubious value. The teacher is the guide in the artistic developmen tion, no pianist can play any faster than we can listen of his student and should, therefore, see to it that hi A violin with seven strings would no longer be a of technic for technic’s sake, but every sensible teacher pupils attend concerts and recitals and come in contac ERNEST HUTCHESON violin. It would demand an entirely new treatment and knows that hours and hours are wasted in stupid prac¬ with musicians. He should have many class gathering It is physically possible for the pianist to play very a new literature. Now, in the piano the student and tice of mere phrases that can be mastered once and The Neglected Bass Note where the students shall play for each other, an much faster than the ear can take in the effect intel¬ the teacher should first of all in considering a new for all in principle. Acquire a symmetrical technic should encourage them to appear in public wheneve ligently. Thus we have limitations in complexity. composition, ask, “What are the artistic demands of through the proper channels, polyphonic finger exercises, By Lucille Collins possible so that they may get that particular trainins Indeed much very bad playing is due to rapidity alto¬ this composition?” The student who is obsessed with combined scales and arpeggios and octaves and carry Furthermore, he should lay nut a plan of readings, i gether unwarranted by the artistic effect sought. In the feeling that the technic and treatment demanded by this to the highest degree of proficiency of which you What a time some of us teachers have with the bass music and the allied arts, painting, sculpture, literaturi some institutions where the mere matter of digital a Liszt Rhapsody should be bestowed upon a delicate are capable along sensible, intelligent lines but avoid note that is written below the staff. The children etc., for his students; should occasionally talk to ther velocity is over-emphasized, the bane of every teacher Chopin mazurka has lost a sense of proportion and art unnecessary repetition of empty forms unless you ac¬ simply insist on neglecting it and playing the one an about these and point out their inter-relation and con is that the pupils all play too fast. Art is frequently suffers. I often wonder whether the enormous efforts tually find that you are going backward and require octave above instead. To remedy this, I have a system nection. And lastly, shofild advise the parents of hi: sacrificed on the altar of speed. We are living in an made to secure a prodigious technic compensate for them as a kind of gymnastic drill. of single note and chord exercises for the left hand Pupils to interest themselves in the musical educator age of speed,—the aeroplane age and we must not let the losses on the other, the all-important side. Bee¬ alone that has certainly helped my pupils and I hope Finally I have them play more rapidly in 2-4 time, of their children, and encourage them, that they, th< the tranquil beauties of music be dissipated by a de¬ thoven was surely justified when he expressed the fear may be useful to other teachers. Illustrating with the using two bass notes and two chords in each measure: parents, should read up on the subject and discuss 1 bauch of velocity. that over-development of technic might “kill the soul” common chords of C, I have them start with the Tonic, with their children so that music may become a bv of the instrument. playing the C below the bass staff, and following with factor in the home. How, indeed, can the student b ALEXANDER LAMBERT the three positions of that chord in 4-4 time. The same It is hardly necessary to point out to the American expected to do anything when the parents themselvc The question should never be “How fast can I play?” • iuea 01 tne ptiysi way with the Dominant and Sub-Dominant Chords. musical public that exaggerated attention to the mere demands made upon the pianist. You take a : do not display the slightest interest in the subject? but “How well can I play?’ mechanical side of playing cannot fail to produce a chord such as those with which many composite very stilted result. are filled, and you will find that if the pressure < SIGISMUND STOJOWSKI pended, if weighed upon an ordinary pair of seal -WI1U negiect tneir nealtti witn a iaisv . One must always consider the artistic aspect—that RUDOLPH GANZ After they can do this with some degree of certainty, is often thirty poiinds. During the winter, while that success comes from overwork will find themse! 's, we must consider the limitations and personality of I substitute the bass octaves for the single notes. For Many teachers make the great mistake of devoting tour, the pianist never suffers from lack of excrci m the predicament of the friend of Sidney Smith, the instrument. In all human affairs the two are in¬ developing accuracy in children, I have found nothing most of their attention to technical work from the me¬ Next I have them play the same chords in 3-4 time, whom he said : “Not body enough to cover his m He puts forth an amount of physical energy jn so, better and as a preparatory exercise it is invaluable. separable. Nor should wc always bewail limitations— chanical standpoint, instead of the musical 011c. In using one position for the second and third beats. decently with; his intellect is improperly exposed.” ways equal to that of many who work hard all d THE ETBDl Page 80 FEBRUARY 1919 To Stop or Not to Stop THE ETUDE FEBRUARY 1919 Page 81 long in great industrial works. If the technical de¬ The Study of Piano Concertos mands of the piano are to be increased it is likely to With the steady increase in the n«mb" °f to By John Y. Scott produce a race of pianistic Hercules. orchestras opportunities for the advanced p.an^t ^ play with orchestral accompamment a that Most pupils have been so thoroughly barbed «jft ALBERTO JONAS number, and the student has no reason to d continual threats of what will happen if they are not I have been much interested in all that has been he is engged in a wholly quixotic task when he spenu careful of details that many of them form the habh said. We are living in an advanced age, and what months of hard practice in adding concertos to has was considered an adequate technic for the virtuoso of stopping at every little blunder. The old experienced teachers usually insist up*, Cultivating Sureness in Playing Intervals one hundred years ago is the actual accomplishment For the purpose of practice, as well as studm rec^als; of the advanced pupil of to-day. The technical achieve¬ it is customary to use a second piano for the render . working up small bits apart from the playing 0f d* By GASTON DE MENGEL ments of the great pianists of to-day are so high that ing of the orchestral accompaniment. This answe niece as a whole. When you have made up your mind it is difficult to conceive how they can be exoelled, the purpose very well in some respects but fails to to play a piece, look upon it as though you were star, Mr. de Mengel is a Belgian Technic Specialist Long Resident in London except by machinery or mechanical playing apparatus. give the interesting variety of tone-color and ne out to ride rough-shod over all little blunders. Any. The pianist who wants to go into competition with a Several of the older standard concertos may be ha one who has ever ridden upon a bicycle knows that if machine may find the race interesting, but the results The psychological principle at the basis of all prac¬ This all-important sense is at the basis of all suc¬ shelf), the upper arm at the same time being pushed with the orchestra parts re-arranged so as ° one stopped every time there was a slight waverin, tice is as old as life itself. It was unconsciously fol¬ are hardly likely to be artistically successful as the played by a string quintet (two viohns v.oU v.o^n- cessful practice, and yet it is persistently ignored—at somewhat forward and the forearm extended in order machine has beaten him before he even starts. There from the center of gravity, the balance would be lost lowed from the time when the first microscopic speci¬ least consciously. It can, however, be trained to a great to keep the hand on the keyboard, from which the semi¬ cello and double-bass) and where this is available at once. One could never learn to ride. The best way men of animal life extended a temporary tentacle in a is no limit to'the speed of a machine, and even a street the effect is excellent. Again, the original orchestral pitch of accuracy provided the muscles are brought to circular movement would tend to carry it, especially in for the student who is studying without a teacher i, to rather helpless way towards the particle of food or the the highest degree of responsiveness and general per¬ piano can play double sixths, if necessary. It must string parts may be used, and the wind parts played long skips. The study of the mechanical and physio¬ play through the piece at a sensible pace and wh.k ray of light and warmth to which it was attracted with fection. But if the muscular sense is to be satisfac¬ be evident then that the advance in the art of piano¬ from the score on a second piano, a pipe organ or even logical conditions involved will soon show that this forte playing is not likely to be along the lines of doing so, note carefully in the mind where the tendency all the intensity of desire of which it was capable. The torily trained, all slipshod, inattentive, half-hearted latter movement is technically the correct one. a good reed organ. Of course, however this calls to fall is Then go back to that place and by means of experiment succeeded after many attempts; but the speed or ever-increasing complexity, but along the lines for considerable musicianship on the part of the player practice must cease and the whole mind must be con¬ of beauty. repeated trials get the weak passage so that you can particular movement which was attended by success centrated upon the sensations evoked. The desired posi¬ undertaking to render the wind parts. Impressing Sensations In the matter of teaching the piano I have long been play it confidently. Then try the piece through again was thereby impressed more vividly upon the primitive tion having been attained at the end of a technically Mention of the pipe organ brings us to the possibil¬ It now remains to impress this movement upon the convinced that one of the greatest wastes is in the and put a mental chalk-mark against another weak memory than those which were unsuccessful. In the correct movement very slowly and deliberately per¬ ity of its very effective employment as a substitute mind. An important principle of muscular sense train¬ prescription of the wrong material. The teacher passage. Proceed in this way until you have mastered next attempts the memory of the sensations experienced formed under the guidance of the eye, and when feas¬ for the orchestra in the accompaniment of piano con¬ ing is that only one set of sensations, connected with should be acquainted with all kinds of approved edu¬ had its effect, and along the channels of deeper impres¬ ible, of the touch, the muscular sensations evoked in that certos. In places where it is posssible to use these in¬ the work. as simple a movement as possible, should be evoked at cational material, exercises, etc. He should be as fa¬ sion nerve currents found their way in greater propor¬ position should be firmly fixed upon the mind by intent struments together, a good pianist accompanied by a a time; otherwise the mind cannot be properly con¬ miliar with this as the physician is with the therapeutic tion, and a successful movement was repeated with concentration, the whole self, so to speak, being given really good organist makes a very attractive combina¬ centrated. This involves the analysing of every move¬ action of drugs in the pharmacopoeia. What would Prove All Things less effort each time. up to the particular feelings experienced. This is best tion. To be sure, not every concerto-accompaniment ment, if it be not simple, into its essential constituent you think of a doctor who gave the same treatment Such a process, however, is very wasteful. With the done with closed eyes, and in quiet surroundings, so is suitable for the organ (the Liszt concertos, for in- simple movements. In the case of the lateral arm move¬ for Bright’s disease that he might for tonsilitis?. Yet development of consciousness matters are facilitated, as to prevent other sensations obtruding themselves stance are not well adapted for this rendering), but By Herbert William Reed ment just described there are, as we have seen, a rota¬ this is exactly what some virtuosi whose pedagogical and doubtless a baby succeeds in putting to its mouth upon the consciousness. The original position is then the choice is by no means narrow. Among those that tional movement of the upper arm, and a pushing for¬ knowledge is nil try to do, when it suddenly occurs to the object it longs to suck, instead of putting it to its regained with eyes open, after which the eyes are closed the writer has either used himself, or heard effectively ward of the upper arm combined with slight extension them to teach piano students, I should say that the best The scriptural admonition to “Prove all things; hold ear or nose, after a less number of attempts than would as before and the entire consciousness is bent upon rendered by others are Mozart’s D minor and C minor, of the forearm, which two latter are sufficiently asso¬ teacher was the one who was most widely versed in the fast that which is good,” is of as much import and be the case with a less conscious being. Also heredity recalling the sensations evoked in the previous position. Beethoven’s C major and C minor, Mendelssohn s ciated in daily, life to be considered as one movement. valuable teaching material of the world and who was at value to the musician, as to any other seeker after plays its part—the object is carried first towards the As soon as the impressions are recalled with sufficient G minor and the Grieg Concerto. Beethoven’s Quin¬ Bearing this analysis in mind, we then take up our the same time the most skilled in making the prac¬ good and truth. In all occupations the injunction is in¬ face or head, not towards the back or toes. When vividness an attempt must be made actually to repro¬ tet in E flat for piano and wind instruments has a position with the third finger opposite Db“, and keeping tical application of-it. For that reason I have long valuable. The merchant tries out various lines to prow the baby grows older and becomes a young miss at the duce them by a quick and decisive repetition of the piano part of a real concerto-like character, and the the elbow steady, carry the hand in a slight circular advocated the use of a book in which the really worth¬ what will he most satisfactory to himself and his cus¬ keyboard, much the same principles are carried out movement which first secured the position in which writer has used this several times with great satisfac¬ sweep to the right by rotational action of the upper arm, while teacher may jot down what he feels is the tomers. The artisan tests many grades of tools and with more or less success—probably less. they were experienced. In nine cases out of ten, if the tion, wind parts being played on the organ. Unfortu¬ until the third finger is opposite Bba, the desired note; most necessary technical and artistic prescription for materials to learn which is best for his work. The concentration has been really good and the slow move¬ nately, there is no such arrangement in print, but a we then push the upper arm forward in that direction, the pupil at the special time—this book, which I call physician makes a study of various advocated healing The First Impulse in Practice ment preceding executed with conscious deliberation, clever musician can easily follow the writer’s example extending the forearm slightly at the same time until the pianoscript book—to become a permanent record agents, in order to make sure of their virtues. The the result will be success, and three repetitions of the and prepare one for himself from the score. The wind The essential element, upon which the acquisition of the third finger, curved in normal playing position, is of what the pupil has done. Pupls pay fees for les¬ inventor make repeated trials and investigations, that | process are usually sufficient permanently to establish automatic or semi-automatic movements depends, is the on the middle of the white note Ba. (N. B.—All this sons, and it is no more than right that they should instrument parts adapt themselves very gracefully to he may find the process he is seeking. The science | the correct movements and positions in that part of the strong—we might almost say, joyful—impression cre¬ time the hand will have retained its position with the have some record of what they have received from the the organ. labors to find proof of his theories, that he may be 1 nervous system concerned with the semi-automatic ated by the first movement which successfully achieves median line at right angles to the keyboard, adjusting teacher—not merely a collection of a few dog-eared It is hardly necessary to say that no good organist satisfied that he has something of value to offer the I functions. pieces and etudes. If the teacher has nothing that is the desired end. If this first movement be correct, so itself by a slight inward lateral bend of the wrist.) will attempt to play a “second piano part” literally as human race. much the better; if it be incorrect it will cause a greater individual or distinctive to sell that is another mat¬ it stands on the organ. If any trouble is experienced The music teacher also should be an investigator. I How to Go About It While executing these two movements very deliberately, difficulty than before if we wish in the end to establish the mind should be fully conscious of the muscular ter. The pupil suffers correspondingly. in translating it into organ idiom much help may be studying those things which she may need to better her | Let us now pass to a concrete example in the case automatically a correct movement. And let it be re¬ sensations attending their performance. It is another obtained by the study of Clifford Demarest’s little book teaching, and holding fast to the material and the I of a piano student. Suppose it be desired to establish ERNEST HUTCHESON membered here that the same end may often be achieved principle of muscular sense training that if the com¬ methods which she finds good. It is needless to say j the locality of any given note on the keyboard, say B on the art of adapting piano acompaniments to the by quite a number of incorrect movements—incorrect ponent simple movements have been separately prac¬ To me it seems very important that the student’s that those who thus fail to study and investigate never | flat in the second octave above the middle one. We organ. Mr. Preston Ware Orem’s article in The because they are wasteful of energy. It is therefore of ticed, the compound movement which comprises them musical education should progress along sensible lines get any great distance, or achieve any great success j should start from a point where the forearm and hand Etude for December, 1911 (page 852) also treats in¬ primary importance that a correct movement should be will be performed accurately without additional prac¬ without making too much of a specialty of any one as teachers. She who teaches only those studies and j are in a position normal to the keyboard, therefore structively of the same object. impressed—and impressed strongly from the first. tice. As soon then as the note B2 is reached in the thing. pieces which other teachers prescribe in her case, will f without any tendency to slant or twist of any kind, RUDOLPH GANZ In closing, we would add two little suggestions: have manner described, the eyes should be closed and the never be very helpful to a large class of pupils. Th£ Digging Nerve Tracks so that the muscles are as passive as they can be with the instruments placed as near together as possible, whole mind concentrated upon the sensations evoked I agree with that. I have known students who have day of the pretended teacher who uses but the one «- the hand in playing position. It will be found that such The problem may then be stated: how to establish in that particular position; and when it is felt that these given so much time to so-called analysis that they and have the piano tuned to the organ when the hall struction book and a scant repertoire of pieces is now t an attitude of hand and arm can be secured, in the case in a sufficiently definite and permanent manner the sensations are fully realized the hand should be brought could pull any piece apart and name every section is at the same temperature as it is to be when used. past. The progressive teacher of today MUST be an | of an adult, when the third finger of the right hand is nerve tracks attendant upon the performance of cor¬ back, this time along the keyboard, until the third finger with the skill of a trained dissector. In other words, This is absolutely necessary, as the piano is made investigator to reap success. To cling steadfastly to opposite D flat in the second octave above the middle rect movements, without interference by a network of is again opposite D2 flat. This is to be done slowly they were veritable artists at demolishing the com¬ flatter by heat, the organ, sharper, so that it is impos¬ some hide-bound "method," or to swear absolute fealty f one, and the third finger of the left hand opposite A position, but when all was said and done they could useless channels dug by unsuccessful movements ? and with the eyes open. (It will be seen that this last sible for them to be in tune together except at one tem¬ to but one "system,” is only a sign of one’s unwilling- ! flat in the second octave below the middle one, thus: not play it. They had made a specialty of taking Passing first to the second part of the problem, we may is simply a reversal of the previous movements, per¬ perature. ness to study, or one’s inability to progress. music apart, apparently without any thought of how observe that a network of wrong channels may be formed together as a compound movement instead of it should be put together again and performed at the The literature of music covers so large a field, and j avoided by performing the desired movements very sequentially). The eyes are then closed again and the one so constantly expanding, that the student can never keyboard. It reminds one of the story of the boy It Saves Trouble slowly under the continual guidance of the senses of sensations experienced when the hand was in the former who, after having taken his new watch apart, had a expect to cover more than a small fractional part with sight and touch. In this way every tendency to a position, with the third finger over the desired note, whole cupful of wheels and springs left after he had We were walking down the street with a friend who his teacher. It follows then, that if the pupil » wrong direction is corrected before it has had time are recalled as vividly as possible. As soon as the put it together again. is a successful music teacher, when we met one of his earnest, he will he ever enlarging his repertoire «>“ to dig a nerve channel of any appreciable length. This recollection is sufficiently vivid the hand should make a pupils hurrying to his studio, but not for a lesson, as making an acquaintance with many volumes which never may be illustrated by the attempt to draw a straight sudden movement along the keyboard up to the point ERNEST HUTCHESON that had been taken earlier in the day. “Oh, Pro¬ entered into his own course of study. It must have line between two points at a good distance from each of actual realization of the sensations. If the process been an inspiration which came to one of my respected other. If an inexpert draughtsman endeavors to draw Too much specializing in piano study is generally fessor,” said she—his pupils will persist in wishing that of concentration has been successful, this point will be pedagogues on a day when I brought to him a Schumann such a line with one quick movement, he will, in nine weakening. I had a pupil come to me once who had title on him, although he abhors it—“did I leave one for then both hand and arm lie with their median line B* flat, the desired note. It is presumed, of course, volume, the “Forest Scenes,” asking if I might study it cases out of ten, fail completely. If, however, he draws been through a most elaborate course of ear training. of my books in your studio?” “Perhaps,” said he— strictly at right angles to the keyboard, the elbow being that the position of the starting point, Da flat, will have I gave her an examination and found her ability quite with him. “Young man. why should you want to study the line slowly, under the continual guidance of the “get the janitor to let you in, and look on the lowest on a level with the white keys. Taking then as a point been duly established beforehand by strong concentra¬ astonishing. Three months later I gave her another this with me? Aren't you sufficiently in earnest t# eye, and especially if there be a few dots in between of origin, this position, where the muscular sensations tion. shelf of the tall music-cabinet.” “Oh, thank you.” try a new road by yourself?” the two points in a straight line from one to the other, test, and found it much lower. Other examinations concerned in side movements are at their slightest, let If the positions of any two notes, x, y, be separately said she, and went on. “You seem to have a sort of It is a very good plan for the teacher to make a the line may be wavery and ragged, but will never any¬ revealed that the results of her work were far from us move the right hand and arm deliberately- up the established in this way relatively' to a given point z permanent. It is far better to have the studies pro¬ easy system about such matters,” said I. “Yes,” he point of examining some new music each week. The where depart much from the right direction and will keyboard till the finger is over B flat immediately above. (such as Da flat just mentioned), it will be found that ceed gradually along normal lines than to take special replied, “I found there were three common causes of “on sale” plan of most publishing houses makes it in the end connect the two points. The line once drawn the distance xy between them can be gauged without courses in one thing likely to be discontinued and lost and mixed-up music that could be eliminated: easy thing to keep something new always on hand. The faintly can easily be gone over again and patched up additional practice. Hence if all notes readily acces¬ made useless after a few weeks of change. It does pupils leaving music on the piano, which I inadvert¬ usefulness of some things will he easily apparent; until it is a fairly neat straight line. sible to the right hand be practiced in the way described not do to take one little part of pianoforte study, ently put away with my own; music which I had others will require weeks of study; and still others The interference of useless movements having been from D flat as point of origin, and all the notes readily regardless of the general study of the instrument and borrowed, and could not locate when I desired to will need to be tried out on several pupils before die eliminated in this way, it remains to establish strongly ibiH return it; music which was incomplete, for instance, the impressions created by the correct movement. In accessible to the left hand be practiced in similar man¬ unduly emphasize that. If you are studying scales value can be comprehended. Not everything wh'd1 There are two ways of doing this which, to the ner from Ab, as point of origin, it follows that all and arpeggios, for instance, always proceed at the the violin part from a song with obbligato, the piano passes as music will every teacher find beneficial, hid the first place, the end to be attained, that is, the desired onlookers, will seem almost identical, but which involve part of a trio, or the like. So now I have one place position at the end of the movement, must be presented skips can be gauged accurately without looking at the same time with other branches of the work. she should prove what things are good, and make the very different muscular conditions. The first way is keyboard, even though they evolve the crossing of for all music which cannot be placed at once where it best use of them. The publishers of this journal are ^ to the mind independently of the help of any senses by lifting the whole upper arm laterally upwards, at belongs. If I find the place getting too full I spend hut the one immediately concerned; that is to say, the constantly issuing new works along mooem and pro¬ the same time extending the forearm so that the hand some spare time in systematically putting it where it muscular sense. If we want to attain to the greatest Although it has taken a long time to explain such a This conference will be concluded gressive lines, and the wide-awake teacher will run keeps its level: the second way is by keeping the elbow does belong—returning what is borrowed, sorting out freedom in any movement or in the taking up of any process of practice, the actual performance takes barely in the March issue of The Etude. across many a decided help by thoroughly examine on a level with the white keys and carrying the fore¬ half a minute, and if repeated three times for each note and putting together parts that have become separated.” position, the muscular sense, and the muscular sense arm and hand on the same level laterally to the right these carefully devised aids. alone, must be our guide. is generally sufficient permanently to establish the by a twist of the upper arm (much as in dusting a locality of the given note.

■ THE ETUDE FEBRUARY 1919 Page 83

Page 82 FEBRUARY 1919 Those Long, Long Lessons! each explanation, whose very fingers .^ ; evident Checks on the Bank of Kindness the notes more carefully, whose enthusiasm .s^ ^ By A. B. Adams in every movement, every wor . teacher can ac- A Plea for the Teacher to say that with such a pupil, a good teacher ‘•Be eenerous with your teaching time” is a rule often complish almost anything! , . for i 8 ” „ teachers. And conscientious teachers are Fortunate, indeed, is the teacher.who. " urgedt UP to accept the advice and labor with An Efficiency Test forWide-awal Teachers By Wilbur Follett Unger a pupil such a little girl as I have in *ny a good teacher. If a good theory teacher is unavailable. depart. She never came again My efforts had been Then read carefully what you have written, and see if fectly justified in walking into a teacher’s studio, tak- ’ more or less under a nervous strain, being closely Unite the Visionary with the Practical it satisfies your own conscience; see if you really are Dr. Clarke’s books on Harmony and Counterpoint will ing a lesson, and, without opening his mouth, pay the too much for her. So, instead of her having the lesson, confined, with little opportunity to vary the scenes ot Business efficiency in teaching is really much more in possession of an adequate equipment with which to help to furbish up your knowledge wonderfully. For stipulated amount and walk out. again. Bu-t, from the his surroundings, and with music, which in its very the teacher had it-and a most valuable one it was Musical Form, Pauer's Musical Form is excellent. A After this, in making up the lesson beforehand for any important than most teachers imagine. The ideal earn your living by giving a complete return in knowl¬ sentimental, pedagogical, artistic, human and every nature should soothe, reacting upon him instead by more elaborate treatment of this subject may be found pupil, whether child or adult. I blocked out the amount teacher is to some extent a dreamer, who asks of life edge and ability for the money you receive. other point of view, the teacher would, in turn, be ■his being compelled to listen to the infantile blows in the two works by Ebenezer Prout. of work 1 thought ought to be mcluded-then deliber¬ only that he may be permitted to spend himself in an justified in refusing to give another lesson to such a upon the piano keys. Strengthen the Weak Places The most simple, original and direct harmony book ately cut it down to half or less. effort to lead his fellows to a broader and more en¬ pupil! Therefore, you pupils who have never heretofore Supposing you “flunk” in one or more departments. for one at the outset is the Beginner’s Harmony by ' Oh! If pupils only realized how much happiness And, without being a clock-watcher, 1 saw to it that lightened existence. Mundane things like keeping ac¬ done so, give a little thought to your treatment of What are you going to do about it? Are you going to Preston Ware Orem. can be given to a teacher by a mere smile of appreci¬ your teacher. Remember, he is not a mere machine; the lesson was finished within the specihed time, and counts irritate him; and the idea that he must alter his trust to luck that you can bluff your way through—it is ation, a word of gratitude, a look of understanding he is human, and no one appreciates appreciation the ideas safely and soundly in the mind of the pupil finely conceived educational plans to suit the whims and Musical History: Read The Standard History of easy to bluff in musical matters because comparatively and intelligence, and a hundred other little acts that more than he. Next time you pay him for your lessons, This method is one that will lay a solid foundation for oddities of interfering parents revolts him. Luckily for Musk, or Baltzell’s History of Musk. Test your knowl¬ few people know enough to contradict you—or are you cost nothing and which are really the gieatest rewards brighten the check with the lustre of a kind smile, and the future technir of the student. Better give a pupil the world, most piano teachers come nearer to the ideal edge by answering self-imposed questions, such as, going to set to work to improve matters? If you are the teacher has in his work, how much more fre¬ on Horse it with enthusiasm and loyalty! one single point, well hammered in and l-eyond the teacher than to his antipode—the teacher whose dream “Write an account of the Troubadors,” or “What is going to adopt the latter course, cheer up and set to quently the pupil would employ them! possibility of forgetting, than a long-winded disserta¬ is an inflated bank account. Nevertheless, more ideals meant by Folk Music?” work! Nobody but yourself knows of your weakness A simple bouquet of wild flowers, picked by a de¬ tion that wastes the pupil's time and leaves him can be achieved by a dreamer who comes down to earth Business Efficiency : Here, as in Musical Peda¬ voted pupil and handed to the teacher; a Christmas fatigued and incapable «*f retaining what has been all- and you have half an hour a day at least in which to and conducts his affairs in a well-planned systematic increase your knowledge. There is always half an gogy, practical observation of the day’s successes and card, or a post-card sent fiom a vacation trip—these How Long Should the Wires of too-generously given to him. way than by the dreamer who stays in the clouds, and hour a day to spare for something one really wants. failures will be the greatest teacher of all. Here again are the checks on the Bank of Kindness that are If the lesson is too long, depend upon it, oh! teacher, a Piano Last business efficiency in teaching is, therefore, an essential the musical magazines will contain useful hints. Read worth far in excess of cash received. But above all that the fault is not alone that of a slow, stupid The following books and ideas will help you in your This question is often asked by piano-owners who part of a teacher’s equipment. work: are the manners and language employed by pupils at student, but your fault in not gauging his capacity tor Bender’s Business Manual for Music Teachers. have had strings break. The American Steel and Wire their lessons. The pupil who sits at the piano like a enlightenment. No two people can cat the same quantity Company exhibit photographs of pianos strung with wooden image, tossing her head aside at the teacher s of food at a meal; and no two pupils can take in and Practical Efficiency Questions for Home Solution slightest correction or explanation, as though she were wire which are just as good to-day as they were fifty- retain the same amount of musical knowledge in one Musical Pedagogy bored; who enters and leaves the studio sans saluta¬ four years ago, as far as the wire is concerned. Rust (Counterpoint.) is the great enemy of iron and steel—if you can pro¬ lesson. 1. What would you do with a pupil who reads fluently 1. To the following C. F. add tion and sans “Good-bye,’’ who plays indifferently, And you will find, too, that the pupil will be far but Inaccurately, playing wrong notes, Ignoring rests, etc.? a. Three parts In first species (note against note). with inanimate touch, never striving to do better, nor tect your piano from rust and avoid very sudden 2., Give your Idea as to the correct use of the metronome. b. Three parts in fourth species (using suspensions). more eager for his lesson and will come to it all the The following passage Is unedited. Mark in how you c. Three parts in florid C. P. even the best she can; who says, “I don’t care”—such a changes in heat putting additional strain on the strings, they should last almost indefinitely, if they more promptly and regularly if he knows that he is 1° think it should he phrased. Also put In the-Angering. Also pupil is an obstacle—not only to her own career, but to get crisp, masterly teaching, between certain wtll- put in expression marks, and anv special indications for stac¬ the teacher’s success, and such an attitude is not con¬ were good wire in the first place. American piano cato, legato or whatever you think necessary. wire was conceded to be far better than the European defined time limits, than if be remembers the long, in¬ ducive to extra time or attention, from the teacher. terminable sessions with a teacher who cannot put wnat But oh! the joy of working hard over the pupil whose formulae as long ago as 1900. We make the finest 2. Using Old Hundredth as a Cantus Firmus. write a she has to impart into a reasonable space of time. 5. In what key is the following passage: three-part contrapuntal accompaniment In florid style. face lights up with understanding and appreciation at piano wire in the world. 3. What is the difference between a tonal fugue and a real fugue? 4. What steps would you take to encourage sight-reading 4. Outline the customary design of a fugue. 5. Write out the exposition of the following fugue subject ‘Tf^d&ce would you make in your plan of study (or, if preferred, write out the exposition of a fugue sub¬ The Wonderful Renaissance of Giuseppe Verdi for a pupil who wished to take up music only as a pastime, ject of your own invention) : and one who wished to study with a view to entering the cant fame. He had already written profession ? 6. State what are the intervals in the following: The revival of La Forsa del Destino G. What answer do you give to the question so often put at the Metropolitan Opera House in New twenty-three operas, of which, at least, by parents, “What method do you use?" eight had been popular successes, three, 7. IIow do you instruct your pupils in playing compli¬ York reminds musicians of the astonish¬ cated rhythms, three notes against two, four against three, ing accomplishments of Giuseppe Verdi monumental popular triumphs. From (Musical Form.) 1865 until time of his death in 1901 he ...... _ that your between his fiftieth and his eighty-sev¬ amount of practice at home? I. -• m • L-i enth year—that period when so many wrote only four operas, and liis great 9. Outline briefly your ideal of a got;ood musician, such as 3. What do you mean b, u would wish your own pupils to be. 4. Give the difference L i a Symphony and a Sym- men accept advancing years as a natural Requiem. These were producer thus: Don 7. Give an example of a minor third, an augmented sixth, phonic Poem. stage of decline Carlos (Paris, 1867), Aida (Cairo, 1871), Business Aspects of Music Teachers’ Profession a diminished fifth, a major seventh, a minor second, a di¬ Perhaps the biggest thing that can be Requiem (Milan, 1874), Otello (Milan, 1. Supposing you went to a strange minished third. locating there, what steps would you in making 8. What are the theoretical names of the scale tones? said about Verdi was that he was un¬ 1887), and Fglstaff (Milan. 1893). 9. Wbat is a triad? Give an example of a diminished spoiled by success. How many compos¬ That the triumphs of Wagner incited 2. Having made your decision, what triad, an augmented triad, a minor triad, a major triad. 1. Give the nami_.... ers, after producing such sensationally to get pupils? 10. (a) What is the difference between an authentic and from Hucbald to John S. Bach. Verdi to greater efforts is well known. 3. How do you keep your accounts? a plagal cadence ; (b) What is the difference between a chro¬ 2. Give a brief account of the Clavichord music of Italy successful works as Rigoletto, Trovatore Instead of being envious of his German 4. How do you combat the Missed Lesson evil? matic interval and a diatonic interval; (c) What is a se¬ and France during the seventeenth century (previous to and La Travita, and finding themselves 5. Do you make any effort to interest the parents of your quence ? Bach and Handel). rival or belittling him, Verdi took him¬ pupils in music by forming musical clubs, or any other social 3. What influence have the following masters had on mod¬ in middle age, would deliberately set out self to task and is said to have spent Theory of Music (Advanced) ern pianoforte music: Beethoven, Chopin, Liszt? to produce works on a much more finished o keep the parents of your (Harmony.) 4. Stgte the chief characteristics of the plating of Chopin. years in thought and self-contemplation. pugils properly informed a; _ .progress of their children? Liszt, Rubinstein, Tausig, Paderewski, von B(ilow, Clara and loftier scale? This nobility of spirit has marked him as ...... believe it possible for a teacher J. Give three resolutions of a dominant seventh chord. Schumann. to advertise without lessening the dignity of the profession ? 2. Add three parts, treble, tenor and bass to the following La Forsa Del Destino was first given one of the great masters of all time, as it alto, using proper clef for each part: 5. What have the following teachers done for piano peda- 8. Supposing for some reason you found it necessary to Rogyrt C*KPV: Clementi, Friedrich Wieck, Deppe, Leschetizky, in 1862 at St. Petersburg—in 1862, when led to the completion of Aida, Otello and advance the price of lessons, how would you make the Liszt, William Mason? Verdi was on the threshold of fifty. The change so as to cause as little friction as possible? fi. Give an account of, naming lea«t two works, by the Falstaff—all indicating vision, technic and D. How do you reconcile your business interests and your American composers Stephen opera was only moderately successful. musicianship far above his previous artistic ideals' with regard to pupils who obviously have no Knowles8 Paine, L. M. Gotfschaik, E. Verdi’s friends, however, saw that he had talent and make no progress? W. Chadwick, Dudley Buck. works. Verdi was reborn, not through his 10. How do you use your summer? elevated his ideals and that he was work¬ 7. Compare Wagner and Verdi, Bach and Handel. Bee¬ popular success, but in spite of it. thoven and Mozart. * ing toward new aims. When the opera Theory of Music (Elementary) 3. How many kinds of chords are there involving the use To what extent have modern Russian composers been Note in the accompanying pictures the 1. now do you teach the lines and spaces? of an augmented sixth? Describe them. influenced'need byhv the folk-mushfollf-mnaie eff RussiaIs,,.,..!., •>? H in an improved form was revived at 4. Modulate from C sharp minor to F major, using four- 2. How do you explain to your pupils the difference be¬ 9. Name two song com] •rs froi following Paris in 1867, it was enthusiastically re¬ virility of Verdi at 86. See the smiling, tween major and minor scales? part harmony, and making the progression of the parts as countries,untries, giving at least’least' two examples of their work • Fi confident, capable and, at the same time, 3. How do vou explain to your pupils the difference be¬ smooth as possible. “A Germany France, Italy, United States. Russia. ' ceived. This was enough for the Italian tween the three forms of the m’-ior scales? 5. Describe the whole-toned scale as employed by some Hi. Outline the chief influences at work in the deveh master. He saw that he was upon the modest expression. What a glorious 4. Fill in the time signatures to the following passages : modern French composers. ent nf enisle In the United Stat€* at tbe { <{ V VERDI AT 50 path to a new and perhaps more signifi¬ thing to approach old age in such a state 1 Page 8k FEBRUARY 1919 A Plea for General Musicianship to pianists for Beethoven’s piano concertot. whilet innum¬ Further the Efficiency of the Teacher The Role of the Cadenzas erable violinists, including David, Joa » THE ETUDES The word Cadenza is merely the Italian form of the Sarasate, Schradieck and others have tried' the^hand at FEBRUARY 1919 Page 85 word Cadence, but by common usage among musicians cadenzas for Beethoven’s violin concerto, By w. H, Carter mmmmrn& in all countries except Italy, it stands for quite a dif¬ wav reouires one for each of its three movements; IP* IB~ 7PSM . ferent thing. The Cadence is that succession of har¬ Carf Reinecke has also written masterly cadenzas for THE New York State Music Teachers’ Association . P'' ffh P: -: HjjlffawiP£•: :P^P ::\->:^xP;:P:?:x:PPP:P.:.P: monies which is used to form the close or half-close of Mozart concertos. ... n^s issued a synopsis of its conferences for the con¬ a musical phrase, while the Cadenza is a brilliant passage Mendelssohn, in his one violin concertowhichranks vention to be held in New York City on June 25 26 introduced in a vocal solo to exhibit the singer’s flexi¬ as one of the greatest ever written, has written , . and 27 One of the important topics is General Mu. bility and compass of voice, or a similar passage in a cadenza out in fyll, and introduced two unique feature: . sicianship, what it is and its relation to the efficiency The Teachers’ Round Table concerto or other instrumental piece. the cadenza is nearer the middle than the end of the The definition we have just given, though it is prob¬ first movement, and instead of coming to a . of the teachers.” The association is to conduct ex- Conducted by N. J, COREY ably as good as can be found in a few words, leaves an a trill on which the orchestra enters, runs into a series - animations, qualifying colleagues for the academic de- unfortunately cold and mechanical impression, which of arpeggios (of a sort well suited to the violin) grees of Associate and Fellow; the discussion will be This department is designed to help the teacher upon questions pertaining to “How to Teach,” “What to Teach,” etc., and not technical problems per¬ is far from being a just one. Originally the cadenza serve as an accompaniment to a theme played by cer¬ of obvious and timely interest. The tests will be based taining to Musical Theory, History, etc., all of which properly belong to the Musical Questions Answered department. upon the requirements of a good musician and teacher was an improvisation, and was the singer’s breaking tain instruments in'the orchestra. It is> said that i Full name and address must accompany all inquiries. forth into free, spontaneous song, as the birds sing, in this, as in several other points, he had the twefitof and founded on much the same plan as that of the American Guild of Organists. It seems to be the only Counting and Forgetting a mood of lyric excitement and inspiration at the mu¬ advice and counsel from the great violinist Ferdjnand a new piece, followed by review practice on the one as attending to the pedal and all expression marks. This David, himself no mean composer of violin concertos. plan feasible at present to establish any standard for “1. Two pupils (aged 14 and 16), In grade first, sical climax of the song. Structurally, the cadenza will not count aloud. Their most serious difficulty that is to be used at the next recital. After three or is a complicated process, and has to become in a meas¬ teachers, and will undoubtedly have a tendency to served as a sort of safety-valve to reduce the emo¬ is ln^ keeping time. How can I induce them to four months, let the pupil repeat one of the previous ure automatic before the music can be interpreted in a tional pressure before returning to the original theme Passing of the Cadenza spur progressive teachers to qualify for these academic “2. Another pupil of mine seems to gain no under¬ pieces that was especially enjoyed. This will permit manner that becomes interesting. While the pupil is or before coming to the close of the song. In order to Schumann wrote the .cadenza of his own piano c?"‘ degrees It is absolutely necessary for the teacher of standing, after repeated explanations,^of even the more time for other work. If recitals are frequent it deciphering the notes he neglects finger action and posi¬ improvise a cadenza, one must be not only a consum¬ certo, and from his day until the present time, that has any instrument to be a thoroughly well-equipped mu¬ for her lessons, but she forgets6 so* quickly the things is not necessary that every pupil should have a new tion. At first he cannot well do both simultaneously. mate singer, technically, but a real creative musician— become more and more the custom with composers sician in the broadest sense of the term before he i« I tell her and is so long Teaming her music. My piece each time. There are also many etudes that are Hence the only time he can give his attention to posi¬ although Brahms reverted to the old custom with his competent to give his best efforts in imparting to others other pupils give me no trouble of this kind. What a rare combination. The following is one of the caden¬ can I do for her? beautiful enough to be used as recital numbers, par¬ tion with success is with pieces which he has com¬ zas sung by Jenny Lind: violin concerto, and Joachim wrote a suitable (and very the many angles of a noble art. We are so apt to “3. Another pupil feels for the keys Instead of ticularly those of Heller, and other composers who have mitted to memory. After a piece is thoroughly learned fail to realize that it is through the piano or the learning to strike them directly and promptly. difficult) cadenza for the same. , .. _ She Is in grade one."—D. M. written melodic etudes. Your ingenuity and patience as to notes, time, etc., then it should be used as a means Liszt’s tw.o concertos, in Eb and A, are both s violin that we are teaching music. While the thorough will be tested to the utmost, no doubt, but you will of position study, for the attention can then be con¬ rhaosodaical and so brilliant that one would be scarcely mastery of the technic of the instrument selected is 1. Set aside a certain portion of the lesson hour for come out with a good deal of knowledge and experi¬ centrated on this one point to great advantage. Do not stretching the truth to say they were all cadenzas, and of the utmost importance, the attention <>f even the the study of time. Assign a certain amount of work ence, and an unusually large repertoire of teaching tell him he is taking the piece over again, which dis¬ this is the case with numerous modern works. Between youngest student should constantly lie directed to the for this special purpose. Take this up first and make music which will always bf of immense value to you. courages him, but make him understand that he must this tendency on the one hand, and the passing of the musical effects and not solely to the act of touch what explanations are necessary, making them practice now use it for a definite object as he keeps on playing taste for the empty glitter of scale and arpeggio pass¬ creating them. A thorough knowledge of the funda¬ a portion of the assignment over^ayeral times counting if- Pieces ought not to be dropped as soon as learned. ages, cadenzas occupy a relatively less important place mentals of music theory should be taught. Harmony aloud. Tell them that this will bCThc most important This is a bad habit to let pupils get into. They will in music than they did in the last century. However, “In the two following examples will you please sufficient for the understanding and analysis of the part of the lesson for some little time to come, and tell me where the grace notes come In the first accomplish more in learning hand position by studying as they are necessary to the proper performance of from Liszt Twelfth Hungarian Rhapsody, and just composition being studied should lie mastered by the will be heard first at the lessons. Make them under¬ it with a well learned piece than in exercises which are many masterpieces which we would not willingly let die, where the left hand sixteenth notes come In the dry to them. In these days cadenzas are written out in full by the pupil. Knowledge of musical form, so that even the stand that when they come for their next lesson, if this second from Debussy’s Shadows in the Waters and in course of time may come to be the fashion again composer. In older music, when not written by the simple song forms of elementary pieces can lie intel¬ If you were a regular subscriber to The Etude you in contemporary music, it would be folly for any seri- part of the work has not been studied and prepared composer, they are commonly supplied by some musical ligently explained and understood by the pupiL In that nothing else that has been assigned will be consid¬ would not need to ask the second question. The maga¬ zine has been publishing many elaborate lists of excel¬ editor. other words, to co-ordinate music study in all its ered until this most important part of the lesson has branches. It is astonishing how much more a child lent pieces for the first grades, and to have had them Vocal cadenzas are most frequent in songs and arias Practical Advice been learned. If they come to the lessons unprepared, for coloratura soprano, but examples are by no means can comprehend than we usually give him credit for. would have meant a great saving in time to you. Where a composer has written out a cadenza in full, do as you have said you would, and send them home to lacking for other voices. An excellent example of a Only by insisting upon a standard that will ; teasure as Mendelssohn did in his violin concerto, it should, of prepare this work, possibly setting an extra hour for cadenza for a low voice is found in Silva’s cavatina up to requirements can we hope to elevate our profes¬ What and How? course, be rendered with scrupulous fidelity to the com¬ them to return when they have studied the assignment. Infelice, from Verdi’s opera Ernani: sion and make it worthy the support of all men and Treat it in a quiet and matter-of-course way. It may . ‘.‘1- A ‘“-year-old (tin has Just come to me who pose ’s wishes as expressed in the notes, but in the use women. The very fact that a teaoher prepares him¬ Is in the early second grade. What should 1 give be a wise thing to explain to the parents what you are her, and In what order) of cadenzas written by others, the player may indulge self to qualify for these academic degrees will en¬ "2. What style of pieces should I give her? in a certain degree of liberty, if he sees fit for any legiti¬ finding it necessary .to do, and the reason therefor. hance his ability to teach. mate artistic reason. It is excellent practice to write 2. Do not try to teach too much in the way of theo¬ wha't kfndWofts^r?8haU 1 teaCh the 8Cal68’ aDd original cadenzas. Even if one does not possess the retical knowledge to a pupil of nine. The thing first ln“the"l°ghth°|?ade?Uld a P6r8°n pract,ce who ,s creative genius to originate an entirely new one, a and the explanation afterwards is the best plait. Teach intcf perlods?’—m!*C be ,D 0ne altti"«' 0r dlrlded Instrumental Cadenzas combination of the best portions of several old ones, The Student’s Attitude Toward Exercises the pupil to do first, or in other words, play. As she The most elaborate development of the cadenza is written by different artists for the same concerto, may grows older and advances in playing, the theoretical 1. In nine cases out of ten such a pupil needs pre¬ prove better for the player’s purpose than any one of side can be taken up. Information of the kind of which that which is found in concertos, especially the first By Harry Colin Thorpe paratory review, in order to make sure of correct posi¬ movement. The manner in which it is introduced, them just as it stands. you speak means absolutely nothing to a small child. tion and action, and that she is really ready for the though not subject to any strict rule, has become more It should be scarcely necessary to state that a cadenza The slowness you speak of in learning music may be second grade. You should own a copy of Presser’s should be perfectly learned, so that it can be performed The traditional rendering would bring the first of or less conventionalized by the usage of composers, and Music students, especially younger ones, are apt to lack of innate aptitude. If this is so it is something Beginner's Book, for your own good and guidance, for the two grace notes exactly with the E and G of the may be described as follows: without any feeling of difficulty and with no appearance get a wrong conception of the purpose and use of exer¬ you cannot force. there are treated in it many elementary facts which you of premeditation. It must seem ljke a natural and chord, said chord also including the bass, if the wavy Near the end of the first movement, the full orchestra cises. Very often a pupil is found to have the idea that 3. Teach your pupil that the fingers should lie over can give to pupils who are reviewing, simply by word spontaneous outpouring of musical feeling. To this line was omitted. The wavy line would indicate that works up to a climax and comes to an abrupt close on his progress is to be measured by the number of studies five keys. In grade one, especially at the beginning, of mouth without their owning the book. For actual end, it must first be practiced slowly and with great the chord should be arpeggioed, which would cause its the “chord of { on the dominant.” learned or books •'finished." Working from such a accuracy. Later it must be practiced quicker, but with there are many complete fingerings marked over the notes slightly to precede the D of the grace notes. In beginners with you, this book may be followed by premise he feverishly tries to be done with one group Presser s First Steps, omitting some of the first things. those parts of it which have definite rhythm done in notes. Teach her to keep the fingers where placed and the edition in my library there are no wavy lines except of exercises in order to begin another, with the re¬ strict time. Lastly, one must round off the corners, so strike the key indicated by the fingering. If the hand at the first and third counts in the treble. You should also be familiar with the first book of the sult that hurried, slipshod study soon becomes habit¬ Standard Graded Course, and in this you will find much to speak, and play it with graceful freedom, being care¬ moves to a new position, it should quickly assume the The long, rapid passages from the Debussy piece ual. If persisted in, this means ultimate failure, or at ful that the speed is never increased to the point where place over five keys again. She should practice a good should be played smoothly and without rhythmical sub¬ for your pupil. For etudes, start with the Czerny- it will strike the listener as a meaningless hurry-scurry. least, the loss of many precious hours. deal with one hand at a time. If you have taught her divisions. It is not necessary to compute the exact Liebling Selected Studies, first book. Do not hurry Nearly every cadenza contains trills. Do not leave In order to set forth clearly the proper use of exer¬ to place the fingers over the five keys she ought soon mathematical placement of the sixteenth notes in their your pupils through the Standard Course, for it by no these to haphazard, but decide on the exact form and cises let us suppose the case of a man who desires to to overcome the difficulty you mention. relations to the run. In practicing slowly it mhkes little means contains all the material you will need. It is number of notes in each trill, and play it always alike. become a strong and skilful gymnast. He goes to the difference whether you place the sixteenth against three more an index of your pupils’ progress, and pieces and There is a certain freedom, allied to tempo rubatn, gymnasium and is told that his first work will be with * Too Many Recitals or four of the sixty-fourth notes, although three is etudes should be used with it. Thj soloist then begins at once, and plays an extended which is used in wide-spreading running passages, either dumb-bells. The instructor then proceeds to teach him “I have a problem of my own. I am teaching nearer the correct number by computation. When play¬ 2. This depends on the pupil’s taste, ability and past and brilliant passage in which are exhibited: in arpeggios or scale form, but this it is impossible to the various movements which are to be made, this In a seminary which has but few advanced pupils, ing in tempo let the melody notes slip in at their correct advantages. I should infer from the locality indicated The virtuosity of the player, and yet the principal Insists upon frequent recftals describe adequately in words. The young player can being an absolute pre-requisite. As soon as he knows so often that It takes all the time between recitals place rhythmically, the passage notes proceeding m your letter, that she has heard but little music of a The resources of the instrument, only learn it by careful imitation from great artists, or the movements, and the rhythm of the exercises, he is for stndentB to learn the pieces they are to play and there Is no time for solid work. This Is wrong, smoothly and prestissimo. This applies to all passage high class. This being true you must lead her taste The resources for musical development which have ready for real work. His development will depend from a teacher who is familiar with their traditions. but what can I do?”—G. L. work runs of irregular grouping. In the foregoing cautiously and not discourage her with music that is lain hitherto-concealed in the themes of the concerto. upon the number of correct repetitions of the move¬ groups there are thirteen notes where mathematically If any of these three qualities were lacking, the ca¬ beyond her understanding. Try and make her music ments learned. This situation often repeats itself in schools where there should be twelve. In the latter case there would a pleasure to her. Much injury is done by trying to denza would be a failure. The artist must exhibit his An Hourly Recital The parallel between this case and that of a music fhe principals know so little about musical matters that be exactly three for your sixteenth note. own consummate mastery of brilliant technic; he must force pupils to play what they cannot understand. The student is at once apparent. The music student is they cannot be made to see the reason in counsel given average child is not given Browning’s Sordello with use such forms of figuration, chords, scales or other By Robert M. Francis seeking, in degree, the same end as the gymnast—mus¬ them by the expert put in charge of a given department. Hand Position passages as are effective and characteristic of the instru¬ which to begin his literary education. Bach and much cular development. Like the gymnast, too, he is not To them the music department finds its chief raison classical music seems like this to those who have never ment ; he must not confine himself to mere empty tech¬ Your pupil comes to you for instruction, you say. ready for real work until he has learned his “move¬ d’etre as a means of publicity for the school, and any Do you let it stand at that? Don’t you think that, heard anythmg better than a gospel hymn or popular nical display—musical fireworks—much less introduce ments.'’ This means that all matters of time, tempo, other function is of little consequence. If you are “up like other factors, inspiration plays a very import¬ CACICIOCTI .nuw tan j nna toe proper music new or extraneous themes from other compositions, accent and so on should be thoroughly mastered as a against it” all you can do is to make the best of it I r young beginners? I do not take The Etude but instead, reveal the beauties and possibilities of ant role? One of the most successful teachers in a gularly, but buy It occasionally from the music 3. Teach major scales first, one octave each hand preliminary to practice. Many students, however, think have heard many make the same complaint. separately, then together. Next two octaves, and themes already heard in the concerto. The cadenza large Eastern city always makes it. a point to play for unter. —M. A. that when this has been done they are ready for a new Being thus hampered in your work I would suggest later four with varying accents. For your own personal usually comes to a close with a trill, or chain of trills, the pupil one piece of appropriate length at each lesson : exercise instead of merely being prepared to utilize If one has any particular work to perform, it is the conductor giving the orchestra the signal when to that is, a piece running from three to ten minutes in that you try and put in practice the method that has guidance procure a copy of Cooke’s Mastering the the one at hand. When one is sure of these elementary been so long advocated by a few teachers, namely, to generally necessary to devote one’s self directly to it Scales and Arpeggios, which will give you excellent come in at the close. length. This is not time wasted by any means. If you Furthermore, in order to attain this object the mind matters he is in a class with the gymnast who has use pieces to the exclusion of etudes as a means of As will readily be imagined from the requirements ask how it is possible for the busy teacher to keep in learned his movements, and like the latter, he will should not be frittered away on other things at the thei^order ^ ^ W‘U fi"d the scales listed in condition to play a repertoire of this kind, remember instruction. Keep a list of all the pieces you use and enumerated, a really fine cadenza is a work of genius progress in proportion to the number of times the same time. One thing at a time is a splendid rule in that it keeps itself going by the mere hourly playing. classify them for special uses, such as scale work, 4 Three to four hours is sufficient if so long a time second only to the concerto itself. Many famous musi¬ exercise is properly performed, and the assimilation music studyv The player has several things to attend The pupil never begrudges this time, if the thing is arpeggios, chords, octaves, etc., etc. Any of these can can be commanded. An advanced pupil ought at the cians ha%-e written cadenzas. Hummel wrote many for of its principle ty the brain and all the muscles con¬ to, however, at one and the same time; position of not overdone. least to have two hours. Mozart’s piano concertos, Moscheles and many other cerned in its execution. then be used in public, and your recital programs are hands, proper action of fingers, deciphering the notes, made. Your student probably can find a little time keeping time by interpreting their values correctly, find¬ S-The P^ftice time should be divided into periods for scale and exercise practice daily. Then work on mini6 TZ? AT .become8 fatted, and with tired ing their coresponding keys on the keybozrd, as well mind and body little is accomplished. THE ETUDE FEBRUARY 1919 Page 87

fHE ETUDE RONDO IN 0 Abbreviations: M.T. signifies Main Theme, Mod. Modulation, S.T. Second Theme, Ret. Return. L. van BEETHOVEN,Op.51, No.l Moderato e graziojso. m.m. J=92

Etude Master Lesson Series

Beethoven’s. Rondo in C Major Analyzed and Annotated by CONSTANTIN VON STERNBERG that in the measures 34 to 38 there is a rhythmical precisely. Such is the case in this Rondo While t relation to measures 1 to 8, and that this passage senes Ludwig van Beethoven—born in Bonn on the Rhine, first main theme recurs with sufficient frequency^ as a preparation for the return of the first mam theme; December 16, 1770, died-in Vienna, March 26, 1827,- justify the lesignation as Rondo, yet, all the other still the relation between the two passages should be was one of those heroic figures in the history of music themes have so pronounced a character of their own in the player’s mind in order to induce such an adieu- whom we mentally associate with J. S. Bach, Handel, and are so grouped or-placed as to justify the term lation as will bring the relation also to the auditor’s Haydn and Mozart, although his similarity with these “compounded song form” equally well and to make it perception. The antithesis to the first eight measures illustrious anteriors consists of no other quality (measures 8 to 10) furnishes the model after which than what may be called soul caliber. His family, preferable for purposes of analysis. several other melodic passages in this piece are formed, though originally Belgian, had lived in Bonn on the Thus we have a first main theme in the tonic of C as will be seen in those which begin on the third beat Rhine for two generations before he was born. In his major (occupying 17 measures), a modulating part o younger years he was assistant organist and viola 7V2 measures forming a bridge to the first side theme of measures 17, 59 and 83. in the dominant (G major). With the third beat of player in the orchestra of the Grand Elector, Frederic Technic Not Too Complicated William; the shabby treatment he suffered at the hands measure 34 begins the preparation (called the return ) of this prince was perhaps a tcibutary cause of turning for the re-entrance of the first mam theme (measure The first main theme demands for its melody a ding¬ Beethoven at an early age into an arch-democrat, which 43) which in measure 51 closes and completes the ing pressure touch. For the accompaniment the prin¬ he remained until his death. “simple” song form. On the third beat of this meas¬ ciple of chord-accumulating must be applied. It would Simple as it may appear to be a democrat in our ure opens a new part which-like the first part-con- not do to play—or rather to "hold"—the left hand present age, in his days it meant not only a thinker, a tains two themes in appropriate tonality relation: the notes strictly as eighths; it would sound choppy. They seer into the future of humanity but a character of first, which we must now call the second mam thefne should be held somewhat longer in order to combine oak-like sturdiness, for in those times the rulers of (that is: the main theme of the second part) in with the following eighth and so complete the har¬ their countries were masters over life and death of minor, the parallel in tonality of the first main theme, mony. This principle—unless otherwise indicated-u their “subjects”, and this in a still higher degree than and a side theme in the relative major key of the pre¬ applicable to all kindred places where, for certain con¬ those who were recently dethroned. Beethoven’s de¬ ceding; each of these themes fills eight measures, after siderations, the pedal may not be resorted to for the mocracy manifested a soul which, in spite of custom which—with abbreviation—the second main theme in accumulating. In this piece the principle finds applica¬ and governmental power, was conscious of its human C minor returns and thus completes another perfect tion in measures 18. 19, 20, 21, 22 and 23, where the right of liberty and civic equality. “simple song form”. We have thus two complete keys should be held down—also after being struck When a certain publisher, in buying one of Bee¬ musical entities. Were it not for the organic unity of again—until the respective chord is completed; it also thoven’s manuscripts, tried to lower the price by telling the whole piece and for the beautiful “bridge part is to be applied in the measures 59 to 65 and all similar him that his Sonatas did not “sell” and that he was beginning at measure 72 these two song forms could places. not a good “risk” for a publisher, he replied: “I do be played as two separate pieces and each would-be The contrast between the first main theme and the not write for publishers; I write for hearts. Remem¬ complete in itself. There follows now a “return”— first side theme should bear not only upon the dynamics, ber that!” His purse-proud brother once left a note the bridge just referred to—leading to a resumption of but also upon the touch which in this side theme should for him which, as a mark of disdain for Ludwig’s pro¬ the first part which reopens in the middle of measure be light and, yet, not devoid of “body". The robust¬ fession, he had signed: Frederich van Beethoven, Land- 91, but omits the recurrence of its side theme and puts ness of touch, required for the second main theme owner. The composer signed his reply, Ludwig van in its place a cadenza-like Coda which concludes the (measure 51 third beat) should be agreeably contrasted Beethoven, Brain-owner! Wealth and social station piece with a last reminder of the first main theme by a singing and clinging touch for the second side never made upon his democratic mind the impression (measure 131 in the left hand). theme (measure 59 third beat) while the aforesaid desired ' the respective possessors. Behind all the Every phrase in this piece occupies two measures. chord accumulating should be done here again by the tinsel c: wealth or station he saw always the human The meter of it begins with the third beat and ends left hand. being and esteemed and treated him as such; kindly, on the second beat of the second-next measure. The Attention may be called to the accent marks in the when worthy; very bristly, when otherwise. only exception to this is the side theme of the second left hand of measures 52, S3, 56, 57, 67, 68, 110 and the At seventeen years of age he visited the—then—great part (beginning in measure 59) which consists of five measures following. These accents are indis¬ musical center, Vienna, where he was treated with phrases of one measure. It may be needless to say pensable if the auditor is to und-rstand the time-ing. marked distinction. Five years later he moved to Another matter, and one which is only too often Vienna again, but this time it was to stay there per¬ wrongly treated, is the note that ends a melodic phrase, manently. such as the B in measure 4 and kindred notes upon His Work in General which the phrasing slur ends. The students' negligence To speak in detail of the unexcelled merits of Bee¬ Beethoven on Piano Practice in this particular matter may have induced some teach¬ thoven’s works would be somewhat like enlarging upon ers to say that the note under the end of a phrasing the correctness of spelling in great poems. The great¬ “When your piano pupil has slur should be played staccato and in some editions it is even marked with a staccato dot. This is, of course, est value of both lies in their truthfulness, and in that the proper fingering, the exact they came from the deepest recesses of the soul. Speak¬ wrong, or at the best it is a gross exaggeration. What should be done is merely a very slight curtailing of the ing analytically, however, the merits of Beethoven s rhythm, and plays the notes time value of such notes. To illustrate by the first works may be summed up in the statement that—as in correctly, pay attention only to note in measure 2, it may be held for about three- all truly great works—their form and content are the style—do not stop for little eighths, while the fourth eighth is supplied by a breath¬ always in perfect balance. Where they are difficult of ing pause. Or, taking the B in measure 4 as an ex¬ faults or make remarks on them execution they are are not needlessly so; there are no ample of a note which in itself is of short duration superfluous notes in them—none that may be added, until the end of the piece. This it may be lightly but gently taken off after half of it* none omitted without injury to the composition and proper duration; but it should not be an outright method produces musicians, without missing its musical message. There is no staccato, nor even resemble one. “padding”; every measure, every note is there for a which after all is one of the chief A safe way to learn the proper enunciation of » definite purpose. aims of musical art. For the phrase is to sing it with some words that fit the meter, The Rondo in C Major say: is numbered opus SI, though this number but indicates passage work (virtuosity) make the time of its publication-after the Kreutser Sonata him use all the fingers freely and the great Romanse for violin. It is fairly certain . . . Doubtless by employing Grace-ful play- ing I* whit U that it was written a number of years before; it shows but little of the depth which the works just mentioned fewer fingers a ‘pearly’ effect is and then play it as it was sung; for when we use words reveal, but it compensates for its absence by freshness, obtained—as it is put—‘like a youthful vigor, naive cheerfulness; and it exemplifies we desist by instinct from putting an emphasis upon a ft) mpz mezzo piano, rather softly, signifies a degree of shading pearl.’ But one likes other jewels weak syllable. The student should ever be mindful with absolute perfection the three fundamental prin¬ which stands between p and rnf that a musical phrase is a song with the words l*f‘ ciples of all the arts: unity, variety and symmetry at times.” out—but suggested. He—and she—should never P**7 Copyright 1895 by Theo.Presser.4 (balanced Jorm)^ ^ ^ compounded SOng form (From a letter to Carl Czerny.) the piano without investing the mind and the poetic frequently as to make it at times difficult- imagination, especially when studying a piece by one overlap so himself—toL!_If distinguishAt them of the classic grand-masters, like Beethoven. even to the composer, THE ETVDl THE ETUDE FEBRUARY 1919 Page 89

"ha "ieans a gradual decreasing in sound as well as the tempo, just enough to lead r“^S~rflN £’ $£her l. - ■* back to the tempo and tone volume of the opening part. k, m THE ETUDE THE FT r/EE FEBRUJEY 1919 Page 91 VILLAGE BEAUTY . . . MENUET A dainty Menuet with the real flavor of the old time dance.Grade III. the etude THE ETUDE FEBRUARY 1919 Page, 93 DANSE CARACTERISTIQUE

W. BERWALD THE ETUDE PRIMO FEBRUARY 1919 Page 95 A_^ A V- .: A a tr . *C^“ ' * , * 2- A ♦ hv 1- ' a,,~f g|T7>

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raeeful rondo ill semi-cla^ sic style. Grade IV. l. J = 108 -?- 1 5 Allegro moder;ato scherzando M.iv i. 4 q SB9 3 1K8 jg..2 #1 2 1 ^

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British Copyright secuid Copyright 1919 by Theo.Presser Co. Copyright 1919 by Theo.Presser Co. British Copyright secured 1

THE ETUDE THE ETUDE . FEBRUARY 1919 Page 99 3 Page 98 FEBRUARY 1919 A T TP GRANDE MARCHE NUPTIALE l.renk WEDDING MARCH t weicorae. Here is a fine specimen. - # # tfpr „ these tiwies,when s. m„y - b-e.hing .wsy ftont.he eonven.i.n.l wedding ns.yoh.s ,new .nd good ones* i# r •£=ir j j j £ 1* r r r r- Grade iv. M.M.J=104 Efy -MS Moderato r r u U 1 ) * ^ r r 3 \>* p$ / i*s*— r" ) , it t n- ^~rl-*—a hf -4 ^ m m m ^

0 1, pf'f'T 1 F: fj^nrr J 3 - A d j— § fffiuYbf fiJ J J- * "* • — jr* ns 2 t- p ff UIT* ^ °ht1 frfflf a? sWfrj2 ere sc. -- 1-! --- L----- irrrE11 x ^TTv’ />a.

* ^rflj^ *4 £ I J J# rr» 5 42. THE LONELY FIDDLER

Copyright 19'9 byTheo. Presser British Copyright t#*n' | THE ETUDE FEBRUARY 1919 Page 101 THEE TELE Page 100 FEBRUARY 1919 • CAPRICE SERENADE LEON RINGUET, Op. 103'

Ah attractive drawing-room piece, the most recent composition of a very popular —- ■ Quasi Andantino conf?mstoM.M. J = 7g-$11 1 J J 'r

AWAKENING (A PRAYER) H. ENGELMANN, Op.620,No.2 AWAKENING,one of the late Mr. Engelmann’s most touching inspirations,has been published as a piano solo, an organ solo, ami us an anthem. In this case the anthem text has been added to the piano solo, so that this number may be sung, if desired. Andante cantabile M.M.j=69

^houwilfr hear oui ''Our (needsThou’ltknowandgrantus treasure, A wealth of love and grace Thou hast in s A | "TT-^ . | - pH | -I _N_rf_m_V*_f_ j. m/ — " ff HfFpfTFTp !LLT p#l,i!2f: 7tlf r®* * ^ t ^ " t t a tempo U * W- L—J UJ U—J U-J • ^ . , f" Af" faith and strength in ful-lest meas-ure, Tllat we, i'n Christ, be bl&s-sed e'v-er more. 0 God who ru-lest us in mer-cy Safe

% From here go back to the beginning and play to Fine* then play Trio, Copyright 1919 by Theo.Pressgr Co. British Copyright *ecnr*i THE ETUDE THE ETUDE FEBRUARY 1919 Rage 103 fags 102 FEBRUARY ' PQUPEE VALSANTE ED. P0LD1NI (A TRAGIC STORY)* , cleVer and humorous verses, entitled Poldini’s Dancing Doil has become one of the most popular of recital I *° asudapted by Gwen M. Skett. 5 numbers. As here given it gains an added interest, since it may if A Tragic Story, P T desired, be used as a musical recitation.lt makes an appropriate ac- I 532?*- ■*

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-1 p ■" 3 ♦ ’ cantando w lJT cast^^srnd swore he’d change the ^Because it hung behind him. He mused uj on this curious

■ ~ yL—..g u^r.rff iff f it—f £f.frr iff f W " 4 1—TS- vt — iSSSBSbz xsaflEz: —- . _ -—_■... —— — Z<— > ^ but -» .still the pigtail stout hung steadily be hind him. And thoughts efforts never slack. ,-~^4l pr VP lelf jyl

7 7 Not et f ' li p zS£ dim. P dangling n Ijn iJTJ IJT1IJT3 IffLLgCLLjrxl place 7| ^7 Tand have it 7 7 hanging'7] 7_ 7 at his face ...... j pigtail’s | 2 s. L>>'—- _ .|V~ 1 ? - A. ll 15 ■f Jr 1-— 4 7 •_X2 3_ fy ga r = J_ J, £—1 £—1 | | * L^- smorz. 1 ~ \ 1 > 1 _ And though he twist 7 and turn 7 and tack Alas Still faithful to his backHie pigtail hangs behind him S, 4. 1 . • =3=E \ -i-j — 1 1 if." ■#:_✓* IJo- -J L»4—— *"r~~ VP / there b e - hind him. 7 7 Says he, “The mystery F ve found mf 7 7 n 1 turn me round” /—♦ ► t LITTLE SWEETHEART WALTZ - . 0 - . ffrr-i= -- UIj m i Iee ll* ' p K-^-i \ &

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5.... - jo.. fey fey fey I

* For Musical Recitation, ad lib. CoPyright 1919 Theo. Presser Co. Copyright 1904 by Theo. Presser. by British Copyright secured THEE TV DR the etuee Page 104 FEBRUARY 1919 FEBRUARY 1919 Page 105

SLEEP LITTLE BIRDIES HAROLD BELL WRIGHT TILL I COME BACK TO YOU LOUIS F. GOTTSCHALK Miss Martha Shepard Lippincott A B1BIRD LULLABY LEO OEHMLER,Op.273 Mr.Gottschalk has made a very pleasing and sympathetic setting of some new verses by the well-known novelist Mr. Harold Bell Wright. A rather different sort of lullaby, very singable. A goodod encor*encore dumber. Moderato con espressione n\ p

The shad-ows of night are fall-ing now,And the sun has gone to

rail. crese. f > n\

And all of the lit ; - tie bird - ies too, Are a - sleep up in_their nests. trees,_ And all throughthe nig ht you will be fanned,By the balm - y lit - tie 1 breeze. r\ > 1 f ffl ^ '*~f: j|: =" .-j-JU . . cresc. H*- dim. " rail. rail. r , -h f l it !

' i P ^ ^ W * cresc^ nvfatempo > > pp ra ll.

Swing on the bough,While the breez - es blow, And sing yourlul - la - by, Sleep,lit-tle bird - ies. atempo > jm- if; r— - ~6~r\y-j jff- 1 4L. 0J^ irp- mfl*- ♦ ’ m. crescP k lyta -P brr ""pH Eq: ^ «H Uh ^ r ^ . jiV ji. a tempo nvf semplice fav\> ft J i)\ «lj - - j j)\ h h h r r i • j

all through the night,Till sun-shine fills.the sky,_ The morn-ingwill comewith flow-ers sweet,That will a tempo , a 1 jbt: . 1

^.nl:. semplice

\>w -r ^i.

e) > n glad - ly wel-come you,_ They’ll sleep all the night and L then be bathed With re - fresh-ingmorn-ing dew—

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xv ^ 3*:.:.jd-fyV cresc. ^" J9 delicatemente ritenf7\ ff -2 > m _ — | >-ne

Copyright 1917 by Theo.Pre.iser C 0. • British C< ipyright secure! THSinn

Page 106 FEBRUARY 1919 TO NATUBE ward-stephens

A dainty recital gem, in folk-song style. Largo

would I go; Share with thee thy bliss andwoe. Fain am I to fol-lowthee, Ho -ly na-ture, fair and free. 3

Copyright 1919 by Theo.Presser Co. ALSO PUBLISHED FOE LOW VOICE British Copyright MELODY IN D VIOLIN SOLO T.D.WILLIE A tuneful composition, lying in a most favorable key and easy to finger. This number will also be published for’Cello, and as a Violm^ ’Cello duet. , Sul G 4 Larghetto M.M.J-

VIOLIN

PIANO

Copyright 1919 by Theo. Presser Co. British Copyright r the etude FEBRUARY 1919 Page 109 Fage 108 FEBRUARY 19.19

Air. for Organ by Wm. Noelsch A SHEPHERD’S IDYL Question and Answer Department A. tuneful pastoral movement, a good offertory number. Choir: Flute8'CorGt, NEWLY CONDUCTED

THE ETUDE is pleased to announce that this important Department will hereafter be conducted by the well-known French-American Musician ARTHUR DE GUI CHARD Manual Always send your full name and address, eilt be answered when this has been neglected. Only your initials or a chosen nom de plum* ; Make your questions short and to the point. regarding particular pieces, m< st number of ETUDE readers w: , etc., not likely to be of interest

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‘DREAMING OF LOVE AND YOU’ Words by EDWARD LOCKTON Music by ARTHUR F. TATE FOR HIGH, MEDIUM AND LOW VOICES FOR VOCAL DUET—Price, 60 cent. for medium voicirwl™ VIOLIN FOR PIANO SOLO^OR VIOLIN AND

TEACHING PIECES By mrs. a. m. virgil ATTRACTIVE, INSTRUCTIVE-FINE FOR RECITALS GRADES 1 to 6. GRADED CATALOG ...T Tr, ORDER THROUGH YOUR DEALER OR DIRECT THE VIRGIL PIANO CONS. :: 11 W. 68th St., NEW YORK

British copyright secured THE ETUDE Page 110 FEBRUARY 1919 THE ETUDE FEBRUARY 1919 Rage 111 automatism so strongly insisted upon in sembled and its parts made ready to the psychologic method. And it is these function before it can be put to prac¬ muscles, stiff, sluggish and unresponsive, tical use. The training of our armies that cause dislocation of effort and pro¬ is a case in point. The muscles of the duce interference and lack of freedom. body were flexed, strengthened and their Department for Voice and Vocal Teachers The entire vocal mechanism is so deli¬ action correlated by regular calisthenics cately adjusted that recalcitrancy on the before the manual of arms was taken IVERS & POND part of the breathing muscles will be re¬ v Edited for February by Arthur L. Manchester up. With muscles so made responsive flected at the larynx and in those parts and hardened by use the entire body was , ... ,, • >>_Richard Wagner above the vocal chords, making impossible prepared for the tremendous strain that “The Human Voice is Really the Foundation of All Music. K the perfect consummation of the tone was to be put upon it on the actual field PIANOS concept. This physical side of voice pro¬ of battle. All the while the minds of the duction asserts itself predominantly with soldiers were prepared to fight with de¬ untrained students. So strong is this termination by instilling into them a con¬ HIGH CLASS GRANDS Heins in Psychologic Voice Training assertion that it overshadows mental con¬ cept of what America was fighting for. cepts almost to their elimination Unar¬ This feature of their training corre¬ MUSICIANS and teachers who depend on their guable as may be the automatic produc¬ sponds to the tone concept. All possi¬ By Arthur L. Manchester piano for a livelihood or to inspire artistic tion of pitch, it is a fact that a large bility of half-heartedness was avoided by mind, must be strongly impressed by it proportion of untrained singers endeavor the setting up of this moral concept. But achievement, appreciate the IVERS & POND these principles are applied in the prac¬ The word psychology is viewed by the And being scientific, it could not fail, to assist the pitch organ by tongue and the body was most energetically trained tical work of training students. So far And one who has wrestled with the prob¬ Grands. Few manufacturers offer so elaborate a for a leading attribute of science is its throat action, even though they may be majority of students with a feeling of as my reading has gone the advocates lem of voice production must feel its at the same time. infallibility. The functions of the vari¬ choice in size, attractive new designs and rare woods. aversion. To them it stands for some of this method have confined themselves logical and practical common sense. It fully convinced that pitch production is ous parts of the vocal organ were abso¬ intricate discussion of mental activities to this statement of principles without compares favorably with educational automatic. The physical side of the mat¬ The Proper Balance Our 1919 catalogue is now being mailed. . which is largely pedantic, complex and lutely determined and described. As nat¬ methods in other fields and irradiates the ter must be reckoned with. Here, so far attempting to explain their practical ap¬ Psychologic voice training should com¬ utterly lacking in practical interest. So urally followed, methods for the control true educational principle. In the light plication. In order to place this idea of as the writer’s observation goes (and he prise not only beautiful tone concept but strong is this aversion to the word that of these parts, with proper exercises for of recent 'educational advance we must has read everything he has been able to their training, were next promulgated voice production clearly before Etudk also correct physical concepts. The same many instructors who wish to use psy¬ readers I have quoted below statements concede the truth of the statements that secure), the psychologic advocates are and the scientific method of voice train¬ mental attitude, or stimulus, should be chologic methods carefully avoid • the made by Mr. D. A. Clippinger in an everything exists first in idea and that silent. They dismiss this phase of the ing stood before an expectant and inter¬ applied to the physical instrument. This word and cloak the psychology under article in the October Musical Quarterly. we must look for the nature, activity and question with the assertion that the less ested clientele in all its accuracy and in¬ does not call for the detailed methods other names. While there is a psychol¬ They appeal to me because of their clar¬ cause of everything in mind and notin attention that is paid to mechanics the fallibility. There was only one fly in of the so-called vocal scientist. Recog¬ ogy that possesses no interest for the ity and directness, as well as because matter. Hence it must also lie conceded better. Here, again, they utter a partial the ointment, a reading of the conclusions nition of the fact that if certain muscular laity, this mental science does include a they are comprehensive. that tone exists first as a mental concept truth; the perfect tone is produced with¬ of these scientists disclosed that there effort be brought under the control of the practical phase that influences almost and that the quality of the concept de¬ out consciousness of mechanics, but until every form of activity and, by its pres¬ was fatal lack of agreement among them. will and made responsive without resist¬ The Most Beautiful Tone termines the quality of the tone. Pushed something has brought about a perfect, ence or absence, does determine the suc¬ There were almost as many different con¬ “The most beautiful tone is the most ance other parts of the vocal machine will clusions as there were scientists, these to their final analysis these statements automatic control of mechanics physical cess or failure of every form of activity perfectly produced, whether the singer function in co-ordination with these conclusions often being radically conflict¬ lead to the conviction that the proper con¬ assertion will obtrude the mechanics on that involves mental direction. This fact knows anything of vocal mechanism or muscles without difficulty, and the beau¬ ing. Nevertheless for a long period this cept of pure singing tone accompanied the consciousness. Unconsciousness of has been impressing itself with every not. In such tone there is no conscious¬ tiful tone concept will have expression scientific voice training held its sway. l»y freedom and lack of interference will mechanics is an ideal state of perfect increasing strength upon teachers of ness of mechanics or scientific laws. The without interference and with freedom. With what result? Simply that during vocal health similar to that of physical music, during these later days, and vocal mechanism is responding automat¬ result in an automatically produced pure The student should be so taught that he this era of scientific voice training there health when we are unconscious of the psychologic instruction, whether it be so ically to the highest law in the universe singing tone. Thus far we can agree with becomes able to mentally visualize these was done more bad teaching and a larger functioning of the bodily organs. The termed or not, is receoving a consider¬ —the law of beauty.” this psychologic attitude toward voice number of voices were ruined than ever muscles, clearly understands their func¬ able amount of attention. The immensely “Anyone who has learned the elements production. less we have to do with physical pain the before. One by one those who had hailed tions and how they are performed and practical and valuable aid that psychology of psychology or philosophy knows that But while we feel the reasonableness better, but there are times when we must affords is recognized and a popular psy¬ the advent of science into the vocal world be trained to will himself into the condi¬ everything exists first as idea.” of this exposition of the proper method take cognizance of pain as a symptom and grew discouraged and turned away from tion of freedom necessary and maintain chology has emerged from the scholastic “The only study of science that can treat it until its cause is eliminated and the infallible method and began their of voice production, observation and per¬ it during the most forceful act of intake discussions. The term psychologic, as I benefit one is the study of causation, and it disappears. So with vocal mechanics to search anew. sonal experience both impress us with the or outgiving of breath. This mental shall use in this article, means the prac¬ causation cannot be cognised by the achieve the unconsciousness proper treat¬ fact that failure is still too frequently training should be carried into the prac¬ tical application of the fundamental prin¬ physical sense. . . Causation is men¬ ment must be given which will develop ciples of mental direction and control to Evan Williams Notable Example the result of our efforts. Casting aside tical application of the breath act to the tal.” flexibility, responsiveness and instantane¬ the various phases of voice training, Among these disappointed ones were the scientific method as a total failure “If we would learn the nature, activ¬ ous control of all mechanical acts by the production of tone, taking care to have based upon proper mental concepts. some whom disappointment inspired to we find that efforts to evolve proper ity and cause of anything we must look mind. Pertinent are the following ex¬ the mind conceive that all other acts of In no form of music pedagogy is such introspection. They began to study them¬ mental tone concepts and apply them to for it in mind, not in matter. For this cerpts from the article by Clara Kathleen production are automatic. This carrying an application more necessary than in selves vocally. Gradually there dawned reason the process of voice production is the actual production of the beautiful of the psychologic method into the phys¬ upon them what they considered to be Rogers in the October Etude : the training of the singing voice. For in psychologic, not physiologic.” tone so conceived fall far short of what ical side bridges the gulf between tone a light; they began to make discoveries. “There will be no muscular inter¬ no other phase of music teaching are “A tone exists first as a mental con¬ we desire. There is a far larger number concept and its application, and results there presented so large a number of A striking illustration is Evan Williams. ference if this physical instrument, cept, and the quality of the mental con¬ of badly produced voices in which the in mental certainty and ease and brings widely diverse theories and so little Etude readers will remember the article as a whole has been rendered fit to cept determines the quality of the tone.” pure singing tone is conspicuous by its agreement upon fundamentals as among he contributed to the magazine about a produce sound as he conceives it.” to the discouraged student a confidence "If there be such.a thing as scientific absence than of those which give utter¬ those who pose as experts in voice train- year ago. Turn to it and you will under¬ “To acquire the greatest possible that reacts on mind and body. voice production it will be found in the ance to the beautiful tone. There are ■ ing. It is obvious that the reign of such stand the opening statements of this para¬ degree of flexibility of all the parts To summarize I offer the following Every IVERS & POND—from smallest Upright to largest sense of what is inherently beautiful, and many earnest students who find them a condition is exceedingly harmful, and graph. From the introspection of these employed, in order that they may be concise syllabus: the scientific tone is one which will per¬ selves still baffled. Convinced of the Grand, is developed in tone volume to the maximum possibility the sooner the basic truth is reached the thinkers came what may be called the able to respond immediately to any fectly express a right idea or emotion.” soundness of the psychologic statements Singing tone is the automatic produc¬ sooner will come an end to confusion and, psychologic school of voice training. and every demand made on them.” its dimensions admit. All possess the delightful tone quality “If we analyse the pure singing tone and perceiving that there are those who tion of a mental concept which is given what is vital, an end of a multitude of badly They discarded vocal science entirely. for which our pianos are famous. we shall find its elements are all mental.” are able to produce the beautiful tone expression without bodily interference. trained voices. It is encouraging to note They approached the subject from an en¬ A Real Physical Obstacle “They (the Old Italians) had in mind with ease and certainty, they are con¬ The mind conceives the quality of tone that gleams of light are penetrating the tirely different angle. They set up an This is a recognition of the physical the finished product, beautiful tone, and scious that in their own efforts there lin¬ desired and, having conquered the resist¬ Over 450 leading Educational Institutions and some 65,000 darkness of this confused theoretical jun¬ entirely different series of premises. They side of tone production, but I look in from the beginning they undertook to ger interferences and lack of freedom ance of muscle and tissue by mental con¬ individual owners now use the IVERS & POND. We build gle. Those who have read much of re¬ hold that everything exists first in the vain for any instruction as to how the develop in the mind of the student a cent writing on the subject can see indi¬ mind, therefore a tone exists first as a Tongue, jaw. throat muscles, soft palat( physical instrument is to be made fit and centration on the function involved, but one quality—the best. Write for the 1919 catalogue show¬ perfect tone concept. They learned from and breathing muscles fail to respond cations of a current of thought that is mental concept, and that the quality of this responsiveness gained. Certain I brings these muscles into action without ing all our Grands, Uprights and Players. sharply dividing vocal theories into two the tone is determined by the quality of experience that, as they succeeded in automatically to the tone concept. Stiff¬ am that mere tone conception will not further effort in response to the will. main directions while, at the same time, the concept. Their analysis of the pure doing this and at the same time gained ness and resistance reign. Wherein li« produce it. There exists a real physical Details of muscular control have been casting away as drift many dicta that tone shows that its elements are all men¬ perfect freedom from interference and the difficulty? obstacle which must be surmounted. It studied separately and mastered by the control of breath, that the student began heretofore have darkened understanding. tal. They believe that the old Italian cannot be ignored nor can it be thought use of proper exercises, all of which have How to Buy to produce the pure singing tone.” The Physical .Side method,- which produced so many of the out of existence. The physical instru¬ been mentally directed, these also having Two Schools great singers of the past was based on “That the vocal chords respond auto¬ I believe the trouble will be found i” ment must be studied, the functions of If we have no dealer near you, we can supply you matically to the thought of pitch need been properly conceived and tested by The two schools of vocal instruction, if this principle. They argue that the vo¬ the fact that advocates of psychologic its various parts understood and their from our factory as safely and satisfactorily as if you not be argued. That part of the mech¬ sensation. The mind has concentrated the term may be allowed for the sake of cal chords respond automatically to the voice training have stopped short of fl>e relationship to the whole comprehended. anism above the vocal chords which is itself on the proper functioning of these lived near by. We make expert selection and guar¬ classification, now standing preeminent, thought of pitch and that that part of the full truth. They have enunciated only» It must be trained to the state of respon¬ responsible so largely for the color and muscles until their various acts are per¬ antee the piano to please, or it returns at our expense are scientific and psychologic voice train¬ vocal mechanism above the vocal chords, partial truth, the larger part undoubtedly, siveness demanded. It must be made fit. quality of the tone must respond auto¬ formed promptly and with the utmost ing. Scientific voice training has had for which is responsible largely for the color but leaving an important corollary This is a thing apart from tone concept. for freights. Liberal allowance for old pianos in matically to the thought of tone-quality. ease in response to the will. its sponsors physiological scientists who and quality of the tone must respond au¬ stated. This omissien has left a fl0" Tone concept can dominate conditions This it will do unerringly if there is no exchange. Attractive easy payment plans. For based their conclusions on a scientific—as tomatically to the thought of tone quality between the highly important mental atti¬ and find unrestricted movement from the These muscular acts have been applied resistance or interference. catalogue, prices and full information, write us today. they denominated it—study of the vocal and that it will do this unerringly if tude and its necessary physical application- mind of the singer to the ear of the to tone production under the direct stim¬ organs in action. The laryngoscope, and there be no' resistance or interference. “The two great principles of voice Argue as we may. it is undeniably tr“e hearer when specialized training has made ulus of the mind maintaining ease and similar instruments, were used to exam¬ From these premises they derived two production are tone concept and freedom. that voice production has a physical s»c the physical instrument fit. promptness of response. The will has When these two principles have become ine these organs while the victim was at¬ great principles of voice production, which either aids or opposes the ment To be complete the psychologic method mastered the fact of co-ordinate action . tempting to sing and from this examina¬ namely, tone concept and freedom. Thus, automatically operative the difficulties of concept. Certain muscles, notably those must include the treatment of this phys- by larynx, tongue, etc. The concept of Ivers & Pond Piano Co. so-called voice placing disappear." tion deductions were made, theories pro¬ briefly, but, I think, accurately, stated is controlling breath action, are brought into . siffe of tone production, and, in the balance, cooperation, certainty and ease pounded and finally set down as laws and the basis of psychologic voice training as Here, to my mind, is an ideal setting forceful activity during the production majority of instances, this treatment must lias become so habitual that the entire 141 Boylston St., BOSTON, MASS. forth of the psychologic vocal creed. The a scheme of voice training determined set forth by its advocates. I have not of singing tone. It is these muscles t» precede the actual application of tone action of the vocal fhechanism is auto¬ seen, as yet, any statement as to how seeker after truth, reading it with open upon as the only truly scientific method. must be brought into the condition o concept. The machinery must be as¬ matic. Please mention THE ETUDE when addressing our advertiser,' tee etude FEBRUARY 1919 Page 118 Page 112 FEBRUARY 1919 Some Sidelights on Lega.to for Singers This point reached, the mind, in sing¬ singing until the desired state aut°™j ing, busies itself solely with tone concept, tism is reached. Then will the article By Harry Colin Thorpe and experiences freedom and entire ab¬ by Mr. Williams be read with real un¬ sence of interference. derstanding and its principles apphe A GREAT vocal critic once said to one vowel sound and only enough of the of his classes, “A pure legato style is the Schomacker In closing, I wish to emphasize the point certainty of results. As a final wor , consonantal elements to insure clear ut¬ basis of all vocal art,” a statement of that tone concept alone will not overcome. would say advocates of the psychological terance. Now it seems to be a forgotten Style F which the complete significance is not the difficulty under which so many stu¬ method are not absolved from explaining fact that consonants as well as vowels at once apparent. For, while we hear a dents are laboring. Psychology must be how. There are details which must be require breath for their production! In deal and read more of the importance of truth many consonants are nothing but GRAND applied individually to the mechanics of legato, some of the most important bear¬ breath explosions: “k,” “t,” “p” and “s” ings of the subject are entirely over¬ are examples. If such consonants are looked. The first reason suggesting it¬ unduly prolonged or over emphasized, The quality of its tone Golden Rules for Singers self to explain the desirability of the le¬ there will be a very decided waste of enraptures the heart as its gato style is that such singing is the purest breath; hence, while realizing the impor¬ and most beautifully chaste manner of Something Good Coming beauty of construction de¬ By John Towers tance of body and breath control in ac¬ lyric expression. That this considera¬ quiring a legato, we should also remem¬ The woman who must prepare good lights the eye. tion is a weighty one all will admit, but, ber that smooth delivery, by eliminating things to eat for a family of hungry people How: Always, where practicable, An Ideal I. Be perfectly natural. Sing as you freeman’s as it is not one of a fundamental nature, over-stressed consonants effects a great likes the easy Jell-O way for making desserts. FACE POWDER Jell-0 doesn’t have to be cooked or sweet¬ taHTand read, and feel happy and look it. breathe through the nostrils, and “from let us seek out the real import of the economy of breath. Whether beauty be of Italy’s type Medium-Size Grand ened or flavored, for the manufacturers do Schomacker Piano Co. II. All practice should be done with the hips.” By no other method than above quotation. In this connection there is another —the rich, olive coloring—or the all these things themselves, and a Jell-0 Established 1838 medium power of voice, without forcing. deep diaphragmatic breathing can the The item of vocal technique which we point worth considering: one’s concep¬ lighter complexion of more northern dima, dessert can be made in a minute. Forcing a voice means ruining it forever. lungs be thoroughly utilized, especially call legato might be defined as the ability tion of the construction of words and syl¬ Philadelphia, Pa. Freemen's Face Powder is the chosen so There are six different flavors and they in singing, and remain sound, healthy to sustain tone while pronouncing text. are all delicious. As "something good to III. Practice must be regular, thought¬ ccssory of fashion’s favorites. lables will be a factor in attaining a EMERSON This definition is not only accurate but eat," not only at dinner time, but for lunch¬ ful and systematic, except in cases of and vigorous. faultless legato. Take, for instance, the ~ » (doutU eon or supper, THE HEAD VOICE AND sickness. Only miss practice when dinner XII. Breathing is so vitally important suggestive, the implication being that phrase from Campbell-Tipton’s “The is missed. to good tone production, that there should these two processes are different, and, Crying of Water” (a most beautiful OTHER PROBLEMS IV. Under ordinary circumstances there be daily practice in special breathing possibly, separate ones. Such they often song, by the way), “0 water, water, cry¬ seem to be to the singer who has achieved By D. A. CLIPPINGER should not be less than an hour daily de¬ exercises, and in whistling, if possible, ing in the sand.” One can think of the a good legato, although it would be ex¬ voted to voice exercises. This should be in the open fresh air. It is, moreover, arrangement of sounds (vowels and con¬ has taken a place in the home that was This beautiful instrument seems tremely difficult to prove that these two sonants) in two ways: divided into three 20’s or two 30’s For absolutely necessary for good, easy, co¬ never filled before. as nearly perfect as skill, experi¬ processes are not physiologically interde¬ Combinations of fruit with Jell-0 furnish these voice exercises, each and every pious breathing, that the clothing, espe¬ 1. 0-** r-wa-ter-cry-ing-in-the-sand ence, and manufacturing facili¬ pendent. Be that as it may, the singer dainties, delicious and beautiful, so quickly vowel' sound should be taken in turn. cially round the chest and throat, be loose ties can make it. can often help himself to a smooth deliv¬ that they seem to be the work of the fairies. V. Half an hour daily devoted to de¬ and free. 2. Ow-at-erw-at-ercr-y-ing-inth-es-and. Your Music Is Torn! ery if he imagines that tone-production All grocers and general storekeepers sell SYSTEMATIC VOICE TRAINING clamatory reading aloud, and reciting, es¬ XIII. Avoid all gliding, sliding, scrap¬ Its tone is purely that of the takes place independently and that con¬ The difference is that in the second ver¬ Jell-O, two packages for 25 cents. It will Taka One Minute to Put up in six flavors: Strawberry, Rasp¬ pecially of the text of songs, etc., to be ing and “tobogganing” in producing tone. Concert Grand, having great sequently the flow of voice need never sion each syllable begins with a vowel. Repair it by Using berry, Lemon, Orange, Cherry, Chocolate. sung, will be very well-spent time. Go “straight from the shoulder” to it, power and sympathetic qualities. be broken by articulation. While this may Very often if one thinks of a syllable as VI. Practice standing erect before a be a species of self-deception, it is ex- . THE GENESEE PURE FOOD COMPANY, and take no heed of bad examples, except MuItum-in-Parvo Binding Tape commencing with a consonant he is apt to Le Roy. N. Y., and Bridgeburg, Ont. Studio, 617-618 Kimball Hall, CHICAGO, ILL. mirror, and without any accompaniment. to take warning by them. &-y«r4 roll of while Unco or W-jitH Dealers in Principal Cities tainly justified by the ends gained. commit the error which we discussed By this means many facial contortions XIV. Avoid the tremolo as you'would roll or pMpvr, Vft rrou rorls. We are frequently told that a good above, either over-emphasizing or pro¬ and mannerisms will be obviated. a leper. Let your motto always be :_ub- Transparent Adhesive Mending Tissue control of breath is needed for the longing the unvocal beginning, with a Learn Harmony and Composition Emerson Piano Co. “bound” style, but do we ever hear of VII. Acquire ease, self-control, grace solutely pure tone or none. consequent loss of breath. On the other Established 1849 the reaction of legato upon breath sup¬ hand, if one thinks of each syllable as of manner, and poetry of motion. An XV. Study the words to be sung, ply and control? If we do not, it is not having an initial vowel, the chances are audience is often captivated as much J>y through and through, and sing them as Theo. Preaaer Co., Philadelphia, Pa. Boston Mass. the bearing and manner of a vocalist as because the matter is unimportant: good that it will do away with this undesirable though you felt them. Try to let them legato is characterized by a maximum of tendency and make for a flowing style. by the singing. come from the heart as well as the throat, VIII. Be unremitting in the effort to as this is the only way to reach the hearts enlarge, extend and enrich the voice, of others. STUDY HARMONY Children of the Opera In a Woodland Glade as, after all, the soul of singing is rich, XVT. Be very careful to pronounce and COMPOSITION The number of roles in which children The great difficulty with the boys, how- BEAUTIFUL CONCERT PIECE BY (I. E. HOLMES full, sonorous, sweet, sympathetic, equal each word correctly and to articulate by M AIL [JUtnirOt are permitted to take part in the opera ever, was the change of voice just at A Delightfully Refreshing^ Number for Teach- TONE. every syllable, every letter as clearly as it is, of Course, very limited, and the num- the time when they were becoming IX. The muscles controlling the voice is possible. One singer who can be eas¬ her of parts representing children is proficient. Handel was said to have been will surely yield tq treatment, just as ily understood—no matter what the lan¬ comparatively few. Wagner was wise particularly fond of having boys in his C. L BARN HOUSE, OSKALOOSA IOWA any other of the bodily muscles. All that guage sung—is worth fifty whose words enough not to make anything more than operas, although we know that he had ig wanted for ensuring flexibility is the are mouthed, mumbled and lost to the a pantomime part for Elsa’s little brother many women singers. Even as late as aforesaid regular, thoughtful, systematic audience. and other composers have known that 1731 his Esther was given with dramatic practice. Perseverantia vincit omnia. ALBERT ROSS PARSONS it is very difficult to carry out the illu- action in England, the solo soprano parts XVII. The best help towards this is X. Always dwell well on the vowel sion of a child when the part is sung by being taken by boys selected from the frequent reciting aloud with exaggerated sounds, and round off the consonants some mature singer. The fairy-like Children of the King’s Chapel muscular action of the lips. clearly and distinctly at the end, and character of Humperdinck’s Hansel and The children’s chorus in Mascagni’s otherwise. XVIII. Never stop working. There is Gretel as well as that of Goldmark’s Lodoletta was one of the spontaneous XI. Be very careful where, when and something to be learned to the’ very last Cricket on the Hearth makes the juvenile hits of the piece and the boy’s chorus how breath is taken. day of life. A good practice is to pick parts in those pieces plausible and fas- from Carmen never fails to please the New Thought Where: Never in the middle of a out difficult passages in songs, and drill Digram's cinating. audience. It seems as though opera Means word; never in the middle of a sen¬ at them as studies. Absolute perfection Many people will be surprised to learn, which inclines frequently toward the tence, if it can be avoided, hut always may not be attainable, but it is a com¬ hummed CtPam however, that in old time performances spectacular was missing a big opportunity Liquid Silmerine New Ways to Win. where it least disturbs the sense of the Keep tie bloom and softness of youth in your of operas, as in days of the Shake- when the chance to include the pictur- mendable and praiseworthy ambition to complexion with Ingram's Milkweed Cream. It il is applied at night with a dean tooth braah. 1. New Energies Released. words. Sense first, sound second. get as near to it as is humanly possible. therapeutic, it gives health to the skin tissues, it over¬ sperian plays, the leading women’s parts esque child life was omitted. No city comes imperfections of the complexion. It is softening were frequently, in fact in some cases, group is ever composed exclusively of S±T A a°8pfendid .1 sod clausing, too. No other emollient will give you New Opportunities the same result. Since 1885 used by women of refine¬ exclusively taken by boy singers. The adults, except in the very heart of the New Health, Happiness ment the world oyer. Use it daily. idea of having a woman upon the stage great metropolis, and to omit the chil- Covering the Upper Chest Tones MUSIC TEACHERS “Just to show the proper glow” use Ingram’s Rouge, and Prosperity. rcriumed with exquisite delicacy. Safe. Comes in was abhorrent to the audience in an age dren would be to leave out a very sig- Thousands of letters in our A young baritone who was very ambi¬ SEND FOR OUR CATALOG OF sohdeake. No porcelain. Three perfect shades. 50c. far morq, licentious than our own. nificant bit of “local color.” TWO NEW AND files testify to the above. tious discovered, after a few lessons, that chorus was sitting back by -the door ,\ EXCELLENT TEACHING EDITION £*? our °uea Room Package ern- he did not cover his upper chest tones. He EXCEPTIONAL “The Gist of Ne»°Thought*’ friend said to him, “Why are you n SPECIAL PRICES ON STUDIES liked to sing for his friends, but felt helping the chorus ? They need you ve ■rfjsaassosug SONGS NewThought. It isa clear and that his upper tones were not what they BREHM MUSIC CO., Loa An*flea,Cil Frederick F. Ingram Company ALWAYS ENTHUSIASTICALLY RECEIVED interesting handbook, easily badly.” He replied, “Oh, you see, I a Windsor, Ont. 43 Tenth St., Detroit, Mich. “SWEETHEART I’M ELIZABETH TOWNE understood and applied. should be. Of course, he was not ready having my voice cultivated bv the nr Editor of NAUTILUS c 1n . you can get to do much with them as yet. However, Keeps Skin Smooth, Firm,Fresh << DREAMING OF YOU” For 10 cents ihe abbve fessor, and he is just now regulating n 99 booklet and a month’s trial of NAUTILUS, magazine of he came in for his usual lesson one day, diaphragm, and he doesn’t want me — Youthful Looking Send Me a Rose from Homeland Words'by Chas. W. H. Bancroft New Thought. Elizabeth Towne and William E. Towne, and said in a most earnest manner, “Mr.* To dispel the tell-tale lines'K Muaic by RALPH KINDER PRICE 60 CENTS editors. Edwin Markham and Orison Swett Marden sing for several weeks until he has -illness or worry-tourer. A Book to Help Increase the Myer, I know my upper tones are not regulated. By J. F. Cooke Price soc. Dedicated by Permission to Mme. Alma Gluck flabbiness and impre Interest of Pupils what they should be, and when I sing I A few years ago i gave a first ^ As introduced by Mme. Schumann-Heink, David Bispham, Henri Scott, well written number ranging from ’c’to'Dflat am afraid I often sing them too white.' to a lady. When she returned for tl Stories of Standard Teaching which makes it most acceptable to all singers. So I wish you would please teach me to Sousa’s Band and many successful artists and organizations A Wholesome, Cleansing, second lesson she told me how pleas* Pieces for the Pianoforte “ LOVE LEADS THE WAY ” gf Refreshing and Healing cover my voice, even if it takes the whole she was, that she was a teacher ar lesson!” r„, By Edward Baxter Per.y A Heart Song of our boys “Over There”, but not a fight Words and Muaic by MAY M. HOWARD * Lotion—Murine for Red¬ wanted a different system. I replie tensely stu<*ent °* the piano this In- PRICE 60 CENTS ness, Soreness, Granula- In a small country town there was a * When you have learned this syste song,—will be sung for years to come 1 tion,ItchingandBurning «hp4.. S"dnfnWds' haS * d“P Si*nifiCanCC' small mixed chorus studying one of the you have learned something that is del Low Voice, High Voice. Band. Orchestra, Mixed Voices, Male Chorus Eyes;_ 9 of the Eyes or Eyelids; great oratorios, as often happens in small MSooSPri ,?R1Cflp W-50 is of the type that would make a hit if used in a “2 Drops” After the Movies, Motoring or Golf mte.” She answered, “Don’t I know i, Published by Theo. Presser Co. : Philadelphia, Pa. comic or light opera. a will win your confidence. Ask Your Druggist towns. There were three tenors in the Didn t I give the lesson you gave me la Arranging and Correction of M& Theo. Presser Co., PMkb.'Pa. for Murine when your Eyes Need Care. M-13 chorus. One evening my friend, who 4 „ A SPECIALTY THEO. PRESSER CO., PHILA., PA. Murine Eye Remedy Co., Chicago week to every one If my pupils. and th( told me this story, dropped in to hear were all delighted with it!”—E. J. Mye A. W. BORST, Presser Bldg., Phila.. P3, Please mention THE ETUDE when addressing our advertisers. n addressing

- the etude FEBRUARY 1919 Page 115

By Edwin H. Pierce

Every organist who understands even very thin harmony. Sometimes it is of the most rudimentary principles of his excellent effect in passages of two-part instrument knows that the normal pitch or three-part writing. When it is loud, Department for Organists of the manuals is the so-called eight- it gives the effect of the whole body of foot tone, and that the normal pitch tone being transposed an octave down, Edited for February by of the pedals is sixteen-foot tone, the the eight-foot tone of the organ, in this latter being an octave lower in pitch than Give Quick Relief case, blending in as an over-tone. This MR. R. HUNTINGTON WOODMAN the notes written. All organs except the is a legitimate effect, though not for fre¬ from throat tickle, soreness, dry¬ very smallest, however, have at least one quent use, but unfortunately it discounts The eloquent organ waits for the master to waken the spirit Dole ness and annoying irritations. sixteen-foot stop on the manuals, and the sixteen-foot tone of the pedals, mak¬ _ Sweeten the breath and comfort commonly one or more sub-octave coup¬ ing them appear weak and trifling, so TONAL excellence the mouth. No nar¬ lers, (also known as sixteen-foot coup¬ that properly it should only be used on and artistic beauty lers), and in the use of these, the writer cotics, no coloring— those very large organs which possess are distinctive quali¬ has observed greatly to his surprise, a good thirty-two-foot pedal stops. ties of the incomparable Random Reveries on Registration safe and pleasant. certain careless and callous lack of taste The same remarks which I have made Steger Piano and Player In the Luden among many organists, even among some that some shading may be possible. This The last line of this verse is often yellow, sanitary in regard to sixteen-foot stops on the Piano. more of the body of tone which is found whose long experience should argue bet¬ manual, apply with equal force to the method of giving out a tune is applicable and played thus: In life (ff) in death package, Organ tones are divided into two gen¬ in the stringed instruments. ter knowledge. It must be, as a certain sixteen-foot couplers, and in this connec¬ Pride of ownership grows in many other cases. (pp) abide with (pp), whereas the 4 Laden, Readier, Pa. eral classes* the organ or diapason tone, For the first melody try a soft string, witty French musical critic once re¬ tion, I would observe, a sixteen-foot with years of usefulness Another method of giving out this tune whole sentiment of the last two lines ii which is peculiar to the organ and the flute, and a Quintadena; with a suitable marked, that organists as a class are too coupler, acting on a manual where a six- and possession. Their re¬ is to play the first two lines on a soft climatic. It would seem in better taste to imitative tones which reproduce with accompaniment on another manual. fond of their little habits and the calm teen-foot stop is sounding, produces liability is guaranteed. The swell organ combination; at the third more or less exactness the tones of the. Change the tone color where the melody begin at the third line mf, and crescendo of their existence. They should listen thirty-two-foot tone on said manual, a Steger dealer close at hand flutes, oboes, clarinets, bassoons, horns is repeated in part. Toward the end of line, play the tenor part on a solo stop until “In life, in death, O Lord" and oftener to the symphony orchestra, the (gamba or gemshorn with a four-foot monstrosity so unbeautiful that to hear is at your service. and trumpets. The skilful organist will the piece, where, the melody lies in the thereafter diminish the volume of tone to string quartet, and other highly perfected it once should be sufficient hint to avoid tenor register try a soft clarinet. flute if desired)—playing the bass on the Steger Instruments are combine his tone colors much as a com¬ mf or even piano at the dose. forms of musical rendition, and endeavor, it ever after. Some modern organ build¬ Use the thin string tone stops very pedals. The melodious character of the shipped on approval to poser will combine his orchestral instru¬ in the light of the examples thus before ers, I am happy to say, have so devised sparingly. Remember that the upper tenor part in the third line makes this a persons of responsibility. ments. But the organist is handicapped VIII them, to avoid what is inept and crude that the sixteen-foot couplers do not tones of a violin contain considerable particularly effective rendition. Write for the Sieger Style Bro¬ by the fact that most of the imitative The writer was asked some time ago to in the matter of organ registration. operate on the sixteen-foot stops, but this tones are of a character, which renders flute quality. String-tone organ pipes are Still another method is open to use in chure and convenient terms suggest solo combinations on a two-man. THE “ORGOBLO’ Four-foot tone, fwo-foot tone, and arrangement is at the present date ex¬ Steger dealers everywhere. their continual use tiresome. Take the lacking in this; hence it should be sup¬ this tune. Play the first two lines on ual organ of the following scheme: Gtnj properly voiced twelfths and mix¬ ceptional, and the clumsy organist is left string stops, for instance: At best tney plied, or a very thin effect will result. swell or choir as before. At the third tures, when not too loud in pro¬ Open 8', Gamba 8', Claribelle 8'. Buies' with full liberty to stumble into the STEGER &■ SONS are a poor imitation of violins; and above line, play the three upper parts with the portion to the eight-foot tone, blend right hand,—(they are easily reached FI. A', Octave 4’. Trumpet 8\ Sww slough of muddy under-tones. Piano Mfg. Co. all, they are not played with a bow, and III. with it, and merely give the effect of Steger Building even by small hands)—and play the bass Bourdon 16', Open 8’, Stopped Diap. g, Because a certain effect is easily pro¬ . hence the means of expression is very Some organists are afflicted with an or¬ greater brilliancy. Sixteen-foot tone, on N. W. Cor. Wabash and Jackson duced on the organ, one should not limited. A string quartet played through¬ chestral microbe—they orchestrate every¬ with the pedals. 16', Couplers: Sw. to Gt. 8*. THE ORGAN the manuals, does not so blend, but often Chicago, III. out on the string stops of an organ would thing—in one case known to the writer, With the left hand play the melody of jump to the conclusion that it is neces¬ Faclorite at Sutler. Illinois, when tie Sw. to Gt. 4*. POWER CO. adds merely a dull muddy under-current ''Lincoln"and4'Dixie" Hiahwaysmeet. the tune, one octave lower than written, sary to a good organ style. One should be tiresome indeed. Another limitation the great G minor Fugue was played on Of course the 8' stops can be used in HARTFORD, CONN. of noise. It is particularly objectionable of the organ is that every tone color ex¬ oboe, clarinet and some “vox” with the on some solo stop. Winners of the highest awards at the ordinary way. but a variety of efftet when used in accompanying a chorus, as continually listen, and strive to tell him¬ tends through the compass of the organ, tremulant drawn throughout. Tone color It is manifestly impossible to suggest self the truth—“is this beautiful, or is it can be obtained by the following means: « it is depressing to the voices, and often STUDENTS PREPARED FOR THE and we draw a flute and we get both is quite proper, but it should be remem¬ what stops can be used, but the intelligent not.” “All things are lawful, but all Try the Great Octave 4' as a solo stop, a cause of flatting. When very soft, it treble and bass flutes—we draw an oboe bered that diapason color has its proper organist can experiment with the tones at may be used to add the effect of somber things are not expedient,” in organ regis¬ his command. On general principle a playing an octave lower—draw also th* CTEERE ORGANS All Built Church Service and we have it at all pitches, and so on. place in organ music. dignity, but should only be used with tration as well as certain other matters. Unless a composition be especially adapt¬ Organ-orchestration is fascinating and melody in the tenor register is more ef¬ Sw. to great 4' couples. ^ to Order for those who desire and Recital Work able (by double manual playing and sim¬ one can easily be led into fantastic ex¬ fective on a string or reed tone, while Try the Great Dulciana (f and Flat the best, the smallest, the largest. ilar tricks) a duet for oboe and flute, with tremes if not held to reason by either a higher melody will be found more mus¬ (or Octave) 4' playing an octave lower. accompaniment for strings and horns, common sense or natural musical taste. ical on a flute tone. Many exceptions can Try Bourdon 16' Stopped Diap. 8” Flute The J.W. STEERE & SON ORGAN CO. The Out-of-Town Organist would be impossible of performance. In fugue playing it should be remembered be found to this general principle, but it 4' on the swell, playing in four parts, an Established 1867 Springfield, Meo. GUILMANT Thus the organist must reorchestrate his that it is not the fugue subject alone is a good rule to have in mind neverthe¬ octave higher than written. The tremu¬ By Yorke Bannard less. music so as to get the best effect. Many which should be made prominent. Fre¬ lant is frcquently very effective with this organists are fond of playing orchestral VII ORGAN SCHOOL quently the counterpoint is just as impor¬ combination. Over 150 now holding prominent positions transcriptions. In some cases such music tant, more interesting and easier of The plea of the rural church organist But how? To those who desire to de¬ As to registration while accompanying The Oboe and Bourdon make a very Recent Pipe is effective and its performance is justi¬ manipulation; and the most interesting’ a congregation, but little can be said of is too often lost in the large silence of velop their musicianship practically under Send (or DR- WILLIAM C. CARL, Director good solo combination if the melody is fied—but there are other cases in which fugues are those in which the subject and practical value unless the organist has at the green spaces in which country their own guidance my first counsel is Catalog 44 We»t 12th St., New York not too low. results are so poor that there is no excuse its counterpoints are clearly enunciated by his disposal a fairly large instrument. Organ Pieces churches are usually imbedded. The iso¬ this: Surround yourself with the very for performing them. Why an Organist tone combinations which make for clarity Sufficient power to adequately lead the A fancy combination can be made thus: lation and loneliness of the lives of such best of the literature of your subject. should perform the Tannhauser Overture rather than power. congregation is always essential; and in Swell: Bourdon 16’. Stopped Diap. 8. By Popular Writers are at times almost intolerable. Theirs is Buy whatever has received the imprima¬ ORGAN REPERTOIRE in the city of New York is not clear. Compiled by PRESTON WARE OREM attempting to vary the tone color in a Flute, 4', Tremulant. Great: Dulciana 8, 4772. Fryanger. J. Frank Moonlight .40 a restricted outlook: from the world of tur of critioal authority. Buy without The most excellent organ performance IV. Price. $1.50 small organ the organist will be likely Flute 4'—Sw. to Gt. 8’. Sw. to Gt. 4'. music they dwell apart, with little or no any immediate reference to what you will The chief object in this compilation has been falls far short of necessary perfection, Registration should never be allowed to I4"». ft TOl"nUrJ ” r”IUl to lose his hold upon the people and they A pleasing and restful variety is given opportunities of being brou.ght into con¬ use. This acquisition of music will en¬ and the reproduction of orchestral ef¬ break up the artistic rendition of a piece. 4964. Sheppard, E. H.Posllude in D .60 as poss'b*he'8rOUnd St' widely an<1 tb°r°uBhly will either stop singing or drag the tempo to all combinations if they are sometimes tail sacrifice; it will be all the more original pieces as well as some standard com¬ fects is very poor even on a modern Changes must be made at the proper time pUj. ' "K "”“rT- tact with modern musical thought. In intolerably. If the singing is led by a used without the sixteen-foot pedal bass endeared for that: Buy! You will then positions and new transcriptions not to be organ. Besides, an intelligent New Yoyk or are better omitted. If the player can¬ Warner. F. H. Allegro con Spmto .60 the majority of oases the most miserable found in other collections. well-trained choir the change of tone 4 vigorous domn? voluntary, dignified. have examples by you from the very first audience is doubtless familiar with the not change the combinations himself, an If more convenient to use the feet, shut remuneration is doled out to them by the THEO. PRESSER CO. color in the organ accompaniment is very off the pedal stops and simply couple the for the purposes of reference. Your sense overture, which has been played fre¬ assistant should be employed rather than desirable. Stanzas of a hymn which are Pease, S. G-Anniversary March .40 local church government, the members manuals to the pedal. Tuneful and spirited, a fond teaching of ownership will be flattered; your rep¬ quently by every metropolitan orchestra destroy the continuity of the composition somber are effectively accompanied upon of which are for the most part of little R. Huntington Woodman. ertoire will grow and develop on right for thirty years. by ad libitum pauses, retards and rests. strings and soft reeds. Verses of a 5018. Mauro-Cottonc. M. Marcia Feativa .60 education and of even less sympathy There is one justification for such per¬ brighter nature should have a tonal back¬ toward anything progressive in the mu¬ formances in localities where orchestral V. 5M4. Sheppard. E. H Allegro Pompom .60 sical portion of the church services. Among your first purchases get a com¬ Austin Organs ground of flutes and diapasons; while plete Bach. Get the organ sonatas of concerts are few, and that is their educa¬ It is poor taste to play over a four-line stanzas expressing an emotional climax Composers and the Organ Grooves encompass them in on every side; Mendelssohn. Make a collection of rep¬ tional value to the musical novice; and hymn-tune with four different solo stops. or breadth of feeling can have a support Organ playing and composition have al¬ 5148. Stulls, R. M_ Meditation .40 criticism is rife; the word of encourage¬ even where the orchestral effects are resentative work of the older school of 'yO the absolute repu¬ of reeds as well as diapasons. Sufficient ways gone hand in hand. The sustained Schuler, G, S.. Pcadude in G .60 ment, which means so much to them, goes organ composers—of Handel, Rheinber- poorly reproduced, the music is there and VI. but not too much, tonal power is always tation of this firm for breadth, dignity and grandeur of some oj unspoken. ger, Wesley, Mailly, Hesse. For study the outline at least of the composition “How can I registrate a hymn-tune ?” is necessary. In deciding upon the tonal 5271. Dijrie, R. r. At Sunrise .40 the slow movements of Beethoven are in¬ These are the circumstances which to¬ and afterward for church use keep abreast mechanical construction can be grasped by the listener. a question often asked. Let us take the color to be used only the general senti¬ disputably the result of his organ train¬ of the times by including works by living familiar one, Eventide, and see what can ment of the stanza of the hymn should be day confront hundreds of organists work¬ and console convenience ing- The splendid organ effects which We viu be pleased ta send any of the above composers. And so on. Set up a musi¬ II. be done with it. This can be conveniently considered. A continual change from ing in small town churches or among is added strongly of late Brahms sometimes obtains arc not the cal library—not merely of organ litera¬ Discrimination should be exercised in played as a melody on a solo stop, the one color to another in a wild attempt to congregations drawn from arable and result of chance. Both Brahms >nd ture, but pianoforte, orchestral, vocal, years endorsement of the the selection of orchestral works for per¬ alto and tenor with the left hand and the make every line or phrase vividly expres- Theo. Presser Co. pasture districts. And yet. undesirable as as well. Get collections of classical songs, formance on the organ and judgment bass with the pedals. The choice of a sive is not good taste. The last stanza of Cesar Franck turned to the organ as their 1712 Chestnut Street such appointments often are, they may be most discerning as to read scores, study form. Study your must be used in the matter of registra¬ solo stop on the average organ will be the hymn Abide With Me affords a good medium for expression in their last com¬ compelled into stepping-stones to greater tonal blend and quality. Philadelphia, Pa. subject in all its bearings. Be all round. tion. One cannot follow slavishly the in¬ between an oboe or clarinet and a flute. illustration: positions. Brahms enriched organ liter* success. Very few organists, even organ¬ You cannot develop musicianship until dications of orchestral coloring. Take The quiet character of this tune should ture with his Eleven Chorale TreluiF ists of recognized standing, but have There are no better “Hold Thou Thy Cross before my closing you have the material. A musician is, for example the Andante cantabile from suggest at once a smooth flute-like mel¬ Franck left nothing more beautiful and- passed through these experiences in the Organs made, from any the String Quartet in Bb by Tchaikovsky. ody rather than the rougher quality of among other things, a man who possesses I think, nothing greater than the Thn* early days of their careers. In these odd much music. point of consideration. To play this oh string tone stops would the reed. If the flute is a little “tubby,” Shine through the gloom and point me to Moller Pipe Organs Chorales for the Organ, the proof # out-of-the-way places they have had to spoil it. It must be reorchestrated for it may be made less so by combining a the skies. Next: in your studies set out with some which he corrected on his deathbed. • instruct themselves, and by dint of bard use on the organ. Try for example in the soft gamba or viola with it. If the solo Heaven’s morning breaks, and Earth’s definite aim, some aim other than the does not seem that these men felt d>s

our advertisers ' Em$ Page 116 FEBRUARY 1919 the etude tion hall of the A. G. O. or of some uni¬ Interest will be . maintained, enthusiasm FEBRUARY 1919 Page 111 versity. Whatever it is, plan out your intensified, ideas broadened, standards of work, fix upon certain hours for study, taste modified. n *<• and fix a date for the accomplishment of Always keep abreast of the times by an allotted task. subscribing to musical periodicals. Read EASTER MUSIC With the postman at your disposal you reviews of modern work, criticisms, con¬ A Selected List for Choirmasters can always get any paper work corrected cert programs, discussions, biographies, : at reasonable terms; where you cannot educational articles and the like. Keep Department for Violinists get a teacher this course is the next best yourself fully informed on all matters THE following selection is made up of new and standard Pi thing. Besides, the generally excellent relating to music. numbers from our catalogue Every number is a gem. Edited by ROBERT BRAINE musical educational text-books at cheap In thus making a special study of music Solos, Duets and Anthems all have the true festal ring prices on the market today contain all do not become a mere specialist. Develop In addition to our own large and comprehensive cataEgue we have “If All Would Play First Violin We Could Gel No Orchestra Together.' — R. SCHUMANN that is needed. Only the personal contact your general education also by reading a complete stock of the music of all publishers. We will gladly _ is lost. widely in English literature, by acquaint¬ send for your examination copies of any music we have. Make a point of hearing good music ing yourself with other arts, with nature, whenever possible. Fix beforehand a and with life. What Kind of Violin $1,000 Should Buy A gentleman who is profound')- inter¬ minimum number of times when you will on earth to pick up bargains; but the Being limited to $1,000, I should buy a Lastly, do not deceive yourself into be¬ UPLIFTING EASTER SOLOS BRILLIANT EASTER ANTHEMS ested in the violin, and who is a violinist Montagna, Francesco Rugieri, Gioffredo leave your own music-making to attend a novice, who knows little about the violin, violin for tone quality, and not entirely on lieving that it is impossible to do artistic Hath Risen.R ^High. 10240 Alleluia, Alleluia!. ..Brander 15 .and collector as well, writes the editor of Cappa, Tomaso Balestrieri, Gennaro Gag- classical concert, a recital, or the theater work except with the most up-to-date (Violin C 10796 Alleluia, AUeluia!.Stults .15 may fare badly, for he is apt to pick up a the strength of the maker’s name. For 6085 As It Began to Dawn.Norris .20 this department: “If you were without a liano, Ferdinando Gagliano, Francesco —and fulfil these fixtures whatever sacri¬ apparatus. In art, tone-growth comes ‘Lord ' is °CRisen flashy instrument of doubtful value in an that sum it is possible only to get a violin Med.Delafield 10474 As It Began to Dawn..Siults .12 violin to-day, and were given $1,000 with Gobetti, Paolo Grancino, Giovanni Gran- fice they compel you to make. You will only through discipline and is from the 2530 Christ’s Victory. High.. 10513 Awake! Glad Soul.... Bridge .12 elaborate case. Violins by the most by one of the lesser makers, and for this which to purchase one for your own use, cino, Giovanni Bap, Guadagnini (a good always carry something of profit away inside outward, not from the without in. 10910 Awake, Thou That Steepest. tamous makers of the world, even Stradi- reason its qualities as a musical instru- Morrison .12 how would you proceed? If you wonder specimen of the latter at $1,000 would be with you after listening to good music. —From The Musical Herald, London. varius and Guarnerius, occasionally come ment should be the deciding point 10033 Behold, I Shew You..Camp .!; why I have named one thousand dollars, a great bargain), Nicolaus Lupot 8924 Come Ye Faithful. Med. ^ 10009 Behold. I Shew You..Solly .15 on the auction block at these sales. Specu- Unless or.e has plenty of time it is it is that almost every student and lover (French), Dominico Montagnana, Sera- 2534 Death is Vanquished. High. ■ 10920 Break Forth with Joy. Dale. 12 lators and violin dealers attend regularly, sometimes difficult to make a thoroughly The Small Church Organ 10472 Christ is Risen.Ilrackrtt .12 of a good instrument, if industrious and fino Santo, David Techier, Carlo Tononi, 10476 Christ is Risen.Morrison p Sr rf f0rre-f Excellent satisfactory selection. I have known even Jean Baptiste Vuillaume. 10221 Christ is Risen.Wolcott .15 ambitious, can find it possible to raise that This is a perennial subject, for, like should ii instruments by famous makers can often professional concert vioIinists to hunt for With the purchase price limited strictly the poor, whom we will always have ._o _I 6162 Easter Dawi 6086 Christ Our Passover. Shackley 15 amount” be purchased at these sales for half .what 6251 Christ the Lord is Risen. Given $1,000 to buy a violin, I would, if years for a violin which filled every i to $1,000, it is probable that the selection among us, so must we always have the obtain the best results from all couplers, Gilbert .15 regular dealer would ask. ” Med. war conditions permitted the journey, and would be made from one of these makers, problem of the small organ, which be- which should be numerous enough, at 10504 Come See the Place.. .Avery 10 Leaving the London auciion sales out ?u^ment and at ^hing less 10665 Come Ye Faithful . Pcrcippe .15 I could spare a few weeks, go to London _ r _ .• ...... fahiilnnsfabulous price.nrirp Riivmn'Buying „a violin r.for a life although some might be unattainable on comes necessary in the case of a large sixteen and four foot pitch, to produce 6040 Day of Resurrection. of the question, if the violin was to be and attend the auction sales of violins and instrument is like hunting a wife. It account of war prices. Violins by the number of churches, either from consid- any effects within the capacity of the bought Tn this country, I should advertise erations of space, or funds, or both, organ. 8046 Hail Glorious Mora. Violin 10601 Death ie Swallowed Up.roml> other string instruments, which are held for a violin in the leading musical papers takes infinite patience, and, after the deal above makers can sometimes be purchased Ob. High.Geibel Merles .15 there once or twice a month. London is for less than $1,000, but I am speaking of Such being the fact, it is of the utmost The modern use, and perhaps ob-use 10237 Easter Even.Itobannan .15 of the country, and would visit the lead¬ is closed, it is not always satisfactory, and 8047 Hail Glorious Morn. Violin the greatest fiddle market in the world, importance that the small organ shall be 0f couplers is due to the present method Ob. Low.Geibel 10114 Easter Triumph- llrarkett .15 ing dealers in New York, Boston, Chic¬ the purchaser finds he has made a mis- their choicest specimens. There is a very 12748 Hail Thou Risen One. High. 7 Glorioua Morn, The. (New.) and it is said that there are more Cremona made as effective in capability of expres- of coupling, which is done inside the ago, Cincinnati, and • other cities where ta*ce- I' would be an advantage to buy great difference in the quality and preser¬ Ward-Stevens W? H. Jonee .12 violins, and violins of famous makers of sion and volume as possible. The aver- gan, and- does- not add to the weight of 12749 Hail Thou Risen One. Low. 10391 Glorious Morn.Bird .15 fine collections of genuine old violins are a violin by one of the better-known vation of old violins by the great makers. age organ builder is apt to have a cut- Ward-Stevens 10163 Glory, O God- ..Brackett .15 Italy, France and Germany, ir. that city offered for sale. ,Some.of the dealers in makers (if its tone was of a high order A rare opportunity might give the chance the touch through the moving of the ac¬ 6891 Hail to the Risen Lord. High. ! God Hath Sent His Angels. than any other in the world. The London and-dried set of specifications, to which tual kfeys coupled. Such added leverage I burner .10 the above cities offer some really excel- as well), whose instruments command a of buying a violin of much higher rank he offers to build an organ for a certain 10903 Hail I Festal Dey Morrison .12 auction sales of violins are famous lent old instruments by all the greatest Price of about $1,000, since, in case the than the above, but these opportunities on the older instruments made it almost Violin Ob. throughout Europe. Entire collections of price. The disadvantage of this system Shockley 10308 Hallelujah I Christ is Risen! makers. instrument must be sold, through neces often come only once or twice in a life¬ impossible to play rapidly when the key¬ 8078 In the Dawr if Early Mom- hast ham .05 fine violins and other string instruments is that the very instruments in which, boards were coupled, and any degree of ’ "n Ob. 10802 He ie Riaen.Stults .12 T should want to have plenty of time to at any time, it will command a more time, and if the purchaser cannot wait, he because of their small size, each stop 6295 He Was Crucified.Solly .15 are constantly coming under the hammer, make the purchase, and should want to rea at. least, have been steadily ad- of a purchaser who is a good judge of for an organ requires it, the builder can 6372 Lord is Risen. Low. Violin Brackett .15 dation of tones, when a new stop is added Ob. really very valuable, is often very difficult violins, and thoroughly competent to select put all the pipes in the same swell-box, 16241 Lord of Life and Glory. 10629 Jesua Chriat ia Riaen. never buy an expensive violin without tak- t1Jrenty-®ve years. to the combination during the playing. Neidlinger .if to sell at short notice, and these auction one which will be good value .for the saving the expense of a separate box. High .Clark 6244 King of Glory.Coombs JO Fortunately, several of the leading 9868 Resurrection Song. High. sales offer a convenient and ever-ready price paid. The best course for a violin , , , - ■ While a practice not to be generally rec- 10663 Lift Your Glad Voices. market for turning such an instrument of conditions, in arge halls and small, Iatitude in violin prices> and fine7nstrj! gan builders of the country have prepared ommended, there are instruments of this 8059 Risen Lord. High.Geibel Percippe .15 customer who knows little about the 10242 Lord. My God.Steane .15 into cash. For this reason violins are sent and in rooms thickly carpeted and with ment can often be picked at half ice for this contingency, and can produce 8060 “ “ Low. “ 10162 Morn's Roseate Hues. violin is to go to a reliable, reputable : the 7692 Sing With All the Sons of from all over Europe to London to be plenty of hangings, which offer a severe or at least from a liberal discount from small... instrument . of suitable, . price, uunuv.13 lidvv. cAuuacu sumciem SKitt in Glory. Low.M uellcr Berwald .15 dealer and trust to his honesty and judg¬ 7142 They Came to the Sepulchre. 10376 Morn's Roseate Hues. sold. test to the sonority of the violin. In as- dealers’ prices, if one has ready cash and pable of expressive playing on every voicing to adjust t0 the unusua, circum_ Bohannan .10 ment. If such a customer tries to pick up High.Solly The violins can be examined at the auc¬ sisting to make a decision, I should want the time to wait and hunt for a violin stop, with perhaps one or two exceptions. - - impossible- to quote any 5206 Victor Immortal. High. 16586 Now is Christ Risen ( ark .12 a violin cheap from a private owner, the 10115 Passion and Victory.Dressier 15 tion rooms a certain number of days be¬ to hear the violins played by another owner who must sell at a sacrifice. The This doubles the effectiveness of an in¬ prices at this time, even approximately, chances are that he will be stung, for there 4716 Voice Triumphant. in^hckctt 15595 Resurrection. The.Stults .15 fore the sale, and when the sale day ar¬ violinist, so that I could judge of their following violins, or at least some of strument, for the same stop becomes owing to the present unsettled condition 6025 Sing. Gladly Sing... .WodeH .12 are any number of people who are trying 5202 “ “ Low. Stubs 10689 Sing. Ye Heavens.Starr .12 rives are knocked down to the highest tone at a distance. The tone of a violin them, which ate universally known can loud or soft, according to the position of of affairs, but churches in need of a small to sell comparatively worthless violins 10801 Song of Triumph... Morrison .12 bidder for cash. To one who knows is often very different as heard under often be picked up for $1,000 or less, the particular swell pedal used, and organ would do well to have their com¬ 10575 Thanks Be to God ..Hotchkiss .12 (wiiich tb.-y cb..m to have had in their EASTER DUETS violins thoroughly, and is an expert judge one’s own chin from its sound at a although a much higher price is often gradual and effective crescendos may be mittees bear the above suggestions in 10874 Thanks Be to God ...Lansing .12 families from 50 to 100 years) at all sorts 14467 Christ Victorious. (New.) 10120 Thanks Be to God Marchant .15 of their quality, there is no better place distance. demanded for some of them: Dominico made, leading to the full power of the mind when writing to builders for esti¬ „ (Alt. and Ten.) .. . RoK.,,. 10401 ’Tis Glorious Easter Morning. of impossible prices. 9447 Every Flower. (Sop. organ. Of course, in an instrument of mates.—Frederick Max son. this size, say eight or nine stops, all the 14381 I am ' the ''' Resu.'Rockwell .60 pipes must be enclosed in swell-boxes; (Sop. and Alt) .Stults therefore, the case of the instrument stop implies that the action is to be either “ — (Sop. and "Z I i®309 Why Seek Ye the Living*' ’ Suggestions to the Cellist About ‘‘Keeping in Trim” ...Schoebel •60 I W. H. Eastham must have dummy pipes, which must be pneumatic Or electric. As there are still a few tracker-action organ built we would state By P. Roderic paid for, or else no pipes visible at all, that sixty-one pipes constitute the full number WOMEN’S VOICES the pipes being screened from view. One for each manual-stop in a tracker-action A noted soloist on the cello told me mechanics of playing. It is required else¬ The “minute bow” is as valuable as it the finger will fall “just like a little that, after he had once mastered a piece where. Consequently you fall into bad is familiar. In this exercise the bow hammer” directly into the proper place on Where the Pipes Don’t Show and had it memorized, he never practiced habits, such as running the bow crooked should actually last at least a minute. the string. This means, for instance, that MEN’S VOICES it again,—indeed, never even played it (one of the most common), fingering in 10804 Alleluia, Alleluia! . There is another form of minute bowing in the first position, when the hand is in The tendency in modern organ build- church service the next morning, without again except at his concerts. This a lazy manner, letting the left hand relax which is not so familiar, but which is s to put more and more of the pipes 10807 Behold, I Shew Y01 a Mystery. the normal position, it will be necessary waiting for any formal “opening.” The .Solly statement seemed remarkable, and I ex- into the close position, letting the left equally valuable. The bow, instead of inside swell-boxes. Of course, if this is 10241 Christ is Risen for the fingers to be spread out about as organist, a young girl of very limited ex¬ 10934 Hosanna! (New) . .Minshall Nevin laimed at it. He explained that the thing elbow drop, and so on. being lightly drawn across the string, is carried to its logical extreme, it leaves .Granier far as it is possible for the average person perience, was naturally at a great disad¬ 10806 Sing With All the S necessary was to be sure your fingers If you are in earnest a daily “grind” pressed down with all one’s might. This no pipes visible on the outside, unless .Brackett to stretch them. The thumb should as¬ vantage in having to use the instrument were going to do what you wanted them should be gone through with merely; in is a splendid exercise for keeping up your dummy pipes are in evidence. An amus¬ sume a position at right angles to the neck without previous trial, and the best she i to when the time came, and that, accord- the interests of keeping up to your own tone. Next count a slow eight to a bow. ing incident, apropos of this innovation, EASTER CANTATAS and directly back of the second finger. could do was simply to “play safety” as ■ngly, he went over some laborious bowing best standard. Then, keeping the interval the same, re¬ occurred in a certain church in Utica, regarded registration. The next day the THE GREATEST LOVE Be sure that you are stopping the notes VICTORY DIVINE and finger exercises regularly.- Exercises from the earlier periods of. duce the count to six, to four, to two, with the tips of the fingers. N. Y., a few years ago. A new pipe writer met an elderly lady who had been By H. W. Petrie 75 cent« By J. C, Mark* 75 cents Many cellists, amateur and professional, study will doubtless suggest themselves to and to one. organ had been installed, in which a taste¬ present in the congregation and asked her Observe these suggestions and any would do well to draw a lesson from the player’s mind. For this particular Here you have the “fundamentals” in ful lattice work took the place of the how people liked the new organ. She DAWN OF THE KINGDOM finger exercises will be beneficial. Let THE WONDROUS CROSS tnese remarks. purpose the more rudimentary the ex¬ bowing. The exercises, of course, must usual show pipes, and the console was of replied that it was apparently not yet fin¬ By J. T. Wolcott 50 cent. them be so simple, however, so funda¬ By I. Berge 50 cents After one has finished one’s "schooling’*' ercises are, the better. It is a splendid be done with great care to be of value. the small, detached type. The instru¬ ished; that a small reed organ had evi¬ mental, that all the attention can be de¬ Pon an instrument the temptation is to do plan to get back to the very fundamentals. Attention is to be given especially to tone ment was completed late one Saturday dently been moved in temporarily, and IMMORTALITY voted to the mechanics of the thing. All By R. M. Stult. only that which pne enjoys, or is, by force We must keep up the repairs on the foun¬ except in the sort of minute bowing de¬ night, and it was decided to use it for that Miss-played on it! 50 cents I am suggesting at present is the physical °t circumstances, compelled to do. The dations. To change the figure, we might scribed above as “unfamiliar,” in which, exercise for the fingers. Any of the above Publications will gladly be sent for examine tic icoubk is that it is so easy to slide back- compare this work with the periodic in¬ by its nature, only a grating noise is It is comparatively easy to go over some Joseph Bonnet, the eminent French or¬ electric action, with its great convenience . ’ “ rea% is annoyingly easy to get spection and repair of a railway roadbed. produced. beautiful solo, and rather necessarj to ganist, who has been touring the United in the matter of changing stop-combina¬ t- °* Practice, even when one is playing I should suggest the following exercises When attending to the left hand be practice up a difficult cello passage in States, was asked whether he had ob¬ tions. He also enjoyed the excellence of witn 166 or four hours or more a day as a daily tonic, although any of a like sure you have the fingers in such a posi¬ some orchestral work you are goini to served any peculiar excellencies in Amer¬ the soft Dulciana in some American or¬ theo.~presser CO. simni ^ orchestral The explanation is nature are suitable. tion that, when you wish to stop a note, play, but . to set yourself to the "spide- ican organs which he would like to see gans, but deprecated the tendency to do 1712 Chestnut Street Philadelphia, Pa. srnff' When you are Paying with a work” of exercising in a painstaking Wav introduced in France. His reply was (in away entirely with mixtures and muta¬ c p.your own defects of bowing and brief) that he greatly appreciated the tion stops. your muscles,—your fingers and ybur JZ'ng do not show up as they do Next month we shall have the honor to present an interview arms,—that is hard. But this hard regtflar atWy°U Play alone. Furthermore your with the eminent French Violinist, Jaques Thibaud. drill is just what is required for'keeping THE BTUDE when addressing our advertisers. entlon “"not be directed to the mere yourself in trim. THE ETVfii the etude Page IIS' FEBRUARY 1919 FEBRUARY 1919 Page 119 even omit certain exercises altogether, Bits of Theory Play It Whiled when they are found too difficult. This out the scale and marking it at h°me and BROWN’S While the education of a violinist You Pay results from two causes. In the first should include not only the arf of violin the teacher correcting it in the follow g place, writers of violin schools do riot BRONCHIAL lesson, the minor scales can be taken up. seem'to have much idea of grading (he playing, but a comparatively thorough ASg&gg TROCHES knowledge of-the piano, theory, harmony The minor scale in its melodic form must studies in their books in logical progres¬ Quickly Relieve p!ay«d it a lull *rwk, atS,^ sion. They frequently introduce difficul¬ and composition as well, there are many be written, both ascending and descend¬ Coughing, Hoarseness, Sore Throat ing, since the half steps come in different ties in the earlier pages of their schools, pupils who can afford to pay only for For seventy years these tablets have been which either should have been left to the violin lessons, and not for lessons in the order in the descending scale. Attention faithfully serving speakers, lecturers, vocal¬ latter part of the work, or else omitted \r Old must be called to the fact that, in ascend¬ WuguIzEP. ists *id thousands of others, in quickly additional branches. In such cases the altogether. A glaring example of this is easing sore throat, hacking cough, loss of ing, the hajf tones come between sec¬ For 200 years makers of wise teacher will try to give the pupil a ImB^ tn*yjua^colle«io«iyjj voice, bronchial and asthmatic troubles ond and third and the seventh and in the case of Spoht’s Violin School. prevalent in winter. few of the most important points in mu¬ Spohr was a great violinist and a great eighth, and in descending, between the Write for Catalog feVlOLINS Not a confection, but a genuine remedy. sical theory, since even a smattering of teacher, but his violfn school, which he- UPWARD sixth and fifth and the third and second. Seefor youraalf tha Contain no opiates or other harmful ingredi¬ theory will enable the pupil to make njuch evidently designed to take the pupil from ents, hence are especially safe for children. surer and mor : rapid progress than if he The melodic minor scales having been start to finish, is practically worthless as A small piece relieves a sore throat. were ignorant of it. It will be urged that written out and the whole and half steps a progressive violin instruction book ex¬ —less a liberal allowance Four sizes, z;c,3,c,7}'&fi.2}. At all druggists. indicated, the harmonic form can be taken John I. Brown & Son, Boston .Mass. in the case of a pupil who ha? only, a cept to supplement other works. It con¬ short half hour or Jiour lesson, once or up. Here the scale is the sanle ascending tains many admirable studies ancj much for the instrument ttS Nm^SIt-Toronto twice a week, in violin playing, there is no and descending and the half steps come useful information, but it would be'impos- time to devote to theory. While this is between the second and third, fifth and OUR “SPECIAL” sible to produce good pupils, by its sole you now play! true to a certain extent, yet a few min¬ sixth and seventh and eighth, with a step- use, unless a great deal of other mate¬ OCp 10 Tested Lengths,1)^ utes of each lesson could be devoted with and-a-half interval between the sixth and rial was used between the studies. The After 30 years’ experience as leading £c/Silk Violin E, for fad trouble is that it is not carefully graded1, profit to the most essential facts of seventh. violin dealers, we know well the needs theory. The progress in the end will be A bright pupil will be able to write out Send/or Violin and Cello Cototop* and there is not enough material Jo lead really greater. not one but several scales in this way for MUSICIANS SUPPLY CO. up to the various difficulties as they are and desires of professionals. taken up. One of the most important bits of the¬ •each lesson, and the teacher can correct ory for the violin student is to know them in time not to exceed three to five Your love of your art makes you an where the half and whole steps come in minutes. admirer of good violins; in the Lyon LET US SEND YOU SOME OFOUR An Ardent Collector the various major and minor scales, and It is astonishing how much the mastery & Healy collection you can find—at John McCormack, the famous tenor, yet' I have met with pupils who had had of this fundamental bit of theory will is ambitious to own the finest collection a nominal price—just the instrument four or five years’ lessons under good vio- improve a violin scholar’s intonation. If and Modern VIOLINS of genuine Cremona violins in America. you have so long wanted. ists, and could not point out these whole he thinks a whole step he will play a AT NON-PROH1BITIVE PRICES Following the announcement that he had : Watch YourNerves! whole step, arid if .he thinks a half step and half steps. A genius will play the scales VIOLINS become the possessor of “The Wieni- We have quite a few excellent old in perfect tune, with the whole and half he will play a half step.' After the scales find daewhere. Convince ynuurif. awski" Guarnerius of 1742, for which he I>OIby^mulcting' steps in proper order, from instinct, but in major and both fofrtis of minor have Every Violin hat its /nice, and it will |rt a violins—products of famed 18th and plcaaure to aend them lor triiu and intpetiioe. paid almost $18,000, comes the news that pupils Of poor, or mediocre talent, who, been written out and thoroughly digested 19th century masters—for as low as The world-renowned “Cemunder he has purchased another Stradivarius after all, make up the greater proportion by the pupil, scale passages, as they come Art’’ Violins $200.00 to $500.00each. vidlih, of 1714, for which he paid over $100, and from that up to $500. of the average violin teacher’s class, must in the exercises and pieces in the lesson, Old family ralica repaired and r.ttomi. $10,000. He has also purchased the fav¬ R.S. Sldte 88 ''llQW.’Joih St.' New York have these constantly pointed out to him. can be taken up and the student be di¬ orite bow of Paginini for $500. Mr. It is not necessary to take much time rected to marie them as. in the scales. If McCormack owns a number of other America’s Finest Collection from the lesson to give the pupil a knowl¬ the teacher will but give constant atten¬ priceless Cremonas. of Old Master Violins edge of where the whole and half steps tion to this worlf of whole and half steps The Most in the scales and scale passages come. the pupil in timp begins instinctively and HUGU5T GEMONDER tt SONS Magnificent instruments of well-nigh priceless Every lesson the pupil should be given intuitively to recognize and think the American Violinists in Demand worth by such acknowledged geniuses as Stradi¬ a scale to write out, and to mark between proper interval Without having to mark it. Elementary the notes whether the interval is a whole The importance of all this cannot be ex¬ As a result of the war, many of the varius, Amati, Guarnerius, etc. Also bows of the or half step, or a step and a half (this aggerated, for on it rests the foundation German and Austrian orchestra conduc¬ finest grades by famed makers like Tourte and interval occurring in the harmonic minor of proper intonation in violin playing. It tors; and violinists, who have not been Pecatte. Modern bows by Hill & Sons, Lon¬ naturalized, will have to give up their MAUD POWELL Method Violin scale.) For instance, he may be given the takes but a few minutes of the teacher's don, are exclusively sold by Lyon & Healy. scale of E flat major, as follows: He must time each lesson, since the pupil should be Violin s Piano positions. While this >vill displace many first be made to understand that between required to dp all the work at home. excellent foreign artists, it will give the B and C and between E and F there It would seem as if teachers would, as American violinists and musicians a long- Send Coupon for Catalog of Old Violins or with foundatioi are naturally half steps. A good demon- a matter of course, insist on the student Collections looked-for chance to get into the ranks of New Cremonatones and Liberal Purchase Plan s'ration of this is the keyboard of the mastering So fundamental a matter as These Books Offer a Goodly Number our symphony orchestras and similar piano, where he can he shown that there this, but, from art experience of many and Variety of Pieces at Prices tlat musical organizations. The departure of You can then make a selection according to your price- male violinists to the front has also Bel Canto are no black keys between these notes. years in teaching the violin, I have found Are Most Reasonable desires. Easy terms of payment may be arranged; and you may The notes of each scale should be num¬ very few pupils who have been systemat¬ opened many positions to female vio- linistes. trade in your old instrument at a liberal allowance on your bered, and it should be pointed out that ically taught to recognize the intervals in Violinist’s Popular Violin Method there are half steps between the third and all scales and scale passages except those purchase. Mail the convenient coupon. By fourth and seventh and eighth nptes of who have had a pretty thorough course in Repertoire Vigorous Tuning the major scale, and all the other inter¬ theory and harmony. Teachers are apt Price, 50 cent* MABEL MADJSON WATSON Messrs LYON & HEALY vals are whole tones. Figures indicating constantly to correct tones, which the pupil An album that contains twentyxjw The great violinist DeBeriot was an TYON & HEALY miscellaneous pieces for the violin. W 54-77 Jackson Blvd., Chicago Can be used as Dreoaratory or sup- the intervals between the notes of the plays out of tune in his scale passages advocate of vigorous tuning. To his Send us without cost or obliga- violin are of a grade and type as to be «PP*:‘ M J EVERYTHING KNOWN IN MUSIC scales should be written above : without going to the root of the matter lug to the average player. These um¬ Pupils he said, “Tune with long bows, “~a< catalog of Lyon & Healy bers are selected from the best copyrijM Wh energy, but elasticity, so as to get olins. I am interested in a After the major scales have all been and teaching him the whys and where¬ violin pieces In the Presfer catalog. .54-77 Jackson Blvd., Chicago marked in this manner, the pupil writing fores. ie full vibration from the strings. A ‘ Student’s PopularAlbum violin so tuned will remain in tune much °n«er than one tuned in a timid, feeble for Violin and Piano manner. Price, SO cents A Method that makes The Elementary Stage Particularly attractive pieces. sultjM* for players of the early and Intern* di*" Teaching and Study An inquirer writes: “Is Hermann do for the start. If it is desired to use grades. It ts a bright aarl Inter**™ volume throughout, containing mate™1 Questions on Violin Playing Answered by Mr. Braine good violin school to start with? Is the both, the pupil had better study the two which will be found*ln no other Pleasurable first position part of the DeBeriot school tions. Students of the violin will >rth the price you paid It is used most effectively for rapid passages books alternately, changing at intervals in this, volume material for recreew"- very composer writes harder than Book I of Hermann? Is ho -o-th more in equal- notes, such as sixteenths. of a few weeks, so that he will be work¬ for improvement In style and musical (Ism T, Usca,es- arpeggi, and other i mports of violins from Germany have1 2. The word xautilU- (French), means re- Sevcik’s School of Violin Technic harder ship and .for recital work. t0° exhausting, as ... V ceased, and have been greatly dimin- bounc jumping, or springing. This bow- Ah B- E.—The notes E, A and D natural In ing at studies of about the same grade of sitting a0T,„° ^?rt tr°uble, you might try ished from ------“ r European - than both? Would it be a good plan to t higher rebound, ' j P*aV|nS are sometimes played open, difficulty in either book. It would be a Operatic Selections for to* eve*hlle V011 practice, also rest- at war. Tills has caused an advance in price used singly, i notes bound and sometimes by placing a finger on the study Hermann, DeBeriot, and Sevcik in . •' Or fifteen minutes, or as long in the case of violins in this cou"*-’- T" *- - »-— - next lower string, at a point where it will loss of time to go to the very beginning Violin and Piano fo» Dlav ni“ the1 necessity for so doingdoing. If addition to this, the purchasing pot the order named, finishing the first posi¬ faH o see r °f rons*(lerable difficulty, I dollar has shrunk to almost Half since the ft would 1 In ?b«JLftTosUiona4ethfoZhnfin'MSJ* tion in each before going to the third Of either bbok, after the other had been By F. A. Franklin fxhaustif why these should not prove as outbreak of the war, causing a large advance few lessor ... f0r Ills purpose; thus, the note E natural in manufactured articles of every description, bounding bow from a fir violinist. It fSJJJ? j?la-red with the open E, or with- the ppsition, and always finishing orfe of the thoroughly mastered. Either book con¬ Price, 50 cents t'or the flKrAS technical work and studies. 2. violins included. is practically impossible pupil the fL/HS J,‘‘ar -vou m,«bt wve your "-stand them °“ tde A string, which gives books before going to another?” tains enough first position material to ad¬ Nothing has proven more InterestW pinner* elementary Method /or Be- without an actual den tion Oil the !{Le ®a{?® UJP of the higher post- to violinists- than operatic selections a M. S.—Nicola Amati, of Creibona (a small violin, Our correspondent’s question points the vance a student to the stage where he is violin and piano. Mr. Franklin, reof the A'a/iscr ohifahrt. followed by city in Italy) 1596-1684, was one of the way to an interesting discussion- of first ready to take up the positions. nizing the necessity of a superior greatest masters of violin making who ever . M IT.—Berceuse is a French word, mean- strlnf 1 on the t of this kind, has produced this moo. lived. He was the teacher in violin making ing ‘ cradle son*," or lullaby. As compositions StrIng) on thefht 'r °r G’ and the note D Ghifd teaching material, which is o,f such great In the case of any violin instruction cel lent work. The yiolln part Is »!»■“ of Antonius Stradivarius. His violins have of this type represent a mother singing to E. L. S.—As Cracfe 3. bpen imitated by the hundred thousand with her ch Id, they must be played with deep to awaken the’ 1 importance if the beginner would make book, it is only pupils of first-rate talent fake labels printed like postage stamps, and '"ipressjon and tenderness, depicting mother- pupil, you had sure and steady progress iff the funda¬ who are ?ble to take all the exercises in by a' notMNmi'i"'r M„,he violins vou name is love, which- the deepest human _ no -special“,5ier- However, violin makers of tions. Three of t_most beautiful compost- _ mentals .of violin playing. Both the Her-* regular order, from cover to cover With lnstmments.rame occ",on«lly make excellent tions of this kind are“ th -from Jo- songs. .1. H. A.—Bpiccato is a loty of s "" maHttleSUdance°tumlglllSete™DTijln^— mann and DeBeriot Schools contain ex¬ nine out of ten pupils, it is found'neces¬ cel.vn, by Godard, the Bet ons are the first bool , Two good THEO. PRESSER CO., Phil*., & i very short strokekes fron nard, and the Berceuse, ... of Flowers by Weiss, and i f the Harvest cellent teaching material, and either would sary to skip about to some extent, and wrist, in such a manner that pieces written in this style (10 little piecjg, in bounds very slightly between ea Frederick Franklin. i volume, by Please mention THE ETUDE when tdtlr<('C' Flease mention THE ETUDE » our advertisers. the ETUDE FEBRUARY 1Q19 Page 121 Page 120 FEBRUARY 1919 Then, after years of hard work, after ?? Who Knows ?? the price of success has been paid, the girl will cheer the thousands with her 1. What does ew meap when placed over a note, and what is it called? voice, and the dream of the steel bridge 2. Who wrote The Barber of Seville? will be a reality. Elizabeth Mills (Age 13), 3 How many strings has a violon¬ Grant City, Mo. cello, and how are they tuned? 4. What is an oratorio? 5. What does “poco a poco diminu- THE PRICE OF SUCCESS endo mean ? Anything worth doing at all is worth 6. What is the difference between alto doing well. A poorly learned music les¬ and contralto? ^JUNIORr’ son is expensive at any price. 7. Who is Edward Elgar? It seems very hard to practice when 8. When was Haydn born? the other children are playing, but it pays 9. What is “polyphony”? iji the end. It seems such a task to prac¬ 10. What is this? ETUDE tice slowly, and have the correct finger¬ ing, and count aloud! And then time o<$S£b must be given to hunting up the meaning df the musical terms in the dictionary. How glad I am when I know the mean¬ CONDUCTED BY ELIZABETH A.GEST ing of the terms without looking them Answers to Last Month’s Junior Etude Competition PTo become a successful musician one Questions Halfway Up Long Ago Music must take time to be thorough, for no The Junior Etude will award three 1. Mendelsgohn. 2. Shifting an accent The season is half over—are you half¬ one who is careless with time, expression, Part 2 pretty prizes each month for the best froip: a strong tb a weak beat. 3. Nine. way up your ladder? fingering, or any of the many other original stories or essays, answers to mu- 4. The distance between two tones If not, you had better climb up a little At the beginning of the Christian Era If the notes were high above the line points can make a success of their work. sical puzzles or kodak pictures on musical Success must be paid for. but it pays counted in steps or half-steps. 5. Don faster, or you will not reach the top by there was not much music except that they were to be sung high, but no one subjects. for itself in the end. Giovanni, the Magic Flute. 6. A popu¬ the end of the season. used in the religious services, and that knew just how high ! Subject for story or essay this month, Minnie Reed (Age 13). lar stringed instrument of the sixteenth This was not much improvement, so a What is there that gives one such a was borrowed from the Jews, and con¬ "What Music Means to Me,’’ and must Alton, Ill. century, from which the guitar and man¬ satisfying feeling as accomplishing an sisted mostly of singing. But before long man named Guido d’Arreggo, drew four contain not more than ISO words. Write dolin were derived. 7. Hayden. 8. Read¬ object? And, on the other hand, what the Christians were persecuted, and to lines and made each line a different color. ing music in one key while playing it in on one side of the paper only. HONORABLE MENTION gives one such a miserable feeling as escape torment they were obliged to con¬ That really seemed to be a good idea, and another. 9. 1908. 10. is an orna- Any girl or boy under fifteen years of Evanella Ritchie. failing to do something one has planned ? duct their services in secret, and without the people liked the lines, and from time Leone Balcksma. age may compete. Mary Lee Gunter Catherine Carroll. : called “Mordent”, written • So, if we want to reach the top round much music, as that might cause them to time they added more until they act¬ All contributions must bear the name Minnie Reed. Marea Marshall. of our ladder by the end of the season, to be discovered. Then, as they grew in ually had eleven! age and address of sender, and must be George Busha. Catherine Conlon. Jesse French & Sons Grand number they sang more and more, and in we should be halfway up now. sent to “Junior Etude Competition,” 1712 Eloise S. Haines. Margaret Miller. For those who demand tonal supremacy: for those who want an instrument worthy In some respects, this year has been a few years, erected handsome churches Chestnut street, Philadelphia, before the of interpreting thp most artistic music, here is unquestionably the ideal piano. and had a great deal of music, for they unusual—things have happened this sea¬ 15th of February. The Jesse French & Sons Grand represents an honest and successful endeavor to were no longer afraid of being per¬ son that never happened before, things The names of the prizewinners and Puzzle produce an instrument as near artistic perfection as is possible of attainment. secuted. Junior Etude Blanket that seemed almost impossible—but that their contributions will be published is • The following measures are written Squaies for the Junior Etude Blankets Our line of uprights and players is most complete and desirable from every viewpoint. sc no reason to let practice time slip by, In the large churches a great many' the April issue. purposely, so that there are at least have been received from the following: or to let lessons go unprepared.. people sang together, and it was difficult twenty different mistakes. Here is a JESSE FRENCH & SONS PIANO CO. 2901-R Ave. NEW CASTLE. 1ND. Close your eyes for a few moments for them to keep together as there was chance for bright eyes. How many Hazel Jardiue, Inez Reiss, Genevive Las- THE PRICE OF SUCCESS cell, Mrs. Meisner, Mildred Walsh, Helen and think about it, and find out just still no way of writing down the notes. mistakes can you find? In answering It was one beautiful morning in early Rogensburger, Eluora Harper, Helen Duncan, where you stand on your yearly ladder. Some singers might go up and some Fig. 2 this puzzle don't try to say just where Onietn Develln, Iltldegarde Mentley, Julia down, and it did not sound at all well; September that I found myself sitting by the mistakes are—simply send in a clean, Cushing, May Rogensburger, Edith Stowell, ■You should be at least halfway up. Are so, in the fourth century Pope Gregory a lovely spring, disturbed only by the written copy of the measures, with all the Floyd Schrain, Katherine Wegman, Rhea That was very confusing to the eye, so Wegman, Ruby Whitmore, Mrs. J. G. Weg- called the choristers of his church to¬ golden leaves falling from the trees mistakes corrected. For the best copy— nian, Lois Wegman, Dorothy Burghart, gether, and taught them to sing a little they divided the staff in halves, and only above me. that is, the neatest manuscript written by Audrey Howell, Rose St. Maurice, Gertrude used the middle line when necessary. Soon I heard a sweet voice asking me Diefendorf, Edith Diefendorf, Blanch Porter. Ragtime tetter than they had been singing. any reader of this department under the William Porter, Alice Kimball, Alice But even with his assistance it was hard That little middle line is the line that what I would like to be when I grew up. age of fifteen, we will give as a prize one Hardesly. Flora Bell Rowan, Mrs. D. XL There are occasions when ragtime is to sing together without notes of any marks our middle C and it has never "I would like to be a great musician," copy of The Standard History of Music. Howe, Ethel Hardesly, Esther (Sinclair, Bes¬ necessary. Some very “high-brow” I replied. sie Hardesly, Marcella Bevans, Eldora Knigh¬ kind, so a few centuries later some one been changed since.. So you see it is For the next best we will give as a prize ton, Dorothy Corner, Mclva Thornton, Vivian musicians may dispute the statement, but, invented a way of writing down notes called “Middle C,” not because it is in “Are you fond of music,” came the °ne copy of The Beginner’s Harmony. Thornton, Idella Skinner, Iva Hosier, Leone voice again. Worth, Helen Schlnke, Ruth Helen Roseu- perhaps, they have never found such an like this: the middle of the piano, but because it All manuscripts must be received at The “Yes, I am very fond of it, but 1 do not bush, Eva Hearn Lola Mae Groves, Esther occasion. is in the middle of the old eleven-line Etude office before March 25th, and all Paulsen, Mildred Bernice Allen, Juanita Mat- Young people like to sing and play the like to practice. I began taking music sev¬ must be addressed Wrong Notes Depart¬ lock, Helen Anniann, Rachel Randolph, Anna staff. eral years ago. I have accomplished very Moore, Arthur Soiling, Martha Pabst, Olive popular songs of the day, and to dance to iJ 1 -A ,JA ment, Junior Etude, 1712 Chestnut little for I despise to practice.” them, so it is well to know a few. street, Philadelphia, Pa. jl)j4v——•wr'meyfvw <*»t> Again I heard the voice gently saying. (The List will be continued next If you are ever in a situation when “My dear, if you ever expect to make s month.) it is necessary to play ragtime, make the success in music you must pay the price most of it. of success. To pay the price of succes Play only the best of the songs. i in music you must take more interest in YOU HAVE A BEAUTIFUL FACE Musical Rhymes for Refuse to play any that have vulgar V ^u*» • Tiuwe. * ^ f* V it and practice as your teacher wishes yon to. Wf. \T" m : Little Folks words. Fig. 1 Make them serve as a study in rhythm, Opening my eyes I realized that I had The scale of D so that your own sense of rhythm will be That was some help, of course, but not been asleep. Remembering my dream 1 Quite troubles me; improved. much. Then in the tenth century they decided to do as the fairy bade me. I never know Sallie May Wharton (Age 10). How it should go. Be as careful when playing them as drew a line through the characters. Fig. 3 Cadiz, Ky. when playing good music, and do not al¬ The other day low yourself to become careless and I tried to play, strike wrong notes. THE PRICE OF SUCCESS But sharped the B Be • particularly attentive to the bass Breaking Your Record Everyone hopes for success in his spe- Instead of C. notes and play a good, firm, harmonic Did you ever happen to hear or read, metronome 110; then 120. Do the same c>al vocation. Success does not mean the foundation to the melody. Play with ex¬ or discover for yourself, that one of the with arpeggios. earning of many dollars—it is the sat¬ Answers to Santa Claus Now that might do pression and put in plenty of pps and ffs. chief American characteristics is the de¬ If your own record, or the record of isfaction that comes when a task has bee" Puzzle For folks like you, well done, when a person, by paying the But not for me Accent strongly and frequently and sire to break records? You know this is the class, is ten pieces perfectly memor¬ *■ Time. 8. Key. price, rises above the usual level of things In the scale of D1 play with enthusiasm. true in sports, and also in scientific and ized and ready to play, try to raise it to 2. Note. 9. Scales. and does something unusual, somethin? If you keep all these points in mind, mechanical discoveries and achievements. eleven, twelve, fifteen, or twenty. You 3- Natural. 10. Sharp. to make the world better. the necessary evil of ragtime need not be Why not adopt a little of this spirit, cannot do this in one week, of course 4- Measure. 11. Flat. The girl with the voice longs to sing 3. Tie. Tom, Tom, the pip r?s son, so evil, and the constant montonous and try to break your own record in but give yourself a time limit and see 12. Rest. before thousands and make them f<*8*j 6. Bar. Learned to play when he was young. “drumming on the piano” need not be so what you can do in the given time. 13. Accidental. music? Or, if you are in a class, try to their worries while listening to the sound That’s the time to learn to play. monotonous. When several work together, as in a 2- Chord. hold the class record. of her voice. The boy who wants to Wj But you must practice every day. Z.visi:i. ltieoTiiKiis Some of the present-day popular songs class, it is more exciting to break the If you can play all of your major and come a civil engineer dreams of a stee and war and peace songs are full of good record, but if you have no competition MUSIC PRINTERS and ENGRAVERS minor scales in octaves, thirds and sixths, bridge across a river. Puzzle Prize Winners There was a young person American spirit. you can make it just as interesting to SEMD FOR 'TEMIZED PRICE LIST AND SAMPLES The price of success is hard work, *** Who practiced with a will. Your playing may not be improved by perfectly, at—let us say—four sixteenth break your own record, and you will feel P ® Armstrong, gtrl must practice correct breathing ragtime music, but ragtime music may be notes to metronome 100, try to break a great personal satisfaction from so Mitchell, And if he hasn't quit, tone production; the boy must study °v COLUMBIA AVE. AND RANDOLPH ST™""5l'N£ PA improved by your playing I your record, and do the same thing at W«>ifred Sturgis. He’s practicing still! PHILADELPHIA engineering for years. Please mention THE ETUDE lresstng onr adTertiaert. THE ETUDE rage 122. FEBRUARY 1919 tee etude FEBRUARY 1919 Page 123 complete Catalog—Harold Flammer, Inc. New Important Publications—Send for new PIANOSCRIPT BOOK= EVAN WILLIAMS who featured Tre^ Used Mo re Extensively FOR PRESERVING IMPORTANT ADVICE AND WHEN THE BOYS COME LESSON NOTES IN PERMANENT FORM SAILING HOME! harne's Mother, My Dear. High m F. 1Low Than Any Other Elementary Instructor in D. 60 cents net. A song on tbepr^rams By ALBERTO JONAS Price, $1.00 Latest March also of such artists as Galli-Curci. Martinelh, By JOHN PHILIP SOUSA Charles Harrison, Leon Rice, Dan Beddoe, THE BEGINNERS BOOK Words by his daughter, Helen William Simmons, fete., etc. SCHOOL OF THE PIANOFORTE - VOLUME ONE SENOR JONAS By THEODORE PRESSER Song, 60 cents net Piano Solo, 50 cents net On 4 Talking Machine Records: MOST TEACHERS OF STANDING IN THESE DAYS know that no COLUMBIA — EDISON — PATHE — VICTOR matter how excellent the teaching material and editions they employ, they Special postpaid, cash with order If You Have Never Used This Work must continually give special exercises to meet special conditions. Song, 40 cents Piano Solo, 35 cents GIOVANNI Order a Copy Now for Examination THE PIANpSCRIPT BOOK is in no sense a blank music book in the or¬ When the Boys Come Sailing Home MARTINELLI dinary meaning of the term. True, there is ample blank music staves and This latest march and be convinced of the real worth of this elementary piano instruc¬ blank pages for the writing in of plenty of new exercises for special needs. In Celebrated Metropolitan addition to this, however, Senor Jonas has written a large number of special by tor that has had an unprecedented success. The first grade up to but not including, the scales is the scope of this work. * ’ exercises and suggestions so that the teacher will have no difficulty in knowing alfi Tenor who is singing how to proceed. SOUSA Alice Fish’s A Memory PRICE, 75 CENTS THERE ARE TWENTY-FIVE SECTIONS or Departments in the book, the March King, Divine. High in D!?. all book prices temporarily advanced twenty per cent. each one marked by a margined thumb index, like a dictionary, so that the the one American Low in Bk 60 cents net. THEODORE PRESSER CO. PHILADELPHIA, PA. student can turn instantly to the right page and keep all lesson notes in order. The book is handsomely bound in cloth, stamped in gold—something the composer, nation¬ student can keep a lifetime as a valuable souvenir of student days. ally preeminent, This book is now very strongly endorsed by such eminent men as Godowsky, has created such a Friedheim, Hutcheson, Stojowski, Bauer, Chadwick, Faelton, Damrosch, furore that the re¬ A SUCCESSFUL SEQUEL TO THE Foote, Dr. Rybner, Sternberg and many others who have introduced it in their regular teaching work. Copies on sale to established teachers. frain has already “BEGINNER’S BOOK been reproduced LUCY GATES THEO. PRESSER CO., Publishers, PHILADELPHIA, PA. in such important who used Harriet Ware's seng CONSOLATION. High in THE STUDENT’S BOOK newspapers as EK low in Dp. 60 cents net. School of the Pianoforte N. Y. TIMES She says of this song: "It it suitable for Church, or on By THEO. PRESSER # PRICE, 75 CENTS BOSTON any concert program and ihould be Permanently Adopted by Foremost Teachers SUNDAY welcome in every home to-day." ALL BOOK PRICES TEMPORARILY ADVANCED TWENTY PER CENT. POST Intended to follow THE BEGINNER’S BOOK or any other STANDARD HISTORY OF MUSIC PHILADELPHIA | Mme. SCHUMANN-HEINK _ first instructor, this volume has met with a flattering reception. It PRESS By JAMES FRANCIS COOKE PRICE, $1.25 | Who is using on tour Frank La Forge’s new song: Sanctuary. High in C minor, low in D bridges thagap between the instruction book and the graded course NEW HAVEN ALL BOOK PRICES TEMPORARILY ADVANCED TWENTY PER CENT. REGISTER or the conventional series of studies and exercises. NEWARK CALL A FIRST HISTORY OF MUSIC FOR STUDENTS AT ALL AGES THEO. PRESSER CO. Philadelphia, Pa. A thoroughly practical textbook told in story form. So clear a child can understand everv word_ llaorbing that adulu charmed with it. All difficult word, "self-pronounced.- 150 excellent strations. mao of musical F.urone 400 test questions. 250 pages. Strongly bound in maroon Soth! THEO. PRESSER CO., gilt stamped. Any teacher may use it without pr< THEODORE PRESSER COMPANY PHILADELPHIA, PENNA. j Harmony Book for Beginners By PRESTON WARE OREM GREAT OFFER Even tho' you only purchase music occasionally TO < use the quickest and most economical method § ALL BOOK PRICES TEMPORARILY ADVANCED TWENTY PER CENT. Brief, Simple, Vital, Practical, New and Distinctive Teachers and Music Students = a strong foundation for future musicianship by giving the main 1 essentials of the subject in such simple, understandable and interesting manner that Sherwood's Normal Piano Lessons ORDER BY MAIL-DIRECT FROM A SOURCE WELL EQUIPPED j it will prove invaluable in the class or for self-help work. . These weekly lessons, examination papers and lectures on the Art of Teaching contain FOR SUPPLYING PROMPTLY DESIRED MUSIC PUBLICATIONS Read this letter from JOHN PHILIP SOUSA, Famous Composer and Conductor: the fundamentals of a broad and solid musical education, and the principles of success¬ The system adopted in your Harmony Book is admirably adapted for the ful teaching. They contain the vital principles in touch, technique, melodv, phrasing student who requires an instruction book that is “ as plain as a pike.” The text rhythm, tone production, interpretation and expression. Physical exercises for devel¬ is so lucid that he “ who runs may read ”—a decided virtue in any text book. oping, strengthening and training the muscles of the fingers, hands, wrists arms and <1 Do not be delayed or inconvenienced when endeavoring to purchase music items by trying sources un* I congratulate you on your work and commend it to the student of harmony. drawings ™ 7 explamcd> lllustrated and made clear by photographs, diagrams and equipped for taking care of your needs. Surprisingly prompt will be the appearance of pieces or books of music ordered by mail from the , IT A RMONY A knowledgn of Harmony is absolutely essential to round out ’• MUSIC BOOKS * 1 y°ur musical education. It adds wonderfully to your equip¬ ment both as Teacher and Performer. Without it you limp along on the crutch of unpreparedness. We offer you a complete course of weekly Harmony Lessons at small cost, by Mr Ado ph Rosenbecker, famous Soloist and Conductor and pupil of Theodore Presser Company Richter, and Dr. Dame Protheroe, Eminent Composer, Choral Director and Teacher Each lesson is an orderly step in advance, clear, thorough and correct; not the mere " ,Hele"-hi^Zve structive short studies of a melodious char, who secure new and renewal subscriptions. Friendship Songs. Tod B. Galloway. Her previous efforts along Zhilvolun.e acter. The studies do not go beyond the collection includes all of our most suc¬ tioHn teakerrrikt *Se1 by Practica% all This is not difficult to do, and anyone who been unusually successful. This volmne cessful orchestra numbers. There are The Organ Player. Pipe Organ. P. second grade in the school of tea The is willing to devote some spare time to W. Orem. will appeal to somewhat smaller chd fourteen pieces in all, including marches, important feature of this work is that it visiting musical friends can secure sub¬ Diction for Singers and Composers. than her previous works The jerses, as waltzes, reveries, etc., all beautifuEy ar¬ scriptions and renewals. takes you through all the easy keys, both H. G. Hawn. well as the music, are the work of M s ranged and not difficult to play. years. Our new edition of this work is Below are listed a few of the premiums Your Own Subscription Free for three Cramm, and there are always ^Rer r major and minor. The work contains The special advance of publication price e Red by Mr. Sol Marcosson, the well- offered; many more are shown in our new others at full price. suits when the lyrics are by the same principally study pieces, although there fa is 15 cents for each separate instrumental known concert vioEnist Premium Catalog, sent free on request. Crumb Sets. Made in brass, satin finish. author as the music. Tins work is suitable a “Tarantelle” or Hunting Song anionp part and 25 cents for the piano part, post¬ » 20 for children from seven to fourteen years the numbers. Another feature is the real For ONE Subscription. A beautiful and useful gift, and a rare paid. bargain for three subscriptions. of age. The pieces gre either vocal or in¬ musical interest, and we take great pleas, Album of Pianoforte Pieces. Carl strumental, and they can be sung o Heins. ure in presenting this work and in recom- Bohm Album Money Saving Offers First Study of Bach. Special Offer for NEW WORKS. Are You Purchasing mending it to our patrons, as excellent For the Pianoforte of Leading Magazines P Here are some of the titles: “The Joy teaching material for the earEer grades. Mathews’ Standard Graded Course of Etude Renewals Advance of Publication Offers— Music Supplies to the of Giving,” “The Bird’s Bath,” On the Our new Bohm Album is ready for Our special price in advauce of publica¬ wifhy vorurrotLT7 ETE in cognation Studies. Any one grade. For the month of February, The Etude Special Best Advantage? Train,” “The Chimney Swallows, Polar offers its readers an opportunity whereby tion will be 25 cents, postpaid. can nfake a real sarfng ma^azines’ -vou Salt and Pepper Sets. Small, light and February, 1919 There is a satisfaction enjoyed in ob¬ Bears.” - durable. These shakers would grace the they may obtain excellent music collections We recommend this work on account ot will include aE the gems from the many These reduced prices are good for re- Album of American Composers.50 taining desired music supplies promptly. Spaulding Album table of any home; convenient for picnics addition t " Birthday Jewels, Geo. L. Spaulding.20 It has been this satisfaction that has its real worth, the melodies are original brilliant and popular piano pieces by Carl J1he?T„'lr peW suhs<,riPtion.s. Please note and outings. Bohm Album for the Piano.35 caused thousands to permanently adopt and full of character and not beyond the For the Pianoforte Bohm. ^aV , ”: ''TrDl’ °!dered sinf?ly. has been range of a child’s ability. There is not a It will be a large and handsome volume $1.75 a year since Jan. 1, 1919. Hanger Sets. Something new; collap¬ Every reader renewing his or her Etude Celebrated Compositions by Famous mail ordering in purchasing music sup- This new volume will contain a selec¬ sible coat and skirt hanger; comes folded conventional line in the whole book, and of 120 pages. All the pieces are carefully Send a postal card for free copy of The subscription, or sending us a new sub¬ Composers.35 pUes of every description. However, like tion of the very best from all of the manv in small compact case. Can be carried in Difficult Four-Hand Album.60 we think that this is the secret of Miss popular pieces by Mr. Geo. I,. Spaulding. edited and revised. They arc chiefly of Etude 1919 Magasihl Guide, hffing hun- scription during February may, by adding everything else that is good, mail order Cramm’s former successes. intermediate grade to moderateiy ad- dreds of money-saving magazine clubs. hand-bag. Indispensable on vacation David Bispham’s Album of Songs.60 music buying stiU remains untried by a These pieces are chiefly of the third grade trips. . 15 cents to the priced-total, $1.90 in Those desiring a new and interesting United States, and $2.15 in Canada—have Broticon, Emil Sjogren.25 in point of difficulty and a few are even Lingerie Sets. Consist of a pair of lin¬ few. Perhaps advertisements along this line children’s book will run no risk whatever Our special introductory price in ad¬ THE ETUDE . ) $i ?r the year’s renewal or new subscription L’Art du Clavier, Lack.60 have seemed vague to those not initiated. eusier. The pieces are in all styles, in¬ gerie clasps and two dainty oval-shaped in ordering this work. Only one copy cluding dances, marches, reveries, noc¬ vance of publication is 35 cents, postpaid. People’s Popular Monthly j ^ with a choice of the following albums: Little Tunes, by F. B. De Leone.25 This can be readily understood where it pins. Useful and attractive. Presser's Standard Orchestra Book. .. .15 will be allowed each person ordering for turnes, and characteristic pieces. Album of Lyric Pieces. 26 piano is taken for granted that everybody knows Presser’s Standard Orchestra Book.25 the advance price. Our special price in advance of publica¬ Eroticon—Five Pieces THE ETUDE . ) $9 9r For TWO Subscriptions. pieces. the methods and advantages of purchasing Our special price before publication will Favorite Compositions. Moskowski. Paul Wachs’ Album.26 tion for this new volume is 25 cents per For the Piano MeCall’a Magazine .. ; J- £ Concer Album. F. Liszt. Pedal Book, Blose.60 music by mail from the Theo. Presser copy, postpaid. Operatic Four-hand Album. 22 duets. By Emil Sjogren Lighter Compositions fob Piano. F. Scale and Arpeggio Studies for Violin, Company. Chopin. New Standard Collection for Violin Book I, Blumenstengel.20 References to liberal professional dis¬ THE ETUDE . ) $0 7C Difficult Four- This new volume is now off the press, Beginners’ Book for the Pianoforte. Spaulding Album for the Pianoforte.25 counts in advertisements of this house Trial by Jury—Operetta Modern Priscilla _ - ‘ Standard Vocalist. 50 songs, medium Hand Album By Arthur Sullivan but we will continue the special offer dur¬ _ . I Save 50c Theo. Presser. Sunny Day Songs, Op. 27, by H. L. mean that from the prices listed on sheet ing the current month. Sjogren’s Eroti¬ Ash Trays. For the man who smokes. Cramm .30 We are continuing during the current music and book publications the best dis¬ month the special introductory offer This is one of the best works suitable con, or Love Songs, are five beautiful Bound, dark wood base with crystal top. Readers should take advantage of this Trial By Jury, Sullivan..26 counts are given to the profession, and for production by musical amateurs. The Sengs without Words, written in modern SSSinPffilkiin; 1*3.00 bargain offer at once in renewing their on our new Difficult Four-Hand Al¬ To day's Housewife . j Save 75c Manicure Brush. Fine horsehair brush, therefore by purchasing from the Theo. bum. This collection will consist of bril¬ length of the production is about one hour style, hut without extravagant, harsh dis¬ own subscriptions as well as in obtaining bristles twisted in wire so that they cannot the subscriptions of their friends or pupils. Easter Music Presser Company music supplies are ob¬ liant and attractive piano duets, lying in or less, und it Is sung throughout, without sonances. They lie in the fifth grade in There is possibly no better way to evoke tained more economically than from other the more advanced grades, but within the spoken dialogue. It offers abundant op¬ point of difficulty. This is one of the most portunity for the usual soloists and come¬ PlctoriaT^Revlev l *3.25 enthusiasm among choir members than by reach of the average good player. representative works by a modern Scan¬ II. torlal Iteview .. j- s.ve50c dian and there is much bright and attrac¬ dinavian composer. the study and production of a work The “On Sale” plan is often mentioned Every piece wiE be a gem, all of the best and for those who have never taken ad¬ composers being rep resented. As far as tive chorus work. This production u The special introductory price in ad¬ THE ETUDE . 1 $Q CA larger than the usual Church Anthem. vantage of this liberal system let us here easily learned and easily staged. vance of publication is 25 cents, postpaid. Music lyfasters Easter, being the greatest festival of possible the pieces will be original four- Christian Herald . f briefly explain that through this system hand compositions and not arrangements. The special introductory price in ad¬ the Christian year, is an appropriate time the music teacher is offered an opportun¬ vance of publication is 25 "cents, postpaid. A TREAT FOR for the presentation of a fine choir can¬ Our special price in advance of publica¬ Paul Wachs’ Album rHE ETUDE . 1 cn ALMOST '200 ity to obtain for examination music that tion will be 50 cents per copy, postpaid. Met 'all's Magazine .. ! 1*3.50 MUSIC LOVERS and tata and we have five splendid numbers may be kept for the entire teaching season. L’Art du Clavier For the Pianoforte Modern Priscilla . I Save 75c Old New ILLUSTRATIONS which we will be glad to send for inspec¬ At" the end of the teaching season all not We intended to withdraw this work tion. used is returned for credit. This service Album of American By Theo. Lack. .Op. 289 from the special offer before this, hut ow¬ THE ETUDE . ) r/v By JAMES FRANCIS COOKE “The Greatest Love," by H. W. Petrie; enables the teacher to have on hand at Composers for the This work is a modern system of technic ing to labor conditions, it is being delayed, Delineator ) To one . ! T.OU “Dawn of the Kingdom,” by J. T. Wol¬ the time of a lesson material for immediate Pianoforte for piano playing, containing one hundred so we will allow it on special offer for Everybody’s J Address . ) Save$|.25 A Series of Educational Biographies of Great exercises, covering all the various points of cott; “Victory Divine,” by J. C. Marks; sale to the pupil. We are continuing during the current another month. Musicians from Bach and Handel to In addition to these features the Theo. technic in the modern manner. The work Wachs is one of the foremost French “Wondrous Cross,” by I. BergG, and “Im¬ month the special introductory offer on the Present Time mortality,” by R. M. Stults. Try one of Presser Company has a large varied stock is by one of the leading French composers Salon composers, a little above Lange, this particularly attractive and interesting and virtuosos. The work may be used to these this Easter and note the co-opera¬ of all standard publications and also a volume. The pianoforte compositions by Lichner and Bohm. His pieces arc of ■THIS collection of unique biographies is one that will be read with de¬ catalog of over 16,000 numbers. This good advantage, covering a term of years, tion you receive from the choir. modern American composers possess gen¬ drawing-room character of an elevated Special Notices light by all. The romances of music, the interesting bits, the human equipment and a large corps of experL making daily practice of these exercises, order. This volume will contain the most The solo members of choirs can secure uine merit, originality and musical inter¬ nature, the charm of music itself are all included in the most fascinating enced clerks enables the Theo. Presser est. The pieces in this volume will range which arc not over sixteen measures in successful of Mr. Wachs’ compositions, adequate material for the Easter services length, and should be committed to iram- ANNOUNCEMENTS Company to satisfactorily handle all or¬ in point of difficulty from medium to mod¬ chiefly of intermediate grade, about from manner. Best of all, the work takes in composers about whom very little from our excellent catalog, which includes ders, large or small, for any known music ory. The work could be very well called: Grade II1-V. many exquisite gems for all voices. We erately advanced. Some of the most popu¬ is published in current works in America and about whom all active publication. lar composers are represented, including “Daily Studies in Pianoforte Technic.” Our special introductory price is but 25 musicians want to know. All together there are one hundred and eighty- would especially mention: “Hail Thou Whether teacher, student, music lover, Our special introductory price, in ad¬ cents per copy, postpaid. Risen One,” by Ward-Stephens; “Christ James H. Rogers, Wilson G. Smith, E. R. WANTED and FOR SALE one substantial listings in the index. or just “someone” who wants an old or Kroeger, Charles W. Cadman and others. vance of publication, is but 50 cents per the Lord is Risen,” by Delafield; “Death is new music publication the Theo. Presser copy, postpaid. Vanquished,” by Neidlinger, and “Easter Company is the logical source from which Interest in the works of American Com¬ Advance of Publication FOR sale:—Schumann Cabinet Grand This Work Has Been Prepared for Individual Reading Dawn” (new), by C. P. Scott. posers is very largely on the increase, Piano. Mahogany finish. $90. Also small and Self Study as well as for Use in to obtain whatever is desired in music. Pedal Book Offers Withdrawn music cabinet. Address L. T., care The Solo and duet selections will be sub¬ Those not having an account can readily hence aE players should possess a copy of this volume. With This Issue Clubs and History Classes mitted upon request. send stamps or money order covering cost By Joh M. Blose Easter Anthems. New and standard The special introductory price in ad¬ Owing to the scarcity of labor this work The following works which have been FOR sale:—Mahogany Virgil Practice PRICE, $1.00 of items ordered. Any excess amount re¬ Clavier, in perfect condition. Address or numbers from our catalog will be sent “On mitted will be promptly called to atten¬ vance of pubEcation is 50 "cents, postpaid. has been delayed in the process of makinf od up to this time at the introductory prices have now appeared on the market call Miss S. F. Dunn, 268 Park Street, Hack¬ Sale” to choir masters and organists, and tion and due credit given. Accounts are We hope, however, that, as the war is ensack, N. J. we are positive the variety will appeal to gladly opened with responsible parties. Celebrated Compositions over, labor conditions wiE be restored to fnd no further copies will be sold at those MUSIC THEORIST—Twenty years’ expe¬ all discriminating musicians. Surely no music purchaser should ex¬ By Famous Composers normal and that we wiE be able to de¬ pith *>"CeS' ^°Pies are now obtainable eitner on regular account or on inspection rience, desires a position in school or college In addition to the Easter Anthems for perience inconvenience and disappoint¬ This is a volume which should be in the liver this work in a short time as a teacher of music theory, harmony, coun¬ THEODORE PRESSER COMPANY :: PHILADELPHIA, PA. the usual mixed voice choir, we have some ment when it is so easy to drop a line to library of every pianist. It contains just It wEl contain everything essential ® rnrfU1f1?gU ar professional rates, plus the terpoint and canon. Band, orchestra, choral. - exceUent anthems for women’s voices C0S* of transportation. Has no influence. Absolutely on his merits. the Theo. Presser Company, and thus such pieces as are in continual demand, pedal work for a beginner. It is intended Address E. N. C., care Mrs. Cortwright, 1909 alone, and also for men’s voices alone. avoid delays and substitutions. Catalogs, such as “The Second Valse,” by Godard; as an elementary work, containing not only Violin Method, bv Mr. North Thirteenth Street. Philadelphia, Pa. Our exceptional professional discounts prices and any further information cheer- “Serenade,” by Moskowski; “Minuet," by directions, but" practical pedal studies. whkh •*' Pra."*' T- Benjamin, is a method A NOVELTY IN NOTE SPELLING BOOKS and generous “On Sale” plan should be tfon n readllT aGapted for self-instruc- WANTED—Soloist and choirmaster of fuEy sent upon request. Paderewski; “Spring Song,” by Mendels¬ Everybody knows that the study of ability and experience desires position with known and made use of by every organist sohn; “Melody in F,” by Rubinstein, and pedal has never received systematic atten¬ “ J0ntains the 'rest systems, dia- large church. Address A. L., care of The and chorus leader throughout the country. David Bispham’s Album many others. tion from the average teacher. The P°" £7nd Pict,,res ffi'on in" anv bound Etude, Philadelphia, Pa. This volume has been prepared with the pils generally are allowed to use it eveff tSi °r' v N’otwit>istanding the self-in- SPELLING LESSONS One of the real needs of every good which wav, and most of the time wrongly lh " feature °f th« volume, the IN Permanent Binders music library is a collection of the best utmost attention to detail, all of the pieces being carefully edited and revised. This little hook will tend to clear up Cachet “nel ®i,ensivel-v bv the best for the Etude songs. The difficulty has been that such w-holc subject, and in an intelligent M u"! ,' ,The b°ok retails for $1.00. The Etude contains some of the most songs are often picked out by people who The special introductory price in ad¬ -TIME AND NOTATION_ vance of pubEcation is 35 cents, postpaid. systematic" way, so that even the youngest ctses ttl>'Il(menlary Progressive Exer- a words. Man- valuable contributions to musical litera¬ have no artistic conception of the needs pupil can be taught everything connected need hi, f Voire- Surely very little . ___iy, correspond- By MATHILDE BILBRO ture and it is only logical that music lovers of the average singer. Mr. Bispham, ard and „ l eodorsement for this stand- Dr. Wooler, Buffalo, N. Y. with the pedal. We strongly advise This is the only book of its kind which introduces note values time and should desire to keep issues in some per¬ through his rich experience in all parts of especiallv nd^ ?Sd t0 the needs of soprano rhythm in connection with thc spelling of words upon the staff. noted those songs in his repertoire which ONDERFUL OPPORTUNITY made for this purpose that the publishers This is an attractive new volume in i thing which the teacher can impart to tne Rood pdiu"S°prano vo'°e. It is another W The names of the lines and spaces are most readily fixed in the mind by word spell of The Etude unhesitatingly recommend. seem most in demand and those best suited highly successful series headed by Tui OPEN FOR CONCERT pupil. There are things connected *> tical work°nThf -his,PxcelIent and prac- SINGER OR INSTRUMENTALIST ing and the interest of the young student is immediately aroused and the imagina- One is a red cloth binder that sells for to student needs. This coming collection and Rhymes, Souvenirs, and other'norm the true aid , e.work 'S an exposition of with his interesting educational notes and books. the pedal that were never thought of I WITH MODERATE CAPITAL FOR i stimulated. $1.50. This is called the* Big Ben the average pupil. It is something “V Binder. The other is caUed the Weiss making will be exceptionaEy fine in every This new book consists of twelve piec % H^il $£4*2“ Sch001 of Sinp- HIGH CLASS GUARANTEED TOUR By the judicious, gradual introduction of note values and way—not merely for the vocal student the teacher can use to advantage wi OF THREE YEARS WITH WELL- me combinations elemen- Binder and sells for $1.25. This binder is each named for one of the months of i every pupil. The value of the pedal n ’ . tary notation is covered completely and thoroughly in , a green cloth covering. Both these bind¬ and the voice teacher but for the music Perhaps thc best of KNOWN ARTISTE. PARTICULARS manner most agreeable year with its corresponding birth sto never been appreciated, and we are «• | class win, “J,* chorus writings in the same to the student. price 3Q Cenfj, ers are extremely simple to use and each lover who wishes to have continually on AT INTERVIEW ONLY. These are all piano pieces, but each < glad to bring out this work on this v . rnostannLb ljah" ana “St. Paul.” A will hold a complete year of The Etude. hand a representative collection of the best has verses which may be sung ad lib. ALL BOOK PRICES TEMPORARILY ADVANCED TWENTY PER CENT important part of piano playing. _ ffiiria/n.; priate choral number for study ROBERTS-FROST COMPANY The binders make an attractive addition to songs.' The advance of publication price The special introductory price is made an * u^0"' We think we have is 59 cents. cents, postpaid. Out special price in advance of p°1’1 505 Fifth Avenue NEW YORK the physical appearance of a music library. Work. Th„ ,nt edition of this standard Telephone 3881-3852 Murrey Hill THEO. PRESSER CO. S^^Iy house PHILADELPHIA, PA. tion will be 50 cents per copy, postp410- tbe retail price is 50 cents. n addressing our advertiser.. ? etude the etude Page 126 FEBRUARY 1919 FEBRUARY 1919 Page 127 Schools and Collo^^s ScKools and Colleges MIDDLE WEST AND WESTERN _ , NEW YQRK* NEW ENgLAND AND PENNSYLVANIA American Conservatory of Music Chicago Musical College Chicago’s Foremost School of Music OF MUSIC AND ARTS W THE LEADING AND LARGEST SCHOOL OF MUSIC IN AMERICA—54th Year johnj.Hatt.t-.dtTHIRTY-THIRD SEASON L‘ol?wn.3iVkrt,}>^i , *! RALFE LEECH STERNER, Director New York City s most beautiful and home-like Srkirwvl j*. * j »» Announces the Engagement of “Guest Teachers” ALL DEPARTMENTS OF MUSIC AND DRAMATIC ART NINETY ARTIST INSTRUCTORS OF SCENE FACING CENTRALPARK AUi'd Arts with UNSURPASSED BEAUTV LEOPOLD AUER CLARENCE EDDY No advance in rates and with the same celebrated faculty including Arth OLIN I KAL PARK SUMMER SESSION of Five Weeks, June 23 to July 26,1919 Illuminate Minerendino, Frank Howard Warner, S. Reid S~n«^.1Tch»?tern?& Aloys Kremer> Harold A. Fix, Clarence de Vaux Royer, HERBERT WITHERSPOON Special Course in Public School Music of Six Weeks DORMITORIES IN SCHOOL BUILDINGS AND PROPER CHAPERnNirc Schuler, Mme. Clara Lopez, Helen Wolvertonand others. Noted Singer, Coach and Vocal ENTER ANY DAY. TWO PUBLUC ?ONCERTS IvERY WEEK TERMS®°NCALUDl,NGRECREAT,ON ADVANTAGES. OPEN THE ENTIRE YEAR. PUPILS MAY Among the prominent artists may be mentioned: Karleton Hackett, Adolf Wcidi. SEND FOR BOOKLET AND^TWCMRS' BToGRTpHlliARD' PRACT,CING- ETC- ON APPLICATION. Wm. Middleschulte, Heniot Levy, Allen Spencer, Herbert Butler, Viclor Garwood, Silvio Scionti, Ragna Linne, O. E. Robinson, E. Warren K. Howe, Enrico Tremo.ui, N_MEHLIN PIANO USED EXCLUSIVELY § SUMMER SCHOOL Arthur 0. Andersen, Louise Robyn and others of equal prominence. JUNE 30th to AUGUST 9th t {SIX WEEKS) Desirable Dormitory Accommodations. Many free advantages. Teachers' Certih-WI The Way to Make Players RUDOLPH REUTER LEON SAMETINI cates. Diplomas conferred by Authority of State of Illinois. Catalog mailed fre., Noted Pianist and Teacher World-famed Violinist and Teacher ALEXANDER RAAB FELIX BOROWSKI AMERICAN CONSERVATORY OF MUSIC 571 Kimball Hall, Chicago COMBS CONSERVATORY Distinguished Pianist and Teacher Noted Critic, Composer and Teacher of Theory PHILADELPHIA HAROLD von MICKWITZ LOUIS VICTOR SAAR THIRTY-FOURTH YEAR Well-known Pianist and Teacher Well-known Composer and Teacher of Theory A Residential and Day School of unparalleled Fadlines for the attainment of a complete Above are a few of the well-known members of the faculty teaching this Summer notOLUNBIA School professional “Virgil Method (IT Course and private lessons in Piano. Voice. Violin. Organ. Theory. Public Schc of Opera,Opera. Orchestral Instruments. Expression.n. School-„School of Acting0 . I SGHOODflOOD OF"’0F2 of * icture Playing A SCHOOL of INDIVIDUAL INSTRUCTION of Piar - —-Violin. Public Rta Jnrivaled free Advantages. Dormitory accommode Teacher’s Course $125.00—Enter any time uons. Complete Summer announcemen uest. Complete Catalogue on request, Individual end dee, instruction . Practul mt B s f ‘ s ***? **'1 n*nCb*!* ^'i'* fl**”*). CARL D. KINSEY, Vice-Presiden lanager, 620 S. Michigan Ave., Chicago, Ill. Sure employment lot graduates . Send for Md* FELIX BOROWSKI, President ffl// Tern >ept. 15, 1919 ^>R. F. ZIEGFELD, President Emeriti For explanations write Mrs. A. M. Virgil P. O. Box 582. LOS ANGELES. Celtfotni, Faculty: Gilbert Raynold. Combs,Pi.in; Hugh A. Clarke, Mur. Doc.. Theory;Theory WillieWilliam Geiger, IV'u . Bac.. USIC Nohon A. t hes.nutt. Voice; Herman S.ndh/, Violence to; Ruucll King Milhr,Ijf, Organ,Org. and V5 assistant te I CLARE Q8B< All bronchr., Norma! Training" ' ~ School- Music Supervision. VIRGIL PIANO CONS. 11 West 68th St., New York Complete Military Band Dep, In e -1. Two Complete Pupils Symphonyymphony Orchestras.C_ Pennsylvania. I v CEum Lake Forest *Uhe only Coni Piano, Theory, Voice, Violin In the Slate with Dormitories for Wome University School of Music \ School of Ins ation, Enthusiasm, Loyalty and Success Public School Music Methods illustrated rear tiooft t Normal Training, Advanced Inter¬ Illustrated Year Book Free pretation and Post Graduate Courses. yearn course required for f*w GILBERT RAYNOLDS COMBS, Director Offices, Studios and Dormitories Conservatory Kindergarten, Ear Training, Sight Read- ( ertlfle $u» HpecUl ernjnw Broad and Reed Streets ELIAS DAY^Dm! irg. Orchestra Conducting, History of History of Musla and Append Music, Demonstration Children's Classes. “Definite Preparation for a £ Free year book. SASKS V superior faculty, teaching e Students’ Orchestra and Chorus. ZECKWER-HAHN J"sic and n-- A-* ^ K COLLCOLUMBIA SCHOOL OF MUSIC I ■ Box 87.87 509 So. Wal ** *“ Ihicago, Ill. ■ PITTSBURGH e securec *4mmn ■■■■dr PHILADELPHIA MUSICAL INSTITUTE, Inc. Studen 1617 Spruce Street, Philadelphia Modern equipment, thorough instruction, The live school of the district EFFA ELLIS PERFIELD AddJ^s8°fTan Private Teachers AssociatTFicuiiy Membership BURROWES COURSE of music study eminent ra-ulty. for prospectus, nddress 109lWMt4Sth'st^t'NewCYoriraty in rhp WFSTFDN mNgFDViTOD\. . tr their.u___ pupil, re ruler... CONSERVATORY_ _ADVANTAGES_ CHARLTON LEWIS MURPHY, Managing Director 4259 Fifth Ave. -7rdy • giving lewon. " end then "more leuoai ’ re. Prew. F.. H. SCOTT. Kimbell Hell, Chicew. ^nt!mVtinsai^J^rimary Correspondence or Personal Instruction " ..6c Cl...... doubled b, u.. of Ihi. method sm *iw,',e htemurc fjLtoTti KATHARINE BURROWES DETROIT INSTITUTE OF MUSICAL ART Michigan State Normal College Dent n ... 178 FJFTH AVE., NEW YORK CITY, or • ■ Ut HIGHLAND AVE., HIGHLAND PARK, - - DETROIT, MICH. DUNNING SYSTEM Has over 1000 Teachers—Classes Larger Every Year—Teachers Earning $2500, $3000 and $4000 “Strongest Faculty in the Middle West” Conservatory of Music a Year with the Dunning Work Alone—Why is This ? Ypsilanti, Michigan Because its standard has never been equaled or such phenomenal result, obtained by any other plan for teaching beginners. A School which offers every advantage Courses in singing, piano, organ, violin MRS. CARRE LOUISE DUNNING N RMAL CLASS FOR TEACH17RS. MILWAUKEE, OREGON. and theory. INSTITUTE OF MUSICAL ART Normal Classea Port.and, Oregon, June 17th, Ci.icago, Ill., July 31*t, 1919. Courses for training supervisors and Mrs. Oscar E. Busby, Nashville, Tenn., July 22d| Little Rock, Ark., Sept. 16th; Mobile, Ala., incidental to a broad musical education. teachers of public school music. OF THE CITY OF NEW YORK Fifty artist teachers. Highest standards. Graduation leads to a life certificate Anna Craig^Batea, NormJ Oass, San Antonio. A -IS Lectures, Cot valid in most states of the union. iroughout the year, Artistic environment. FRANK DAMROSCH, Director, “ne £5., 191* Addres^3Mairvi““‘’., ToUdo’, Ohd. ranch Studios. Excellent Dormitory Ac- Total living expenses need not exceed ■«. Harriet Bacon MacDonald. Normal CIarr Tul, Okla., January 6th, 1919, Chicago, Teachers’ certificates^ dip- five dollars per week. Tuition and fees darch 3d, 19i9. Address 3623 Pine Grove Avenue Ch »go. exceptionally low. Write for catalog- —Ithaca Conservatory of Music=r ss Clara Sabin Winter, Normal Classes, Wichita Kans., Sept. 3d; Topeka, Kan.., GRACE CHAMBERLIN, Business Manager iov. lithe Address 117 E. Third St., Wichita, Kan. 1117-1119 WOODWARD AVENUE - DETROIT, MICHIGAN Dir. CONSERVATORY OF MUSIC Special advantage, for tho.e who look fore BOX 9, YPSILANTI, MICHIGAN. Master School of Music Street, Brooklyn, N. Y. iST-iUSSSa F^JWoS; Texas, ISl Mrs. Jea-et^e C. Fuller^ Normal Cla..e., July let, 1918, Rochester, N. Y. Addre.. 50 Erion iX by » competent and HUNTINGTON COLLEGE CONSERVATORY rex' ARLINGTffN,^®^ ""brace nearly ■ ZT “ ®u*ic—Theoretical, Vocal and ^iddre.e^SinWforth^rMG^alias^^exaaT***** ApHI 20‘h! DenV"' Co'°- Jun« Lawrence Conservatory fruroentaL Addition.! coui^s in dnn The Registrar, 1 De Witt Park, Ithaca, N. Y. Irs. Harry A. P-** - — .1' ~Claas, ”New York” ' City, June 28th. Address 78 W. 103d St., ,n£ and rhythmic dancing are offe New York Ci*y rmi.u, vun,t, MAKMUNY, HISTORY OF MllCir PIT! D. WiliU, Normal Cl Waco, Texas, August 5th and Sept. 16th, 1918. SCHOOL MUSIC, LANGUAGES, EXPRESSION and DRAM ATIC ART One of the foremost S. 4th St., Waco, Teal Giving Teacher. Practical Work Applicable to Their Need. Full information and booklet of ! BOARDING FACILITIES EXCELLENT—NO 1 Conservatories of ind American endor«er«. Milwaukee, Oregon supplyanylntormattondesired. Address, Box 512 S^fSSSStScfJK! HUNTINGTON, INDIANA the Middle West donniSh' °r <*'rformer»- Tl.o s hool Milwaukee-Downer College DEAUTIFUL location; excellent buildings; Crane Normal Institute of T lusic Milwaukee, Wis. Fi» 0,1.1 ® cultured, home-Iikp ntmoenhoni Department of Music ratalog address the Rcgi Training School for Supervisors of Music faculty of well-known artists: courses BOTH SEXES Obtain Records for Your Talk¬ Offers Piano, Organ, Violin, Vc in all branches of Music, theoretical sod Voice culture, tight-singing, ear-training, harmony, form, music-history. choru9-conducting. methods, VALPARAISO UNIVERSITY applied: beautiful dormitories; coimetted The University School of Mui INDIANA. practice-teaching. Graduates hold important posi- ing Machine By Mail Student, may end Public School Music! with a high-grade college: reasonable terms. CRANBERRY piano SCHOOL THE EXPENSES ARE "tHE= LOWEST*" * n,ver,,t>r- 53 MAIN ST., POTSDAM, NEW YORK The Talking Machine Dept, of the Theo. Presser Co. will give careful "U,” address REGISTRAR Tuition, $36.00 pet k. « „: i— quarter of twelve weeks Board with Furnished Room. $19 to $31 per ou.rter APPLETON. WISCONSIN Teachers’ Training Courses attention to all inquiries on orders for Talking Machine or Victor Record* Minneapolis School of Music, FAELTEN SYSTEM. Booklet A Large and Exceptional Stock of Victor Records CATIONAL AGENCY enables this department to supply many records that may be unorocur HALL - - NEW YORK A MUSICAL EDUCATION SHOULD MRS. BABCOCK able elsewhere. If interested in records send your name requesting th Si.. Se. MINNEAPOLIS, MINN. Save Magazine Money huuS^f the etude. /"JFFERS Teaching Positions, Col- A Monthly Bulletin of New Records Sent Gratis new 1919 magazine guide. Send a postal'foryour «py ,o r*a‘n C,“b8 “ ‘'*,ed “ THE ETUDE'S BE OBTAINED FROM THOSE leges, Comervatoriea. School*, ^'WrightSy.trmdW - WRITE NOW FOR IT - THE ETUDE, Theo. Presser Co., Publishers, Philadelphia Pa BEST EQUIPPED TO INSTRUCT Also Church and Concert Engagement* THEO. PRESSER CO., Talking Machine Dept., Philadelphia Pa J!^ll»l.»r«.w CARNEGIE HALL, NEW YORK Hesse mention THE ETUDE when addressing our advertisers. pleats mention THE ETUDE when addressing our advertiaa THE ETUdE Page 128 FEBRUARY 1919 DirectorT^^ Schools and Colleges VALUABLE GIFTS FOR ETUDE SUBSCRIPTIONS rTUDE readers, who send subscriptions to us receive™ n p'-'tOL.KIr OHIO AND SOUTHERN J CONSERVATORY V , 1 AMERICAN L articles for personal and household use—as ’rewards for tLYr^ff &?d V>cmMmi?lftS7~mVS1?’ mUS1CaI merchandise, and CINCINNATI CONSERVATORY of MUSIC BEECHW00D1 3? profitable, as well as congenial, spare time employment Th7 Iff ^ ETUDE subscription-getting thus becomes a ARNOLD leadingmusicalmagazine—THE ETUDE—is thu^liberallvrr CQPejded m ,lntrC^duCinS to your fnends the worlds combs: eaa___-__ hUS llberally rewarded. Send a postal card for our illustrated Premium Catalog. Elocution—MUSIC—Languages BROWN Non-Tarnishable Platinoid Picture Frames SYSTEM. Improved!!- COLD MEAT FORK Faculty of International Reputation THREE SIZES Pvi'ontinnoi od™ntages for post-graduate and repertoire DUNNING Sire No. 1 yours for One new yearly Subscription and u • work. Departn ■ of Opera. Ideal location and residence CHICAGOESSSa&SS of sires 2 end 3 for Two yearly Subscriptions ° °ICC Voice training for Chjuch CINCINNATI These frames are substantially built, made of the unsurpassed, FABRI E non-tarmshable Platinoid, backed with velvet. Specify number in ordering. COLUMBIA ~?S„x SIZES HAWTHORNE N°.l. . . Height 6 inches. Width 4^ inches. DANA’S MUSICAL INSTITUTE No. 2. . . Hcght 6H inches. Width 5 inches. WARREN, OHIO DAHM-PETERSEN No. 3. . Height 8 inches. Width 6^ inches S™T/°r FOaUR rY,earl>: Subscriptions. Mounted in Sterling Silver handle of the latest THE SCHOOL OF DAILY INSTRUCTION IN ALL KRIENS" • CONSERVATORY OF MUSIC thread design. A useful arttde that should adorn the dining table and silver chest of every home. BRANCHES OF MUSIC DETROIT Gold-Filled Shirtwaist Set Address LYNN B. DANA, President Desk E, WARREN, OHIO MOULTON: BRACELETS BON-BON DISH KNOX One Subscription ESTABLISHED 1857 MARLOWE In a novel and attractive de¬ PEARHTW CONSERVATORY NEW YORK sign, quadruple silver plated. In¬ J lniUlaU of Mule tad Dna*tk An I I BALTIMORE, MD. WESTERN terior gold lined. Size 7 inches. HAROLD RANDOLPH, Director VIRGIL _Subscription One of the oldest and most noted Music Schools in America. Four Subscriptions. Bangle of ex¬ FOUNTAIN PENS SOUTHERN One Subscription. Shirtw aist set of three pins — a bar pin, 2y$ ceedingly neat and attractive chased Special Low Rates for Beginners SOUTHERN CONSERVATORY OF design. About % inch in thickness. BEETHOVEN CONSERVATORY Send for handsome Catalogue to the I CONVERSE COLLEGES inches in length and two small pins, BROS. EPSTEIN BRYANT each 1 inch. Attractive pattern. Made of very best quality gold-filled One of the oldest and best Music Schools in the United States 4525 Olive Street, St. Louis, Mo. Three Subscriptions. This pen is of a very attractive design, I Gold-filled; suitablefor everyday use. stock. suitable for ladies. Has I4kt. gold pen, with two gold hands. MR. and MRS. CROSBY ADAMS Atlanta Conservatory of Music KING SOLOMON AND KING DAVID gfTl Annual Summer Classes tor Teachers of Piano Our Most Popular Premium for the Study of Teaching Material mSSS^lI TZZfS. Bispham, Scott and Werrenrath ’ big at the ItelnuM Werrenrath recital al Aeolian HaR NeeYorl Send us three subscriptions for The Etude at the full price, $1.75 The Etude MONTREAT, N. C. Fall Session Begins September 2d, 1918. on It. It waa warmly applauded/* *<*/*** M+nc*j #*r*« y I Write fJuItT klet7 tl rg KutUne"and strong BENT ON RECEIPT OF PRICE TO THE PUBLISHER! ($2.00 in Canada) and earn vour own subscription for one year, either Theo. Presser Co., Publishers PHILADELPHIA, PA, new or renewal. "'mOnTrEAtT north'CAROLINA THEO. PRESSER CO., 1712 CHESTNUT STREET PHILADELPHIA, PA.

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200 YEARS OF INSTRUMENT MAKING Convenient Monthly Payments plated cornet. You will find over 2,000 instruments in our catalog. Every one is backed by our guarantee. Every one is offered to you on the same liberal plan. The name of Wurlitzer has been stamped on the finest musical instruments for 200 years. Wurlitzer has supplied the United States Government with trumpets for 55 years. We are specially prepared to assist in the formation of bands or orchestras. Send the Coupon Send your name and address on the coupon (or in a letter or post card) and get our new catalog. It takes 160 pages to show you the instruments from which you may choose. The catalog is sent free, and without obligation to you Merely state what instrument interests you —and send your name. The catalog and full details of our easy terms will come to you immediately. The Rudolph Wurlitzer Co. So. Wabash Ave, Chicago—Dept. 2302—E. 4th St., Cincinnati, O. City...