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6-1-1921 Volume 39, Number 06 (June 1921) James Francis Cooke

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THE ETUDE Page 862• JUNE 1921 New Anthems “KEEPING STEP AND WITH THE UNION” Part Songs BY NOW is the the time for Choir and JOHN PHILIP SOUSA Chorus Leaders to seek out new ma¬ lieutenant-commander, u. s. n. r. f. terial. Single copies of these numbers may¬ be had for examination purposes. Dedicated to Mrs. Warren G. Harding RB yoif satisfied with your out¬ A look in the profession—don t A TYPICAL SOUSA MARCH WITH A STIRRING you feel that you couhT estab¬ Cat. No. i 1 lish yourself in a position of greater BERRIDGE, ARTHUR PATRIOTIC STORY IN ITS VIGOROUS 20006 (O) Lamb ol God, 0 Shepherd True responsibility and incidentally enjoy 20007 Show Us Thy Mercy. RHYTHM AND MELODY a better financial future if you spent 20005 Truly God Is Good to Israel. a little time on brushing up your own BERWALD, W. 20036 All the Way My Saviour Leads Me knowledge? . 20001 Blest Be Thy Love, Dear Lord An ounce of proof is worth a pound 20017 Easter Day Be Among the First to Play It! of promise. Making claims is easy— 20002 King of Glory, The 20003 Onward, Onward “making good” is the real test_of Artists Endorse Our Lessons HIS MARCH is, without doubt, the greatest inarch since the merit. Many readers of The Etude___ BRACKETT, F. H. T —teachers and students, have been 15780 Let Not Your Heart Be Troubled earlier successes of JOHN. PHILIP SOUSA. “Keeping DALE, NORWOOD 20039 Children of the Heavenly King. Step With The Union” is a musical inspiration to better Ameri¬ others7have Been* mu/ announcement in this publication for years, but FEDERLEIN, GOTTFRIED H. canism” and is a new gem in the crown of the March King. as yet have no direct personal knowledge of the 15798 O Love That Will Not Let Me Go. 15797 Saviour, Let Thy Love for Ma.. GLEASON, GEORGE 15799 The God of Abraham Praise. We join ourselves to no party that does not carry the flag and Sherwood Piano Lessons JONES, WALTER HOWE 20040 And When the Sabbath Was Past (Violin keep step to the music of the union. for Students (From a Letter of Rufus Choate jn 18S5_ Contain complete, explicit instruction on every phaseiof piano jptasjjfc 20014 Brightesl 20024 God HathHa Sent His Angels No stone has been left unturned to make this absolutely perfect. It would 20013 The Lori.--Lord Is My Light FULL BAND $0.50 PIANO SOLO $0.50 Surprise you to know that Sherwood devoted to each lesson enough tune to 20018-- Sing- "Withr"'L All theth Sons of Glor 20031 Te Deum in A SMALL ORCHESTRA .75 PIANO DUET earn at feast $100.00 in teaching. It is possible for you to 8^ Mark , E. F. time and energy for almost nothing, compared to what it cost. The lessons 15727 God Is Love. FULL ORCHESTRA 115 PIANO, SIX HANDS .80 'are illustrated with life-like photographs of Sherwood at the piano, they MARTIN, REGINALD W. TWO PIANO, EIGHT HANDS $1-25 are given with weekly examination' papers. 20025 O Lord, How Excellent Is Thy Name . MORRISON, R. S. 20011 Thou Artthe Way, the Truth, the Life .... Published by PARRY, JOSEPH Sherwood Normal Lessons 15786 The Pilgrims’ Chorus. THEODORE PRESSER CO., Philadelphia, Pa. POTTER, ERNEST FELIX 20033 Benedictus. for Piano Teachers R1SHER, ANNA PRISCILLA 20038 The Song of David. Contain the fundamental principles of successful teaching vita1 ROHRER, GERTRUDE MARTIN 15790 He Leadeth Me. SCHOEBEL, O. M. 15787 Come, Let Us Praise the Lord. STULTS, R. M. 20008 Saviour, Breathe an Evening Blessing clear by photographs, diagrams and drawings. WILLIAMS, T. D. 20030 Blessed Art Thou, 0 Lord Songs PART SONGS FOR MIXED VOICES of the Harmony CLARK, F. A. ! Annie Laurie. A knowledge of Harmony Is necessary for every student and J My Old Kentucky Home North American teacher You can study the Harmony Course prepared especially for us by Adolph Rosenbecker, former Soloist and Conductor, pupil Christiani. -10 of Richter and Dr. Daniel Protheroe, Eminent Composer, Choral Con¬ ROCKWELL, GEORGE NOYES ductor and Teacher. You will receive the personal instruction of 15726 The Cat’s Predicament.12 Indian SMITH, FRANK J. Herbert J. Wrightson, Theorist and Composer. You need Harmony 20009 Long, Long Ago.12 A Collection of Nine Indian Songs and this is your chance to study the subject thoroughly. 20010 Rock Me to Sleep.10 With Preface and Explanatory Notes PART SONGS FOR WOMEN’S By Thurlow Lieurance Harmony Teaches You to VOICES PRICE, $1.50 4 Detect Wrong Notes and faulty 1 Analyze Music, thus enabling progressions in printed music or TWO PART v’ou to determine the key of any during the performance of a com¬ „ . _ , W 1 y- keen Recorded, Harmonized and Greatly composition and its various har¬ DOUTY, NICHOLAS monic progressions. position. 20034 Oh Love, Oh Love (Love Dream—Liszt).. .15 krTW". 2 Transpose at sight more easily 5. Memorize Rapidly, one of the PITCHER, RICHARD J. numbers included in this tollectmn have been used by very greatest benefits derived from 20026 A Happy Song.12 accompaniments which, you may he the study of Harmony. 20027 It Was a Lover and His Lass.12 FRIEDA HEMPEL MAV PFTFRSON called upon to play. SCHUMANN-HE1NK 6. Substitute other notes when for JULIA CULP . JULIAMYRNA CLAUSSEN SHARLOW WINCEScdaMCFS INGRAM1NPRAM 3 Harmonize Melodies correctly FRANCES ALDA AUCENEILSEN and arrange music for bands and any reason the ones written are CHRISTINE MILLER caRounala^ari inconvenient to play. BARBARA MURIEL MARIE SUNDELIUS SoSatB conneE cake bevnabd COSTA,“m. NICHOLAS DOUTYDAVIDa BISPHAM HENRI SCOTT In Measured Tread. Unprecedented Special Offer! GEST, ELIZABETH Other Foremost Artists and Teachers The Milky-Way. THESE are truly vocal gems and hundreds of thousands have Will you take advantage of our offer of 6 lessons which we offer L1EURANCE. THURLOW S to Etudf readers without charge or obligation on their part? We By the Waters of Minnetonka .. \ given them an enthusiastic reception. Artists and teachers RISHER, ANNA PRISCILLA will send you 6 lessons from the Normal Piano or Harmony Course Little Fishing Boat. _2 everywhere are using Lieurance’s Indian Songs, and the or16 lessons selected from some other subject, if yon prefer. We WARD, FRANK E. have courses in Piano (one for students and one for teachers), Har Why So Pale?. assembling of nine favorite numbers in one album is a convenience ALFRED for those using them as well as being an ideal, form in which to mony Voice, Choral Conducting, Public School Music Violin Cornet, Guitar and Mandolin. Select the course you are interested m and become acquainted with them. All the native b^tf hisbeen retamed write now for 6 lessons and catalog. You will receive full details of in Mr. Lieurance’s work to make these aboriginal hidden beauties works PART SONGS FOR MEN’S VOICES the course and he under no obligation to us. The cost is nothing and you will benefit much. BERWALD, W. of art for practical use. CONTENTS 20022 Blow. Blow, Thou Winter Wind 20021 My True Love Hath My Heart Bv the Waters of Minnetonka From an Indian Village 20019 Tell Me Where Is Fancv Bred ByDy .Lthe Weepingw..ning Waters From,n Ghost WatersDance Canyon 20020 Wake, Lord and Ladies Gay. University Extension Conservatory SMITH, FRANK J. Sing-Moon Flower Iadian Spring B,rd 20009 Long, Long Ago. Rose on an Indian Crave 20010 Rock Me to Sleep. A100 Siegel-Myers Bldg. Chicago, Ill.

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Page 86J+ JUNE 1921 Preparation Worth While Works r'i For Use In Summer is A i THE ETUDE Music Classes VOL. XXXIX, No. 6 Single Copies 25 Cents JUNE, 1921 SUCCESSFUL FIRST INSTRUCTION BOOKS New York’s Music Week Strong INSURING INTEREST AND THOROUGHNESS What Do You Say? Tv April New York celebrated its second annual ‘‘Music Do you express in your personality, dress home friends Week,” the idea of which was “to focus public attention on i Beginner’s Book I thoughtsf the benefits your life-work m music have brought music through a concentration of musical activity and to spread the influence and benefits of music more widely among SCHOOL OF THE PIANOFORTE—VOL. ONE | fl Support By Theo. Presser, Price, $1.00 | y°U?When a cat enters a room full of people, it says certain the P“Pleorganization pr0Ceeded through the following chan¬ This elementary piano instructor has had an unprecedented success thine-s It may sav I am a nice, clean cat with a smooth coat, ihis elemeiiia y R . evervwhere as just the thing for the young | hr It eyes and a good disposition. Or it may say I am a nels: - - ■ mlt S y, board-yard, sleep-dispelling bruiser, and if you Musicians and Concert Man- TO A SUCCESSFUL and SAT¬ Churches come very ^near to me I will bite and scratchjom & Civic Societies Neighborhood Orchestras When you enter a room, a car, an elevat , ’ Community Choruses ISFACTORY OPENING of scales, is the scope of this work. | Philanthropists and public- ( theatre, you say a great many things to all observers mthout Hotels and Restaurants spirited citizens Industrial Plants and Mercan¬ NEXT TEACHING SEASON Student’s Book ““EXeC Tvbited the home of a renowned teacher Public Libraries SCHOOL OF THE PIANOFORTE—VOL. TWO , tile Houses . T He wfs along in years and had made a fortune from Schools and Colleges By Theo. Preeeer, Price, $1.00 | Moving Picture Houses °hL textbooks Hrs hogme was an untidy conglomeration of Social Settlements Intended to follow The Beginner’, Book: or an,’ other first ijnsttuctor, Music Clubs and Societies Theaters this volume has met with a flattering reception. It bridges th gap between cheaply made, inartistic furniture, frightful pictures, land Music School Settlements scape rugs, junk, trash, bad taste, extravagant, ta"'dry, cheap, Welfare Institutions, includ¬ Music Teachers A Most Vital Point ing New York Community including four sharps and four flats. At the end of the book all the scales horrible Where was the classical beauty of Rome, the d g y Musical Instrument Manufac¬ Service, Y. M. C. A. and are given. o? Marcus Aurelius, the philosophy of Cicero the charm of turers and Merchants in Preparing is to Y. W. C. A. Virgil? The professor himself was sour, crabbed, narrow, par¬ Musical Organizations Women’s Clubs A PIANO COURSE OFFERING MATERIAL simonious, pin-saving, slovenly, irritable. “classical What could the average person think of the classica FOR CLASSES OF EVERY GRADE learning” which could produce such a creature in such a home? F7 hu"dE y EEtEgTTrsuS Order Teaching learning ^ unless y0U represent m your Material Early The Standard Graded Course of Studies I personality, in your habits of thought, m your home, in your Theatres, schools, choral societies, moving pic urn, FOR THE PIANOFORTE | anuearance in the books you read, the friends you make the special music. Music posters, announcing ^at it .g ^ TEN GRADES—Price, $1.00 each—TEN VOLUMES | flowers you love, the children who smile with joy when they Week were to be seen m windows everywher . Abundant Reasons and Convincing Argu¬ !ee you,-what your life-work has brought to you,-do not By W. S. B. Mathews | doubt’that interest in the art Yoltftl,a iU Eend- ments can be Advanced in Favor of this The Standard Graded Cour.e is to Music like a keel to a ship. With | hope to convince others, with sermons and arguments, that this carefully selected “keel” all other material may be added as needed K innssip is a Great universal human need. ^ ~poP;Eon can do such a thing vihy should and the whole musical training will be well balanced and progressive lhe | ' The scores of musicians who do not indicate that music ORDER EARLY PLAN course comes in ten grades—one dollar for each grade. With special work | ,ou stop until you have had * dErth“re,«i“to the Esec- during the summer the student should be able to master an entire grade in | has brought them better judgment, broader thoughts, ^ But the thinking teacher has long realized two months. < taste, kinder sentiments, greater tolerance and bea^ SfioE! of tZ YorVs Music Week, 105 West Fortieth the wisdom of ordering next season’s sup¬ should remember that what they say with their P^sonahties Street. ___ plies well in advance, and therefore to most A HARMONY CLASS APPEALS WHEN A and surroundings, before they have a chance to openi their mouths, is far more eloquent than the most persuasive phrases. teachers nothing more than a reminder is CLEAR, CONCISE BOOK IS USED Enter the Indian at the cide/'caupolican, who from the wild and woolly,wes . ] t ■ vaudeville with his necessary at this time. Elizabethan Accomplishments for years has been making a smatinW™ '* h he madc his fine presence and majestic voice. Strang y Harmony Book for Beginners An editorial in the February Etude, upon “Intense Ama¬ JORiBFL V, the plan is to book "On Sale" orders durian the early By Preston Ware Orem, Price, $1.25 | debut in the role of "Mathis m e»e P > j5 identical no summer months subject to delivery on or before a date teur Interest in Music,” was copied in many papers. One writer by IhrCceehof omk contour J P ^ ^ quickest mail specified by the teacher. Orders received i jgust First are Lays a strong foundation for future musicianship by giving the main | combined In one shipment prepaid to ceoti ■Ibutlng points in commenting upon it refers to a paragraph in Mr. W ■ J • ORDER MUSIC forwarded a...... —*—— — —- - essentials of the subject in such simple, understandable and interesting man¬ e saving in transportation charges Is a ner that it will prove invaluable in the class or for self-help work. This workhas Henderson’s new book, The Early History of Stnging » winch SUPPLY HOUSE I means much In these days of high cost FOR SCHOOLS, rence Is the certainty of having one’s proved a success from the start, and many world-known musicians, sqch as the writer refers to the attitude of the English public of Elwa Watahveasso and others will be heara in oyt John Philip Sousa and others, have congratulated the writer on its merits. COLLEGES, bethan days toward music. Never did the tide of art in‘ Britain unquestionable.______TEACHERS AND rise higher than in the time of good Queen Bess. At the sam LOVERS OF MUSIC STUDY BECOMES A PLEASURABLE PASTIME moment England was making its great strides toward world Whitman's Choice WRITE NOW AND— IN A MUSIC HISTORY CLASS power It was one of the busiest periods m the history of When Walt Whitman ,vas editor of The Brooklyn E^fe THEODORE Albion. Yet it was a time when a gentleman of position and Let us know the number of pupils expected power was also expected to have certain culture and grasp of PRESSER next season. Standard History of Music the higher things of life. Henry VIII, Edward VI, Anne Boleyn State the grades and styles of music desired. By James Francis Cooke, Price, $1.50 all were enthusiastically musical. “The ladies of Elizabeths by saying that if he J ct,„ice .honed little of the COMPANY A history that has pleased thousands. Music lovers are here furnished | court could read at sight and accompany themsel es on hde Give the date the material should reach you. interesting reading, and the music student is supplied with 40 story lessons | or other instruments. An educated gentleman of tins time « SCC-°rdi„Tth« 3 t heitlcEusical instrument, with its 1710 - 1712 - 1714 in music lore. This history has been used with great success in summer b CHESTNUT ST. RESULT- class work by hundreds of teachers in all parts of the country. § expected to be able to sing at sight and even to be acquainted Tote moaning L. and with the art of descant, so that he could improvise a part on P»ed out of existence in any home^of nally effective PHILA., PA. We Will send a selected supply of material Specially Selected Material for Summer Classes •riven melody. Musical instruments were at hand everywhere aecordions, seen ,n v,u

Please mention THE ETUDE when addressing our advertisers. Your First Source of Wealth Your Report on The Golden Hour Your first source of wealth is time. This particularly is It is too early for us to present to the readers of The true of the music teacher and the music student. What you Etude any report of the activities of Etude enthusiasts upon do with your time is the determining factor in every success The Golden Hour. Published, for the first time in April, it which will come to you in later years. was our hope that this would not be regarded in any way as Time, like air, is the most evenly distributed ot all our New Aspects of the Art of Singing in America merely the plan or ideal of any one publication, any one group, natural gifts. You have as much time as any other person. party or organization. The material, the plan, the text, any An Interview Secured Expressly for The Etude with the It is possible to spend it so that it will bring a very little thing, may be reprinted by anyone with or without recognition Well known Concert arid Operatic Baritone return. You can spend it so that it will bring a great return to The Etude. You have to spend it somehow; why not spend it profitably? Maa$r of the greatest movements the world has ever known You do not get our meaning yet. You are doing some¬ REINALD WERRENRATII have developed without any formal organization, and it was our Of the Metropolitan Opera House thing now which brings you an immediate return or will bring feeling that an attempt at the arbitrary regulation of any¬ you a return in the future. You may be giving lessons at, let Reinald Werrenrath studied first ivith his father. At thing which would eventually require such elastic treatment in concerts through England and Belgium. George us say, $1.00 an hour. Your lessons may be worth a great Remold Werrenrath was born in Brooklyn, N. Y , the Boys’ High School and at New York University he would limit the spirit of The Golden Hour rather than extend it. IVerrenrath came to New York in 1876, by the influence deal more than that, but you are not getting that for them. .August 7, 1883. His father, Georgy IVerrenrath. was a ivas leader of musical affairs throughout the eight years Six people working in any reasonably small district, mak¬ of Mine. Antoinette Sterling and of the well-known Why not? That is for you to find out. Some other teacher distinguished singer, and his mother (nee Arctta Camp) spent in those schools. He studied violin with Carl Venth ing appeals to the press, to the clergy, to the business men, to Dane, General C. T. Christensen. He immediately be¬ for four years, and has as his vocal teachers Dr. Carl is getting more than you. If you deserve more, why not set is the daughter of Henry Camp, who was for many came well known by his appearance with the Theodore the politicians, to the school leaders, can accomplish wonders. years musical director of Plymouth Church during the Dufft, Frank King Clark, Dr. Arthur Mecs, Percy Rec¬ out to-day to get it? Thomas Orchestra, as itiell as by his engagement at Ply¬ tor Stephens and Victor Maurel, giving especial credit Determine to introduce The Golden Hour, as the ideal ministry there of Henry Ward Beecher. George Wer- mouth Church, where he was soloist for seven years. He for his voice training to Mr. Stephens. He has ap¬ may be best adapted to your cobimunity. Resolve with your¬ renrath was a Dane, with an unusually rich tenor voice, ivas probably the first artist to give song-recitals in the peared ivith immense success in concert and oratorio in In New York City it is reported that at least 500,000 people trained by the best teachers of his time in Germany, self and with your friends to work unceasingly until the plan United States, while his performances' in opera are still all parts of the United States. His talking machine rec¬ a week patronize the moving picture theatres where fine small Italy, France and England. During his engagement as is carried through. Hold informal meetings of the active cherished in the memories of those people who can look ords have been in great demand for years, and his voice symphony orchestras are maintained. Some of these orcliesti as leading tenor in the Royal Opera House in Wiesbaden, music workers in your district. Resolve to make this phase back on some of the fine representations gi vn under the is known to thousands who have never seen him. His number 50 to 60 men. They are open the year round. During he left Germany by the advice of Adelina Patti, eventu¬ baton of Adolph Ncucnforf, at the old Academy of operatic debut ivas in “Pagliacci” as Silvio in the Met¬ of your work representative of the force which you know you the concert season of about 30 to 36 weeks the large symphony ally going to England with Maurice Strakosch, who was Music, which made the way for the later work at the ropolitan Opera House, February 19,1919, where he later should have in your community. orchestras of New York play to never more than 50,000 a week, then his coach. In London Werrenrath had a fine career, Metropolitan Opera House. His interpretation of Lo¬ had specially fine success as Valintin in “Faust” and as ' Why should the musician be especially interested in The and there was formed a warm and intimate friendship or about one-tenth of the number reached through the moving hengrin was adjudged most wonderfully poetical. the “Toreador.” Golden Hour? Its benefits are for the community as a whole, picture symphony orchestras. On the whole the moving picture with Charles Gounod, with whom he studied and loured for every child destined to grow up to become a useful citizen. players are paid excellent salaries. “Climatic conditions in many parts of America prove few more opera companies than twenty-five years ago, Sixty-one Thousand Miles in Eight Months However, the point is this. In many communities the citizens a serious handicap to the singer. At the same time, ac¬ it is still a great task to secure even an opening. “Every now and then someone asks me whether Amer¬ Americans, outside of the great cities, do not seem to be do not realize the importance of music in the daily life of every¬ cording to the law of the survival of the fittest, Amer¬ The Religion of Famous Musicians ica is really becoming musical. All I can say is that a especially inclined toward opera. They will accept a body. They think of music purely as a kind of dispensable en¬ ican singers must take care of themselves much better year ago I, with my accompanist, traveled over 61,000 little of it when it is given to them by a superb company Are the days past when great musicians feel a gratitude than the Italians, for instance. The salubrious, balmy tertainment and of musicians as caterers to this. miles, touching every part of this country and, during liketthe Metropolitan. In New York we find a public to the Creator for their messages? Haydn subscribed his climate of most of Italy is ideal for the throat. On our Not until the average man can realize that music is the that eight months, singing almost nightly when the tran¬ more cosmopolitan than in any other city of the world, works with his testimony to their spiritual origin. If we have Eastern seaboard I find that fifty per cent of my audi¬ background of such great forces as we have suggested in The sit facilities would permit, found everywhere the very with the possible exception of London. In immediate an¬ reached an age when we concede that music is a man-made ences in winter seem to have colds and bronchitis. The greatest enthusiasm for the very best music. Of course, cestry it is more European than Amefican, and nat¬ Golden Hour does he have a proper value of what the musician singer, who is obliged to tour, must, of course, take every thing, unrelated to the mystic sources of power, we can only Americans want some numbers on the program with the urally opera becomes a great public demand. Seats sell has to give to the community, or of what the standing of the possible precaution against catching cold; and that means hope for materialistic results. A Western physician (A. B. so-called ‘human’ element; but at the same time they at fabulous prices and the houses are crowded. Next musician should be in the community. becoming infected from exposure to colds when the sys¬ comes opera at popular prices; and we have one or two Williams, in the Memphis Commercial-Appeal) makes some court the best in vocal art and can never seem to get By working unselfishly for The Golden Hour the music tem is run down. I attempt to avoid colds by securing very good companies giving that with success. Then enough of it. All of my instruction has been received in very pointed remarks upon this subject, that we may all read plenty of outdoor exercise. I" always walk to my hotel there is the opera in America’s other cosmopolitan cen¬ teacher can prove that the work he is doing is linked with the America. All of my teachers, with the exception of my with profit: and to the station when I have time; and I walk as much ter, Chicago, where many world-famed artists appear. important undertakings of the commonwealth and is not merely father and Victor Maurel, were born in America; so I “Most great musicians have a religious side to their lives. as I can during the day. When I am not singing I After that, opera in America is hardly worth mentioning. a superficial accomplishment. > may be called very much of an American product. Look at Haydn; when the idea ceased to flow how fervently he immediately start to play—to fish, swim or hunt in the What chance has the student? Only one who for years We are especially anxious to know what you have accom¬ “Just why Americans should ever have been obsessed has been uniformed in a black dress suit and backed into prayed! Read Mozart’s letters and notice his devotion to re¬ woods if I can ipake an opportunity. plished. We wish that you would write us from time to time with the idea that it was impossible to teach voice suc¬ the curve of the grand piano in a recital hall can know ligion. Handel says that when he wrote ‘He was despised and cessfully on this side of the Atlantic is hard to tell. I Operatic Study what it means to get out on the operatic stage, in those about your progress. rejected’ he shed tears, and when he wrote the Hallelujah have a suspicion that many like the adventure of foreign “In one respect Europe is unquestionably superior to fantastic clothes, walk around, act, sing and at the Chorus he thought he saw the heavens open and angels stand¬ travel far more than the labor of study. Probably America for the vocal studenc. The student who wants same time watch the conductor with his ninety men. If you are forty and feel that you are getting old, we can ninety-five per cent, of the pupils who went over did so to sing in opera will find in Europe ten opportunities Only he can know what the difference between singing ing around the throne of God. Think of the good that has for the fascinating experience of living in a European recommend to you Dr. Robert Carroll’s “Old at Forty—Young for gaining experience to one here. While we have a in concert and on the operatic stage really is. Yet, old been done by The Messiah! Mendelssohn’s pure soul was re¬ environment rather than for the downright purpose of at Sixty.” No one can do his best work at his prime unless the opera singers who enter the recital field invariably say flected in his oratories. Think of the great master Beethoven, coming back great artists. Therefore, we should not that it is far harder to get'' up alone in a large hall body and the mind are what they should be. Musicians and who, although he did not so often speak of his religious emo¬ blame the European teachers altogether for the countless and become the v’hole performance, aided and abetted music-lovers, particularly those who are forced to travel, as well failures that have floated back to us almost on every tions like Mozart, looked forward to death with content and only by an able accompanist, then it is to sing in opera. as those immured in studios, often neglect habitually those things tide. I have recently heard a report that many of the “The recital has the effect of preserving the fineness hope, wishing that he might breathe his last on Good Friday, which make success possible. Dr. Carroll’s book is the advice of highest-priced and most efficient voice teachers in Italy of many operatic voices. Modem opera has ruined doz¬ a specialist upon how to live right, both before forty and after in hopes that he would meet Iris good God and his sweet Lord are Americans who have Italianized their names. Cer¬ ens of fine vocal organs because of the tremendous tainly the most successful voice teachers in Berlin where forty. ------and Saviour on the day of His resurrection! ‘Nothing can be strain made upon them and the tendency to neglect vocal more sublime than to draw nearer the Godhead than other men George Ferguson and Frank King Clark, who was at the art for dramatic impression. top of the list also in Paris when he was there. The Wonder of Action and to diffuse here on earth these godlike rays among mortals; “If there were more of the better singing in opera, such as one hears from Mr. Caruso, there would be less The cure for*many failures is simply action. Carlyle has but what is that compared to the grandest of all masters of Importance of English comment upon opera as a bastard art. Operatic work said, “Doubt of whatever kind can be ended by Action alone.” harmony above?’ “The American singer should remember in these days is very exhilarating. The difference between concert Do something. Sitting around and hoping and praying for “Mazzini, the great Italian patriot and statesman, in his that, first of all, he must sing in America and in the and opera fo\ the singer is that between oatmeal por¬ success will never accomplish anything. Many piano students advice to young musicians, says, ‘The art you cultivate is holy, English language more than in any other. I am not one ridge and an old vintage champagne. There is no time despair of success when they are upon the very verge of it. and you must render your lives holy, if you would be its priests of those who decry singing in foreign languages. Cer¬ at the Metropolitan for raw singers. The works in the Action has an almost miraculous effect upon muscular tissues. tain songs, it is true, cannot be translated so that their repertoire must be known so well in the singing and the . The art intrusted to your ministry is closely bound up meaning can be completely understood in English; yet, if acting that they may be put on perfectly with the least What can be accomplished by the right kind of practice is with the history of civilization and may become the very breath, the reader will think for a moment, how is the Ameri¬ possible rehearsals. Therefore, the singer has no time for almost unbelievable. This trouble is that so many students soul, the sacred incense of that civilization. Music is the har¬ can auditor to understand a single thought of a poem in a routine. The lack of a foreign name will keep no Amer¬ practice with their wishbones instead of their fingers. The monious voice of creation, an echo of the invisible world, one language of which he knows nothing? ican singer out of the Metropolitan; but the lack of the muscles, nerves, etc., respond to action in an almost uncanny note of the divine concord which the entire universe is some day “The Italian is a glorious language for the singer, and ability to save the company hundreds of dollars through with it cannot be compared the English language, with its needless waits at rehearsals will. way. An English army captain recently reported, in a Lon¬ to sound. May God speed the day when the nations of this forty-six vowel sounds and its many coughing, sputter¬ don musical paper the case of a man who came to him, his lips world will speak this universal language, when man shall realize s ; ing consonants. Training in Italian solfeggios is very Natural Methods of Singing paralyzed owing to a gunshot wound. It was felt that the that in the mind of God the various kinds of beauty, intellec¬ fine for creating a free, flowing style. _ Many of the “Certainly no country in recent years has produced so man might never regain the use of his lips. A vocal therapist tual, moral and spiritual, must be inseparable.’ ” Italian teachers were obsessed with the idea of the big many ‘corking’ good singers as America. Our voices are took him in hand and had him taught the cornet. Gradually, tone. The audiences fired back volleys of ‘Bravos!’ and fresh, virile, pure and rich; when the teaching is right. through action, the muscles of the lips were restored to power, ‘Da Capo’s’ when the tenor took off his plumed hat, Our singers are for the most part finely educated and Beethoven said, “One must feel the tempo.” Feeling the stood on his toes and howled a high C. That was part know how to interpret the texts intelligently. Mr. W. and the man now has entirely recovered. If action will do tempo means that one must feel oneself a physical part of the of his stock in trade. Naturally, he forced his voice, and J. Henderson, the eminent New York critic, in his Art that for a man so severely afflicted, what may it do to you music—that every vibration should be felt, as it were, by every most of the men singers quit at the age of fifty. I hope of Singing, gave the following definition which my who have normal hands, arms and brain hemispheres? nerve in one’s body. to be in my prime at that time, as my voice seems to former teacher, the late Dr. Carl Dufft endorsed very grow better each year. Battistini, who was born in 1857, highly; ‘Singing is the expression of a text by means is an exception. He is now sixty-three years of age, and of tones made by the human voice.’ More and more the Reinald Werrenrath his voice, I am told, is remarkably preserved. JUNE 1921 Page 869 THE ETUDE Page 868 JUNE 1921 THE ETUDE of education the little student will approach his subject truth of this comes to me. Singing is not merely vocal¬ Teaching Music Through Feeling with a more inclusive grasp, a broader view, and will, izing but always a means of communication in which the therefore, advance more rapidly and with a surer artist must convey the message of the two great minds By the Eminent Eurythmic Specialist foundation. of the poet and the composer to his fellow man. In this E. Jaques Dalcroze Is it not sufficient that the child should begin to play _ the voice must be as natural as possible, as human as pos¬ the piano at seven or eight years of age. having pre¬ sible, and not merely a sugary tone. The German, the It is veritable nonsense to have the child begin the viously been instructed in musical rhythm and appre¬ Frenchman, the Englishman and the American strive study of instrumental music before he has manifested, ciation from the earliest time when his baby attention ■if’l first for an intelligent interpretation of the text. The either naturally or by training, some knowledge of began to fix itself upon the strange new world about Fingering Facts for Self-help Pupils J® Italian thinks of tone first and the text afterward, except rhythm and tone. him? V* * mA in the modern Italian school of realistic singing. For Ah, yes, there are exceptions. Little prodigies there It is far from my thought to stir up strife between By OSCAR BER1NGER this one must consider the voice normally and sensibly. are, who reveal, from the first, transcending talent. But teacher and pupil or parent. 1 esteem the piano as the bi-" G -■ “I owe my treatment of my voice largely to Mr. even these gifted little ones, let them strum upon the most complete and useful of instruments, since it gives 1 - Professor of Pianforte Playing at the Royal Academy of Music, London Stephens, with whom I have studied for the last eight piano, search for melodies, improviso successions of not only the means of melody, but of harmony, of poly¬ years, taking a lesson every day I am in New York. chords; but study “pieces,” no! phony, and even of orchestration. Hut all piano teachers Th„ article I, on. of » *rl» wrfrr.n ercln.lvef, for The Etu™ b, rb. di..ln6»i.h.4 ,«.che, of This is advisable, I believe, because no matter how well To let the child feel the irk of actual music study at recognize the difficulty of teaching the technic of the This article is one Katheriae Goodson and other Virtuosi. one may think one sings, another trained mind with other too early an age, to engage its mind with finger technic, instrument and at the same time instructing the pupil in the first principles of musical appn ■ n It lies with C Chords, and passages founded on chords. Com¬ ears may detect defects that might lead to serious diffi¬ sight reading, and mechanical work, is often to induce struct his own scales on the pianoforte fingering them the parent, therefore, not to confide the little learner too mon chords in full octave position contain four notes, culties later. His methods are difficult to describe; but nervous fatigue that may persist throughout an entire Scharwsnka, the Polish composer and pianist, calls according to the above rules, a great advance will have soon to the care of a teacher, but to see that the child consequently one finger has to remain idle. a few main principles may be very interesting to Etude lifetime. fingering “the slave of phrasing.” To a certain extent been made in insuring correct fingering m all scale pas¬ has first acquired the elementary principles of music, and But what anomalies are found in the education of the this is quite true; and, as the slave generally follows the sage work. There will naturally occur exceptions where “My daily work in practice is commenced by stretching pianist 1 Poor little girls, without the shadow of musical opened the avenues of inspiration so wide that the sub¬ master, I am treating of fingering after phrasing. the regular fingering of scales cannot be followed, the exercises, in which I aim to free the muscles covering the talent, study their instrument three or four hours a day. sequent technical and mechanical studies cannot close it. Before looking at fingering from a phrasing point of hand, for instance, not being in a position to begin with upper part of the abdomen and the intercostal muscles At twelve years of age they have acquired a certain Art in the schools should lx- brought within the com¬ view it is necessary to give some general rules. the usual finger. A slight change must occur, but the at the side and back—all by stretching upward and writh¬ virtuosity which, as soon as they are married, will grad¬ prehension of the young child, so that he can readily Present-day fingering is of comparatively recen date; hand must get into position as soon as possible to res^ ing around, as it were, so that there cannot possibly ually begin to disappear—so rapidly do the fingers of the grasp and comprehend it. How can we convince those the invention of the pianoforte, an instrument with the normal fingering. In scales where a chromatic note be any constriction. Then, with my elbows bent and my pianist not in constant practice stiffen and grow “rusty.” who control the public schools—when shall the parents hammer action, and the constant increase m the co ‘ is added the most appropriate fingering will be 1, 2, 4, know how to require it of them—that music should be fists' over my head, I stretch the muscles over my shoul¬ The majority of teachers of composition will agree pass of this instrument, made the fingering used G1 4, 1, 2, 3, 4, throughout the scale. with me when I say that there are few pupils who, upon part of the organic life of the school. 1 lie little song This is always either the third or fourth finger. In ders and shoulder blades. Finally, I rotate my head spinet and clavichord (instruments with very light the day they begin their course, have had preliminary sung in concert at the opening and close of the school touch) impossible. Formerly the thumb was not used the right hand, the root position is fingered 1, 2, 3, 5; upward and around, so that the muscles of the neck are instruction in the control of feeling, the power of arous¬ day ought to be an emotional exaltation, even though it at all, or very rarely. It has now become the most the first inversion, 1, 2, 4, 5; the second inversion has freed and become very easy and flexible. While I am ing the adequate emotion for the musical thought, or is, at the same time an official regulation. For, accord¬ important member of the hand in pianoforte playmg the interval of a third at the top. If this third is finishing with the last exercise I begin speaking in a the control of emotion too flamboyant, to loosen the rein ing to Guizol; “Music gives eyes to the mind, a genuine Up to the middle of the last century, composers cul¬ major it has 1, 2, 3, 5, if minor, 1, 2, 4, 5, excepting m fairly moderate tone such vowel combinations as when conscience holds it too tight, or to use the curb culture, and is part of the education of the people." And minating with Hummel and Czerny, prohibited the We still have the chromatic scak to eonsider. Fou chords containing only white keys, where it is always “OH-AH,” “OH-AH,” “EE-AY,” “EE-AY,” “EE-AY- different kinds of fingering are used, but two only of when the musical steed breaks into a gallop. Martin Luther wrote: “Without doubt music contains use of the thumb on black keys, excepting such cases 1 2, 4, 5. EE-AY-EE-AY,” etc. While doing this I walk about Studies in counterpoint, long and perseveringly fol¬ the germ of all the virtues; and those who an- not as arpeggios in F sharp or E flat minor. Liszt Thal- these are really important. ’ This fingering applies not only to the chords, but to the room so that there will not be any suggestion of lowed, have been experienced by every composer. They moved by music I can but compare to stones, m blocks berg and their followers knocked this prohibition on broken chord passages and extended arpeggios. The re¬ stiltedness or vocal or muscular interference. At first form the very foundation of the musical education. But of wood. The young should be brought up in the con¬ the head, as it was impossible to play their works with- verse order applies to the left hand, second inversion, this is done without the addition of any attempted nasal they should not be attempted until the student is capable stant practice of this divine art.”—Le Menestrel. . out constant use of the thumb on black keys; Liszt.s uses 5, 3, 2, 1, ascending. resonance. Gradually nasal resonance is introduced with of assimilating them; that is, when his mind and spirit pupil went farther still, von Billow, for instance, said- First inversion uses 5, 4, 2, 1. Root position. S, 4, different spoken vowels, while at the same time every are already saturated with melody; when music has be¬ one ought to be able to play Beethoven s Sonata Opus 2 1 and S, 3, 2, 1 varying as in the right hand. effort is made to preserve ease and flexibility of the en¬ come part of his being; an urgent need of his soul; when Studio Thoughts 57 (the Appassionata), in F sharp minor, with identical ’ Chords of the dominant seventh containing five notes tire body. Then, when it seems as though the right his entire organism is sensitized to vibrate in unison with fingering as in the original key of F. minor. Tansig, The lower fingering is more adapted to light, rapid in the octave position must naturally make use of afl vocal quality is coming, pitch is introduced at the most the impressions and emotions that he strives to express. By Louis G. Heinze another pupil of Liszt, advocated that all scales should passages, the upper to slower and heavier work. the fingers. The different way in which chords can be convenient range and exercises with pitch are taken Let us not forget that it is only through feeling that be practiced with C major fingering, to facilitate the The modern way of fingering scales m thirds requires broken- is shown in all works of technical studies. It the fifth finger once in every octave The Czcrny pr through the range of the voice. The whole idea is to we can educate the inner ear. It is not possible to pro¬ Many good and very valuable thoughts come to the use of the thumb on black keys. is therefore, not necessary to give any examples here. make the tones as natural and free and pure as possible ceed in any sort of education without first establishing teacher during the lesson period. These often are for As a matter of fact Tansig could play all the 48 Hummel fingering which some teachers still employ D. Fingering to insure correct phrasing. I have with the least effort. I am opposed to the old idea of some definite means of self-control. There must be men¬ gotten; therefore, it is an excellent habit to put them on Prelude/and Fugues of Bach in any key one chose o Matthay among others, requires two positions in each stated in the beginning of this article that phrasing mid tone placing, in which the pupil toed a mark, set the tal poise akin to the focalizing of a lens upon the vision paper at once so that they may be used again or In- ask of him, using the same fingering in every key. fingering are closely allied. Correct phrasing is of far throat at some prescribed angle, adjusted the tongue in of an object to be perceived. In the study of drawing, worked over and improved. This is not a case of Ben trovato. I have heard him greater importance than hard and fast fingering, which some approved design, and then, gripped like the unfor¬ the pupil must certainly clearly visualize the object A writing pad should always be at hand for this myself transpose some of the most difficult ones into must always give way when it becomes a question o tunate victim in the old-fashioned photographer’s irons, that he is to reproduce. And no less is this true in purpose, and here are a few jottings from mine: the most unearthly keys. . _ correct interpretation. There are, however, some rules attempted to sing a sustained tone or a rapid scale. What music. Play less, think more. Naturally, any such abnormal fingering must not which may act as a guidance to insure this For in¬ was the result—consciousness and stiltedness and, as a The auditory sensation produced by the instrument in¬ Let the mind grasp and master the difficulties and the be attempted until a sound foundation has been laid stance, when a note is repeated and the second note falls rule, a tired throat and a ruined singer. These ideas dicates to the student of harmony the error he has made, fingers as a rule will do the work. by the use and practice of the now generally recognized on an accentuated beat of the measure, as m the lot- may seem revolutionary to many. They are only a few and the sense of musical beauty suggests the means of Have ideals, but strive to make them realities. With lowing : of Mr. Stephens’ very numerous devices; but for many rectifying the error. The teacher of harmony must be fingeringudent hJs first attempts uses his five fingers every mastery the ideal will soar higher. Ex. 6 years they have been of more benefit than anything else careful not to make of the less gifted pupil, from the Plan to do; but, better still, do it now. on five successive keys. This five-finger position is in keeping me vocally fit. auditory point of view, a mere mathematician, an autom¬ Do you glance or look at the music when you begin really the foundation of all fingering and must always We in the New World should be on the outlook for aton, a slave to dry form, who will not know how to the study of a new composition? The former means be used except in the case of extended passages or advance along all lines. Our American composers have renew his inspiration which depends so largely upon failure; the latter, success. chord work...... * held far too close to European ideals and done too little the nervous influxes produced by sound sensations. There are three ways in which the normal position ot real thinking for themselves. Our vocal teachers and, for Slow practice lays the foundation for speed. The truth, we think, is this; Playing piano lays the foundation for a large tone. the hands may be changed, namely: by contraction, the legato. that matter, teachers in all branches of musical art in A musical thought is. the result of a state of emo¬ extension, passing of the thumb under the fingers, or When you think your piece finished and believe you •the second of the repeated notes must have a change of America have been most progressive in devising new tion. And the writing of it notes that emotion. But the fingers over the thumb. In trying to systematize play it well, try it without using the.pedal and you will finger or, as in the following extended passage form, ways and better methods. There will never be an the mode of expressing emotion must, from time to time, fingering it will be best to divide it into distinct classes. American method of singing because we are too wise be surprised to find many defects you did not notice the fingering must be as marked. be controlled by feeling; and it is impossible in an art before. A. Passages within the compass of five successive How Good is Your Fingering? not to realize that every pupil needs different and special as sensory as music, that the memory of harmonies can as treatment. What is fine for one might be injurious to Don’t think that the metronome will teach you how notes. perfectly translate these primary emotions as can the If Tausig could play any one of the the next one. to keep time; you must learn that before using it. B. Scales. “live” experience of auditory sensation. When a painter Work up a reserve which can only be acquired with C. Chords and passages founded on chords. Forty-eight Preludes and Fugues of Bach, imagines a landscape or a figure, and paints it, he runs the practice that you do after you know the composition. D. Fingering to insure correct phasing. transposing it at once to any key, it risk of being less realistic and vital in his conception System in everything is of great value, be sure you A. The five-finger position of the hand must not be In cases where two notes are slurred, the second one Fingering of Major Scales meant that Tausig had what might be than when he is in direct visual contact with nature or have it in your practice. disturbed, but the natural position for each note retained. being dotted and followed by another staccato note as the living model. Learn to listen more and more to your own playing. called a universal grasp upon fingering. in the following: By Louis Dorpat How sad that so much musical education tends to Hearing orchestral music is of the utmost importance, This is the best test of fingering. Most make the virtuoso, rather than the artistic dilettante, the it is a great help to the interpretation of piano com¬ writers for piano write so that their com¬ really fine amateur. And how quaintly useful it would The following rules for fingering the major scales positions. be to found a conservatory devoted to the cultivation of positions “fall in pleasant places” on the have been used with success. As they are much simpler Study the masters until you learn to understand and the “mere” amateur! A conservatory that would raise piano keys and if the piece is transposed than any other I have seen, they are offered for the love their works; then you will have no time for the This compels both notes to be played staccato. When the public standard and teach the people at large to love this comfortable arrangement is upset- benefit of others. insipid trash so many play. a note has to be repeated the first note occurring on the and understand music, instead of the dry-as-dust music Play for others as often as you possibly can; not for Thus, the finest possible way to ascertain Right Hand: accentuated beat of the measure, a change of fingers schools which establish a frantic course to turn out the the purpose of “showing off,” but to get accustomed to Scales beginning tenth a white key: ascending, 1, 2, B. Scale passages. Every scale consists of two groups your fingering ability is to try to trans¬ is not necessary. occasional pyrotechnical virtuoso! having listeners, which will gradually relieve you of pose. Practically all of the Russian books In the rapid repetition of repeated notes, a change 3, 1, 2, 3, 4. Exception, scale of F, 1, 2, 3, 4, 1, 2, 3. If the child were educated musically according to the in each octave, namely: 1, 2„ 3, and 1, -, 3, 4. This any nervousness you may experience when playing in of fingers is required for each repetition, the fingers Scales beginning with a black key: third finger on laws of common sense it would sense music so instinctively public. order occurs in the right hand in ascending, in the left of technical exercises require transposi¬ the higher key of the group of two black keys (Eb or in descending, in all keys commencing on ^ white key, being drawn inwards towards the palm of the hand. that composers would need no longer note upon their When practicing a new composition, be sure to play tion through all keys. Tausig in his own Dit) ; fourth finger on the highest key of the group of excepting in the scales of F major and F minor in the The change of fingers must always be towards the paper every nuance of interpretation. The poets—do they slowly enough that your mind is always in advance of three black keys (Bb or AS). Gradus ad Parnassum (Clementi) demands thumb, not away from it, as in the following: painstakingly indicate upon their pages how the verse your fingers. right hand, and B major and B minor in the left hand. In both these cases the order is reversed, namely 1, A it. Professor Beringer’s article upon Left Hand: should be read? And is not music a language? Have Don’t let you technical work be your only aim, but Phrasing appeared in the ETUDE for last Scales beginning with a white key: ascending, S, 4, 3, not the laws of musical expression their base in the hu¬ reather the means to express what you wish to say 3, 4 and 1, 2, 3. , , . 2, 1, 3, 2, 1. Exception, scale of B, 4, 3, 2, 1, 4, 3, 2, 1. man organism itself? Are they not born of the observa¬ musically. Scales beginning on black keys do not begin with November. His next article will be How the thumb. The thumb takes the first white key m Scales beginning with a black key: ascending, 3, 2, 1, tion of our own human emotions? Is it not then advis¬ Never forget that a good touch is one of the most, to put expression in your playing. ascending in the right hand, and in descending, in the Staccato octaves should always be played with thumb 4, 3, 2, 1. Exception, scale of F# or Gb, 4. 3, 2, 1, 3, 2, 1. able to “musicalize” the child himself before beginning if not the most, important factor in good piano playing. left hand, afterwards alternately following the rule of and little finger, except, perhaps in the case of That is all there is to it. Do you think it is simple ? the study of a special instrument? With this method Strive for a good touch, tone and technic. 1, 2„ 3 and 1, 2, 3, 4. If the pupil is made to con¬ THE ETUDE JUNE 1921 Page 371 Page 370 JUNE 1921 THE ETUDE very large hands, which could take the octave Success Steps in Piano Teaching with the fourth finger without contracting the mus¬ cles. The fingering of legato octaves depends also on By Ambrose Coviello the size of hands. Small hands had better employ Professor of the Royal Academy of Music, London What Method Shall I Study? What Method 5 for every octave; larger hands 4 on black keys, 5 1 1 1 and the manner in which the instrument produces them, If we inquire wherein teaching has fallen short in the will depend our understanding of the muscular states, Shall I Teach? on white. In some fingered editions, legato octave pas¬ past we find that, in varying degrees, failure occurred sages such as the following: actions, and inactions (technic) demanded from us. Are There More Than Three Actual Distinctive Methods in the History of Pianoforte Teaching? both in the matter taught and in the manner in which it Concerning the instrument, the salient features are Ex. 10 was presented. In both respects methods were purely that the instrument consists of: (a) The sounding part, By GEORGE F. BOYLE Pla experimental, and it is unfortunately no exaggeration to the strings and sound-board; and (b) The mechanism Professor of Pianoforte Playing, Peabody Conservatory, Baltimore say that in the great majority of cases, learners only suc¬ m/M p-j i + (action) which conveys our efforts' to the strings and r>hla Music Teachers, and part I- 5'5'' ' 34 f . rTj -TP" ceeded in spite of the “teaching” they received. Regard¬ - reprinted herewith.] ing the matter, in technic actual misdirection has been sets them in vibration. only too common, and in interpretation, however sound Facts Concerning the Performer are marked with a change of fingers on a note. This advice may have been, it was heavily discounted by in¬ Of these, the muscular facts piay be summa ! ized in many valuable years and that the former teacher was The idea of the relaxed arm, including its most im¬ is not advisable, as one note becomes too short and the ability to show how, technically, it was to be put into two broad generalizations. (1) There are t\v.. < lements It is quite true, of course, that different so-called nothing but an ignoramus, after all. passage would sound as in Ex. 11. portant features, the loose wrist, elbow and shoulder, effect. As to the manner in which this matter was im¬ in technic—weight and exertion. (2) The ba methods have hosts of staunch adherents who regard So many of my own pet ideas, as to position, Before concluding these remarks on fingering I must must certainly have been used by Chopin and Liszt and parted, it was, perhaps happily, even less based on any and fluency in technic is economy of effort. their own favorite method as the only one through which example, have come to grief. Not that they did not call attention to a most lamentable habit of many pupils. their schools, as without some use of the principle, the scientific method, and varied from a meek persuasiveness Muscle and mind are so intimately related virtuosity, or even a respectable command of the key¬ work excellently, but because I have found splendid In a bass of the following description; new technic demanded by their compositions would be to harsh bullying, according to the mood and tempera¬ difficult to draw a strict line of demarcation 1 board can be achieved. Some of the more heroic par¬ results elsewhere attained by different means so that 1 impossible. Yet it seems that the reduction of the prin¬ ment of the teacher. I say “perhaps happily,” for, as two, but there is one unmistakably psychology tisans, I really believe, consider satisfactory results at¬ am now very chary as to holding very rigid ideas on the ciple to anything approaching a scientific basis was first a result, pupils in the main had to work out their own tained by any other means as being reached illegiti¬ we must examine, and that is attention. conceived by Wenzel and Deppe, some sixty years ago, salvation, and those best fitted by natural aptitude sur¬ important that it perhaps deserves precedence mately. The very search for, and the rigid adherence SVhave firmly advocated, and still do for that matter a vived to modifiy tradition and carry it a step further in and since then has only gradually spread through the other consideration. It is the means by whicl to a method argue a too great anxiety to find a short well-curved finger position; but there is no denying that they will insist on taking the fifth finger on the lowest the right direction. pianistic world. new concepts to our mental content; without e have cut, a desire to avoid the expenditure of time and trouble, there are some excellent concert pianists whose hngers note of the chords instead on the fingers as marked Dur procedure will be governed throughout by the This brings us up to the present day; but, before con¬ “eyes and see not, and cars and hear not,” and senses trouble which in itself may eventually prove of inestim¬ are held hardly curved at all. There is, too, the prob em above. This is a frequent and most objectionable habit principles we are seeking to establish, principles which tinuing, it might be interesting to glance back again and flounder in a sea of impressions, perceiving notllii Teach- able benefit. of the student whose nails, even when well clipped, grow and should never be allowed. every successful teacher employs, consciously or subcon¬ notice some of the earlier styles of hand position. The to the very end of the fingers, necessitating a much ing is little else than placing material before our i following descriptions are from the interesting History sciously. Two may be stated now. They are (1) Pro¬ The Disaster—" Standardization ” straighter finger position than would be normally ceed from the simple to the complex; (2) When diffi¬ seeing that they attend. We cannot instill kr of Pianoforte Playing and Pianoforte Literature, by the pupil’s active co-operation is essential, and It is apt to result also in a peculiarly modern plague- Saving Energy in Practice culties occur, analyze them, isolate the trouble, and con¬ Carl Friedrich Weitzmann. 5 I thought that most modern teachers advocated a some¬ centrate on its cure. is the form of activity required. How is alimi standardization—an excellent thing in machines, a disas¬ “The earliest style of holding the hand was such that assured? Still keeping to broad outlines,’\u trous thing in persons, especially in those engaged in what arched position of the hand—as I do—because the By Sara Amette Cooper Stated in the broadest possible outline our problem the player, whose elbows were below the level of the finger raise is then so much simpler. If the knuckles is: “What are we to teach, and how are we to teach it ?” observe that it must be one of the first cons id n artistic pursuits. It is only uttering a platitude to say keys, was fairly obliged to draw the latter down with the teacher to note the pupil’s natural power . i that the only common sense method of teaching is that are at all depressed the fingers are naturally raised to Much time and energy is wasted by the student who An equally brief answer is: “We have to teach our the fingers. A coin laid upon the back of the hand would, some extent all the time, which not. only makes a further attention sustained. Strained attention is as r< which treats each individual student as a separate prob¬ does not have the correct idea of how and when to pupils the interpretation of music and the technical means therefore, have slid off into the player’s lap, or to the raise in order to strike, more difficult than with the as strained muscles, and the teacher must !>■ i lem. My attitude towards the whole question is that practice. We cannot hope to become musicians without of carrying out this interpretation, and. we do so by floor. Carl Philipp Emanuel Bach taught that the hands arched position, but also tends to keep the hand tighter seeing that the pupils’ attention is property directed.” to demand more than the pupil can fulfil. Pi there is today, after three centuries of experimenting should be held suspended above the keyboard in a horir working and training our brains and muscles slowly, and and perfecting, so little that is vital or significant in and consequently makes it tire more easily. Yet I was without practicing with great regularity. Success results concentration can be enormously developed, but -ontal position. According to dementi’s method a com Interpretation Defined the differences, that these differences cannot be dignified astonished to discover, quite recently, that one of the only from perseverance. Practicing properly and regu¬ differences will remain and must always be all. laid on the back of the hand should not fall off while What is interpretation? For a working definition per¬ greatest living virtuosi and teachers strongly deprecates larly is the great essential of advancement. Interest is a vital factor in attention; indeed th by the term “methods.” playing. Francesco Pollini taught, on the contrary, in his haps it will serve to say that it is a perception of the If a certain school advises a higher position of the anv arch in the hand at all. First of all is the question, “ When should the student into one another, and interest is kept sustain, i Clavier Method (1811) that the hand should be held in a emotional import of music. Reducing this to concrete wrist than another, or advocates a different set of So it seems to me that in order to reach a common practice?” The only answer is, when the mind and body elty. Present new facts from time to time, but horizontal position, but arched. Therefore the coin, I facts we find that this perception can be expressed only mechanical exercises for strengthening the physical ap¬ ground we must to some extent abandon talk of positions are rested. It is an impossibility to obtain good results in logical sequence and always linking them up , suppose, would have rolled off sideways! Finally Liszt by means of inflection, (varying the tone in amount and paratus, I cannot see that these constitute a fundamental and come to the much more important matter of physical by practicing with a fatigued mind and body. If the old. And when harping on old facts, find new quality) and duration of notes. These are the simple did not hold his hand horizontally, but with. the wrist conditions. , . , „ mind is not at ease, the power of concentration will be tions and analogies so that every idea may have difference of method. I should be inclined to regard the elements by means of which we convert the cold “notes” higher than the front part so that a coin laid on the back It is possible, I believe, to sum these up in two lacking, that power which is so necessary. If the body “associations” as possible. number of actually different methods. which have been of a piece into a warm pulsing expression of emotion. —he probably meant the back of the hand—'would slide is fatigued, we cannot bring our muscles into operation Now a summary in diagrammatic form, and .. in vogue since the earliest days of clavichord playing, requirements. . properly. Let us clearly understand that the proper use of these limmary analysis is finished: as only three. dozen to the keyboard.” The fingers must be firm, firm enough to support the tone and time inflections are ultimately matters of in¬ The great drawback to all these hand positions is that entire weight of the arm, whether simply resting on the The student should' practice in the morning before his The first systematic method for organ and clavier tuition. Degrees of talent are shown by the appropriate PIANO TEACHING- they seem to demand the possession of a coin 1 mind has become overtaxed with thoughts and ideas appeared in the year 1593, and according to the rules for keys or thrown at them with the greatest force; and, other than those pretaining to music. If he defers his employment of coloring and bending of the raw note- the fingering of keyed instruments, in a work written secondly, the entire physical apparatus above them must practice period until the afternoon, or late in the evening, material. It will be our task to analyze these inflections INTERPRETATION TECHNIQUE by Lorenzo Penna, published in 1656, sixty-three years A Few Simple Principles be perfectly flexible. T and discover the laws governing their use. his concentrating power will be less. To practice in later, technical methods could not have been materially To come back to the present, I think it is obvious that I use the word “flexible" instead of “relaxed as I In technic we are on rather firmer ground. Let us short periods is wholly desirable, especially as is the case improved during that period. The rules for fingering in if we can agree on a few simple fundamentals it will think it safer and generally more accurate. As I have remember that technic is nothing but doing, the physical the latter work are so sublimely simple that I cannot with younger students. A short nap between the periods really be of -practical value—especially to the student said before, relaxation as a principle is undoubtedly the action that translates our thought or feeling into sound. resist quoting them, although I doubt if you will find of practice is advisable and will keep the student’s mind Duration intensity who for any reason finds it necessary to change teachers, most important contribution to pianistic methods since and body in a rested condition. The facts of the subject may be considered under two them of much practical value in mastering the difficulties headings, as follows: as often happens in conservatories, due to changes in the the revolution in fingering produced by Bach. This prin¬ In practicing, the student must work to strengthen his of such work as Liszt’s Don Juan Fantasie! ciple implies the production of tone by the weight ot 1. Objective; (a) Facts connected with sounds. (b) "In ascending, the fingers of the right hand move one faculty and other causes. muscles; and by working systematically he can make the arm as opposed to the older method, m which the Facts connected with the instrument. after the other, first the middle finger, then the ring- In such cases the student is often unnecessarily dis¬ them obedient to his will. But he should bear in mind arm muscles were in such a state as to support the entire 2. Subjective: The facts, muscular and psychological finger, and then the middle finger again; thus they run heartened by having his general musical progress halted, the important factor of relaxation of the muscles in the arm weight themselves, and the tone was produced solely hand, arm, and body, if he does not want to receive connected with the performer. on in alternation, whereby care must be taken that the while his—and his teacher’s—entire attention is concen¬ fingers do not stri'.c at the same time. But in descending, trated on some quite slight physical difference. Perhaps by finger blows of varying force. The benefits and more harm than good from the exercises which are Musical Sound given him. the middle finger moves first, then the forefinger, then it is the height of the wrist, the exact amount of curve comfort derived from the loosening of the arm muscles Concerning sound, for musical purposes, we must nar¬ the middle finger again, etc. The left hand observes for the fingers, or the height of the finger raise, which were so obvious that in many cases the result was a The following rules will be helpful to the music row the meaning of the word sound. We are only con¬ student, and will summarize the above. the reverse order.” The author gives the additional rule could just as well be attained gradually, while the general swing to the opposite extreme. cerned with the musical sound, and we shall have to 1. Practice with great regularity. that the hands must not lie lower than the fingers, but With an exaggeration of the relaxation principle come examine the differences in the string’s behavior in the progress was maintained, with the added blessing that high, and that the fingers should be stretched out. a flabbiness, a lack of muscular resiliency, with a corre¬ 2. Do not attempt to practice with a tired mind and production of varying qualities and quantities of tone the student would not have the feeling that he had lost body. On a knowledge and understanding of these differences sponding lack of muscular control. 3. Devote part of your time to gymnastics and bodily Bach’s Innovation exercises. From The Music Student. No radical change seems to have taken place in clavi¬ What Is Relaxation 4. Work to strengthen your muscles. 5. Remember to relax. chord playing until the mighty Johann Sebastian Bach, While it is necessary that the arm should be in such Sight-Reading and Musicianship ' finding the prevailing method totally inadequate for a a condition that its entire weight may be resting on the 6. Do not practice if you feel that you cannot con¬ II 7E have never seen a centrate. By Helen C. Van Buren performance of his own works, revolutionized fingering, keys when advisable, many teachers go to the extreme and consequently playing, by using the thumb and little ** better discussion of of teaching that this should be the case under all cir¬ Does a parrot know English when he can shriek a few longing to all countries anri *.• . finger. Yet it is not until the year 1753, in the publication cumstances. A few moments’ thought should prove not sentences ? Does a singer know French, Italian or Ger¬ of Carl Philipp Emanuel Bach’s Essay on the True the subject of Methods than only the inadvisability, but also the actual impossibility Von Bulow’s Concert Hat man because she has in her repertoire a number of art into the lives of others a! $ “ld tto bring *' Method of Playing the Clavier, that we find the new these songs? Does a pianist know music because he refinement and re-creation S0UrCe °f lnspirat" this one. of this. . By Robert Tempest method of fingering reduced to a definite system. In In very slow playing, the idea is quite practicable, even can play a number of pieces, well, even beautifully ? this work the hitherto neglected thumb is spoken of as The average young person aims at technic and a few wrhJenMd'To^bewrtU^each o'Tufffi Mr. Boyle, out of rich for a pianissimo, as the weight in itself is not sufficient That von Biilow had a temper seasoned with wit the principal finger, which “by reason of its shortness, to create a big tone. It can be released so slowly and many learned. masterpieces learned in such fashion that he go and experience and long re= set the world on fire” or dream that he can. Buteto° “oTfcssKrsspeaking-* however, like the little finger, should be used only in case gently as to create no sound at all. It demands the At one of his early concerts in this country, he ap¬ ignorant of music as th g * tbese ls to ** about Would it not be better to take the same attitude to¬ of necessity on the black keys intended for the longer flection, has come to certain addition of a certain degree of velocity of release. As peared on the stage wearing a hat and kid gloves, as it English or Ahe language o/h? Jnte,hgent parrot is middle fingers.” the speed of a passage increases, it becomes increasingly was then customary in Europe for artists to do. ward the study of music that we do toward the study of From the very wfn '? few ^fences. the languages? Why do we study French? To be able The last warning is interesting as showing that, even conclusions which all active difficult to release the arm weight slowly enough, result¬ A reporter commented at some length in one of the to read the books, to understand and enjoy the plays of Always something new, week^fte^ ChJlh00d’ re? at this early date, the use of the thumb on the black ing in a consequent augmentation of tone; and it should local papers, as to the ludicrous appearance ’of the hat that language, to travel among and converse with year, keep it up. It take* tTm * week’ year afl keys was not entirely forbidden. music lovers of to-day may The incident passed from his mind till a few days later be perfectly obvious that a really prestissimo passage, Frenchmen and to be able to bring a knowledge of that Fingers and ear must be great deal of t"1 After the acceptance of this, the foundation of modern he received from the Hotel Normandie, of New York, history must be sturU»a . amed' t leor>'- interpretatii well afford to investigate. with the weight of the entire arm resting on each suc¬ country and people to those about us, unable to gain for fingering, probably no radical change took place in piano¬ a package; and, on opening it, lo! there was the hat cessive note, would be decidedly uncomfortable even in themselves this culture. And why should we study is this"knowledge thfab lit" ?? °f wbat -al forte instruction, so far as actual method is concerned, of the concert incident, with a note conveying, in polite into life the printed page to .the.ab,Iit>r to f a forte and quite impossible in a pianissimo. Therefore, music? To become familiar with it as the universal until the introduction of the idea of relaxation as a sarcasm, the respects of the great pianist. mto which music has ten nut? Unhes,tatlngly the relaxation, if understood as being a constantly completely language of men, as one of the expressions of art be¬ definite principle. Learn to read, and read, and* read, and read I JUNE 1921 Page 878 THE ETUDE Page 872 JUNE 1921 the etude How the Piano Sings devitalized state of the arm, is a dangerous extreme; although it is necessary that this devitalized state can be By Enid Payne, L. R.A.M. readily attained, and under certain circumstances actually utilized. Especially is it needed for dropping on slowly- n all the voices of his piano music, his voice teach¬ moving heavy chords, or for the attainment of a physical The piano sings, not with one voice only, but with ing his fingers the true meaning ^of^each melodic part, rest during the holding of a pause. But, for the great many voices; therein lies its great wealth, and how prominent subordinate. The great thing bulk of playing, a certain and varying amount of the arm much of that wealth is left lying unused and unenjoyed. arouse the imagination a t the effect to be gained- weight should be supported by the arm muscles, which Play even the simplest of small pieces—a little lyric of wanting to express a certain kind ot sound, the pupil would be incapable of doing this if in a completely de¬ Grieg, a child’s first tiny tune of a few bars—there instinctively uses the right means, ♦hen that means is Magic of the Keyboard are singing to you at le-st two distinct voices, and each vitalized state. once freely at his disposal. of these voices must sing its best. Teach your pupils It is for this reason that I prefer the term “flexible” “Go on singing that note—make it shit out clearly Virtuoso Tricks in Piano Playing to “relaxed,” unless by “relaxation” is simply meant the from the very beginning to listen as they play to every till it quite dies away.” Your pupil sets bis mind and loosening of a strain. I repeat that if this physical state note simultaneously, from bass to highest peak of his fancy on that note, he holds it with i :st the inti¬ has been reached—the firmness of fingers and hand com¬ treble, giving to each its proper due of tone and life. mate pressure of his finger tips, support. ! by just the By the Well-Known American Pianist Tell them how in a vast orchestra or chorus of mus¬ bined with the utmost flexibility of arm—there is little proper weight, of his arm. to keep t! . note warm icians each member is trying his utmost to make that that need be feared from slight differences in position. and living till he wants its song to cease It is exactly one part for which he is responsible just as beautiful as THUEL BURNHAM As a matter of fact, no matter what we may teach as in sit.ging or speaking: you want to -teak to some it may possibly be. Even the wind player who utters Famous Pupil of Dr. William Mason as the normal position, unusual passages will demand one over there, you do so, every word reaches the but a single sound and perhaps must hold it for a dozen unusual positions. To switch rather suddenly to a totally hearer, and yet a moment ago your v.> could only Prepared with the Cooperation of Mr. Russell Wragg bars at a time is still striving for the greatest beauty different subject, I want to voice my regret in the some¬ of which that note, so rich and vital in its effect on the be audible to one close at your side. Simply by willing what ill-advised utterances of certain justly-famous vast whole, is capable. So even a single bass note held it you gained this end, unconscious of tin t nns. Once T> , __ ntflnistlc training entirely to Dr. William Mason and Theodor Leschetizky. Before he virtuosi addressed to piano students. The chief trouble on on the piano, during the lovely wanderings of the make utterly clear to your pupils that > by rude, “ however, he made sensational successes at all of his appearances in New York a“d in ®"ropea“ harsh force may power be produced, ' always by | f Bnrnkam was born at Vinton, Iowa, in 1884, and is thoroughly American in every respect. Respite his is perhaps that their own teaching is limited to not only other parts, must be listened to and felt, made to live . Tricks will bring much fresh information t the most gifted students, but also to those whose tech¬ and breathe as a thing that “only stands and waits” in¬ weight, and you have only to say "open it a. let it sing long reside ce and tours abroad. The following article upon Vir nical proficiency is well established before they seek the deed, but does not cease to exist because it is not in louder and louder, and make every not. , every chord many Etci u readers.—Editor's Noth.] inspiration of the artist. Consequently the artists have ring and echo.” Then, the goal clearly tore them, they will run straight for it, never noth in: what obsta¬ very little idea of the difficulties we have to overcome Carry this principle throughout all your teaching and cles they meet and conquer on the way. It has been expounded that there are tricks to every in the case of the average student. playing, and not only is the interest of the music in¬ trade, and yet it will surprise many to know that the creased manifold to yourself, but your hearers may sin¬ Rhythm and Beauty successful piano virtuoso must have innumerable ones Scales Absolutely Essential gle out in listening any one part, great or humble, in from which to draw upon occasion. Perhaps so sublime what you are playing, and find there completeness and A very vital factor in piano playing, a- u all music, One such remark that occurs to me was made to a an art as the interpretive is grossly wronged in being coherent beauty as satisfying as any outstanding melody. is rhythm; and yet how cruelly is this ce of life gathering of piano students by a very great pianist, who dubbed “trade,” yet it is just a trifle difficult to discover Grandest field of all for the carrying out of this and beauty damaged and defiled in pr .•! Teach is reported to have said, much of the delight of the the point in which trade burns its miserable life to ex- ideal are the mighty works of Bach. Let no child your pupils to count aloud while stud any new tinction and art arises from the smouldering ashes. u'or obtaining big orchestral effects, as in the opening students and the dismay of their teachers, “I hone none musician grow to years of discretion without giving music; not merely for the sake of correct ■, but that To be sure, the “tricks” of which we speak are not of you waste time by practicing scales!” If he had they may feel in their own bodily solve rhythmic measures of Liszt’s Hungarian Rhapsodic, No. 2, we Thuel Burnham, him an intimate knowledge of this master of all the of the commonly-known “sleight of hand” variety, nor added “after they are really mastered,” it would not movement of the music, and have a sound foundation have the single finger again, this tim the thumb. Prom an etching by Warder Travers. masters. Knowing him, he will easily thread his way in any possible way illegitimate in musical art. Yet, have been so bad; but he made his statement still more on which to poise all freedom of movement, which feel¬ Lento a capficco among the mazes of all other music. figuratively speaking, they are absolute strangers to the demoralizing by saying that he never practiced scales The careful application of this comparison with ing may afterwards dictate. Whether ■ definite trated, which has become almost traditional and so \ in order to obtain evenness, because he never wished to books on piano theory and piano training. i worthy example in place of one of my o chorus or orchestra will make clear and easy to the tramp of the Handclian March, or in t! tical elu¬ Some time ago a well-known New York pianist came play an even scale. Naturally he intended to convey pupil all cross phrasing and rhythm, conflicting ex¬ sive motions of Debussy’s Plus que / n in a with its rendition, from a purely technical standpoint. tone as the stronger. notes, singing more loudly as they rise; and now come silence of several bars, or during one lone drawn-out “Yours is a common fault,” I told him. What you Anyway, the very fact that the majority of pianistic in the basses, moving with grand, long notes, getting note, the music is still moving onward with the same need is ‘tricks;’ yes, tricks, in all their unromantic .re¬ softe- as they fall.” pulsing life; it has reached a farther p : the end passages are simply variations of scales and arpeggios ality, virtuoso tricks.” He stared at me m blank aston¬ The thumb is held firmly in a slightly outward-curved With this idea in mind make your pupils sing as of the apparent pause than it had at th. beginning. Now we come to one of the most important strength should be sufficient reason for the complete mastering ishment, as if he doubted his ears. But in a few les¬ position and, upon attacking the note, the point of con¬ they play. So instintictive a thing is vocal expression To bring the big truth of the rhythm hon . to your sons he understood; the increasing power m his playing savers and force stimulators in the entire article. This of them. So many of these virtuosi have either forgotten tact is upon the outward side of the finger. The remain¬ that the melodic purport of a passage is often, nay pupils ma'te them visualize movement: tires, the is the use of light playing between accents. For in¬ their early struggles to gain a technic, with the consequent became a revelation to him. So it is with us all. Ine ing fingers are loosely clenched during this procedure always, made instantly clear if one sings it, letting steps, glidings, leaps, and poises of a graceful dancer. more limitless our resources, the more our chances of stance, in the Liszt Rhapsodie, No. 6. routine and discipline, or simply because they do not the voice make its own nuances. Let your student sing and the arm is kept in a heavily relaxed condition. require the same type of study any longer, look on what —From the Musical Herald. And now, for general effects outside of fingering. Presto tfp ff We have an excellent example of this in the dramatic they formerly went through as having been unnecessary. The first is a hand and wrist movement for bringing No. 5 - art which is akin to the musical. Edwin Booth was re¬ I am very sure, however, that had they not been through out the upper note in a rolled chord, as in the Schumann A Fair Price for Lessons quested to repeat the Lord’s Prayer before an enormous it, they would not now be where they are. Nachtstiicke. gathering, with the result that not a few eyes bore evi¬ By Ada Mae Hoffrek dence of tears at its close. What minister m the pulpit Metronomic Rigidity have you known to produce such an effect? Booths Perhaps a somewhat similar case is the almost super¬ To-day is the time for the music teachers to set a good it help your musical reputation in your community. power must have been' not so much in his religious con¬ stitious horror with which the metronome is regarded by fair price on their lessons. Conditions are such that it Parents prefer to send their children to a t acher who viction as in the art of his elocution. many teachers. Granting that nobody desires to hear a is warrantable; the opportune moment has arrived. commands a fair price for lessons and they have more In taking up virtuoso tricks the reader must clearly understand that they are to be considered from a purely piece played with metronomic rigidity, the fact remains In the past the music teacher was expected to give faith in her ability to teach their children. lessons for a small consideration. The teacher who general viewpoint. It depends entirely upon ones vir- that the really flexible rhythm, and even the satisfactory If it is not possible to belong to any of the Music rubato, must be built on the ability to play absolutely charged one dollar'per hour was considered, high in tuosic intuition as to when and where they will be most price. Fifty cents per hour and even thirty-five was Teachers Associations or the local organizations, main¬ in time. Otherwise the rubato will be nothing but the helpful and effective. ... For practicing this we throw the entire hand over, the usual price in the not far distant past. But all this tain a schedule in accordance with it b> si tting the Before continuing, however, I want the student of this involuntary result of rhythmical weakness. Every palm upward, on the final note, with a vigorous twist, is gone; no one is now expected to work for these small proper value upon your work. article to realize an important point in concert playing, orchestral conductor will tell you that he dreads accom¬ much as one would turn a key in unlocking a door. fees in the musical profession unless he chooses so to do People are accustomed to paying more for services one which is a distinguishing feature between the ama¬ Then, too, the fifth finger must be sharply drawn under panying a pianist with whose works he is unacquainted, himself. now. They will not think it inconsistent that members teur and the professional. This is the individual finger¬ as comparatively few pianists possess a good sense of with the wiping-off touch, at the same instant that the Establish a fair schedule of rates for lessons and of the musical profession, which takes years of study and ing emploved by the latter. Often a pupil has played hand is turned. Later, for the performance of the same rhythm. maintain that schedule. Do not be afraid you v^ill lose hard work in order to attain the position of a good a piece for me with the editor’s theoretically conceived measures which I have just explained from a practicing This is due to the fact that the pianist, as a rule, gets old pupils or scare away new ones. Being known as a capable instructor, ask a price commensurate with their fingering. It was all very pretty and very nice, but standpoint, one of course modifies this procedure by so little practice in ensemble work, while the majority of cheap teacher will not increase your class; neither will ability. for public playing not safe. One is very apt to forget gently drawing off the fingers and raising the arm The original is marked forte, and forte it i other instrumentalists have generally some experience in the wide difference in hards and chain himself entirely Horn the keyboard, obtaining the same effect as was the large majority of students, regardless of whether the orchestral or chamber music playing. So it seems to me to the published fingering which may be suited to the procured in practicing, but doing away with the exag¬ effect is pleasing or whether their strength will remain that, with this uncomplimentary reputation we pianists •editor’s mind, but not necessarily to any other To gerated physical movement. Another example of th s Fingering Scales in Flats with them throughout the entire program. After play¬ have, it is hardly necessary to become alarmed about make one’s playing sure and spontaneous one must use same thing is found in the Mendelssohn Capncio m B his own intelligence with independence and courage, ing such p'eces as the Chopin A Flat Major Polonaise playing too strictly in time, until we have learned to play By Elsa Eckhardt Minor. . and the Militaire, as well as the MacDowell Polonaise in time. The metronome can at least help us to conquer making use of whichever fingers are most convenient Now we will consider bringing out any dominant on a single program, the artist is usually looked upon by such weaknesses as the accompanying of every crescendo So much has been written ahout the fingering of the- and dependable. tone in a plain chord. This is done by the use of a scales, and most of this only leaves them still compli¬ But, to continue with the subject under discussion. “long finger” on the thematic note, straightened and the outsider as thoroughly fatigued and worn out. This with an accellerando, every diminuendo with a rallen- is not so, for, although the virtuoso may be extremely cated for piano students. Henceforward we will drop the word trick, but, backed by additional pressure, while the remaining notes tando, and the involuntary gaining of speed in long excited after such a series of" “War Horses,” he has The Flat keys, especially, are still difficult in spite of - ..cum iomes on t-Hat in the gro although clothed in offier raiment, its character will re¬ are played lightly with the fingers curved and loose. sequential passages, such as we come across so often^ for learned to save himself from the labors that lead to ex good rules and careful training. I have found the and the third finger of the left hand comes c main the same throughout the exposition of this phase This is especially helpful where one wishes to bring example, in the works of Bach. It would be a safe rule the groups of two. haustion. He guards himself from unnecessary exertion following to be true of scales in major keys by flats. of virtuosity. , ...... out some of the inner voices in a repeated phrase, for to advise the use of the metronome, in moderation, of while the novice, taking the dynamic forte without the The fourth finger comes by the three black keys and the The thumb and fifth fingers are used onl; A great asset for securing force and surety is the the sake of variety. It is, of course, an unusual thing course, in the case of students who find it difficult to customary grain of salt, literally leaps in where angels third one comes by the two. Be the key G-flat, A-flat' use of the straightened third finger, braced by the thumb to find a piece that is written in this exact way, as the play with one and to avoid its use for those who do not .6yS’ °f. C°urse- Exceptions occur only in th fear to tread, and the result is, as a rule, a nerve-racked, or B-flat, the fourth finger comes on one of these; and, •f held in an atolu.dy J 1 composer usually leaves that to the virtuoso’s imagina¬ experience the same difficulty. However, I firmly believe the A-flat and B-flat scales, when the rul< worn-out physical being and a heavy, sluggish perform- if it is D-flat or E-flat, the third finger comes on either reversed the third finger falling on A-flat .hoyen » C, for « ^ bravm tion, but in the Sonata—Opus 28 (Pastorale)—last page in its use as an aid to gaining speed and control in the one as the case may be. For instance, in the E-flat scale of second movement, we have one place, here lllus- practicing of scales. the fourth finger of the right hand falls on B-flat in the two 6 3nd *e Wh finSer on D-flat in JUNE 1921 Page 875 the ETUDE THE ETUDE Page 37 k JUNE 1921 Do You Lose Your Music With the forte emphasis on the accented chords and a messo-piano or even a piano on the intervening notes, By Lucy Lowe the artist is enabled to obtain a much greater speed than the student pianist, and the effect is more electrifying One of the greatest troubles of all musicians is the and certainly less irksome for the performer. constant loss of music by lending it to people who forget In close relation with the light playing between ac¬ I to return it. . . ,3 cents we have the quickening of the rhythmic figure, Much of the annoyance in such loss comes from for¬ done to instil a martial effect into one’s playing in such getting to whom the music was loaned. My plan for Shall the Classics be First or Last? pieces as the Chopin A Flat Polonaise, illustrated by keeping track of my music saves the buying of many the following measures: And now for another very much needed use of the copies of songs that otherwise would have to be re- pedal. This is what I term the “tremolo pedal,” and By CONSTANTIN von STERNBERG its use is to gradually release a tone where a sudden plFhst of all I divided my music into sections. These stopping of the sound vibrations would jar the musical se-tions are grouped according to subject. Each sec¬ senses. It is managed by the regular repetition of the tion has its own particular shelf in the music cabinet right foot upon the sustaining pedal, with great speed, and that shelf is labeled with the name, such as ora¬ and eighteenth century have produced no “old master smart contrivances are presented in a garb of such melo¬ and to perfect it is not to allow any interruption in the torio opera, etc. It is not necessary to label individual besides John Sebastian Bach. Of all the fifty-five Bachs, Some readers may feel scandalized at the mere ask¬ dies as reflect the musical tongue of OUR time. They fall of the foot, nor ever to let the pedal come quite numbers with a class label, as the publish. , has usually ranging through five generations, John Sebastian seems ing of such a heretical-looking question; but 1 trust put the pupil’s thinking apparatus in working order by up to position. Of course, in the beginning it must be stated that on the cover. to be the only one worthy of any attention. Why is this. Next I make slips out of plain white sn •hers and type that their indignation will not outlast the present argu¬ instilling in his mind the gist of the past in the light of The chords marked with the star are to be held just practiced with great accuracy and slowness, as the per¬ John Sebastian’s elder brother, John Christoph; his on these my name, my address, and in < a; 1 letters the ment although at the very outset it states the opinion the present. They equip the pupil’s mind to face the a trifle longer than the orthodox rhythm requires, pro¬ uncle, John Christian; his nephew, John Ernst; each has fect control over the foot is the essential thing in the issible for that many good teachers admit their pupils much too legend, “PLEASE RETURN.” It is ■ past with intelligence; and when the teacher thinks her left a good deal of very fine music; music that is antique ducing the effect for which we are working. Care must end. Perhaps I can paint a stronger mental picture that it is early to the Classics. Moreover, are these Classics al¬ anyone to use the music without being a to be ripe for Bach and Beethoven, then the pupil, so without being “antiquated;” music that is still very be taken, however, not to quicken the tempo during this of just what is expected of the pianist if I tell of an a borrowed copy and reminded to return u .lie owner! ways wisely selected? Very often a classic work is amusing experience I had a short while ago. I had been equipped will marvel at the grandeur and beauty of the pleasing to our modern ears. His second son, Philipp operation, for then the effort to make unusual that which As a further check on the loss of nms in this way, chosen on account of its technical simplicity when an¬ playing a program of pieces which, curiously enough, masters’ works instead of saying, as^usual under a Emanuel, the author of the first really comprehensive is normally acceptable will result only in its ruination. I have a small card index. On the hides i ds proper, contained several places in which I used the “tremolo other one, though perhaps more difficult but of greater premature unveiling: “They’re horrid! A strict tempo must be kept throughout the martial I write the group classification as 1 do i the shelves, treatise on piano playing, has exemplified his teachings melodic charm, should be preferable because of the If there is a teacher who before he learhed to deter passages, for the chord which is held only cuts off the pedal.” having heads for opera, oratorio, scrub, ■ongs, sacred in a large number of pieces, notably his six sonatas, Afterwards a friend said to me during a conversa¬ well-known trait of human nature which makes the value of the following rhythmic figure and should not songs, quartet music, etc. Piano and otlu trumcntal the Classics to their proper time, has had pupils that did and it may be remarked here that, without sacrificing tion concerning the common stage fright among virtu¬ liking of a thing a powerful aid in mastering the di music is also classified according to t> Hack of not say “they are horrid,” or betray that feeling in some polyphony, he broke absolutely with his father s contra¬ delay the succeeding rhythmic beat in the slightest. osi, “I knew you were extremely nervous during your I. Mg the name Acuities it offers. . . f tt,e manner, I wish to meet him. I like to meet lucky people puntal austerity and adopted what is usually designated Another example of this same suggestion if found in last Friday’s concert, for several times during the even¬ these cards are filed plain white cards be Let us, however, first clear our minds as to the the Schubert-Tausig Marche Militaire, which I will 1 the name The secondary meaning of “classic” is best explained l as the “elegant” style. He is, really, the father of mod¬ ing your foot trembled violently on the pedal.” So of the piece that has been loaned, the dap meaning if the word “classic.” In the graphic arts a„d ble I write the word is taken as an synonym for the adjective ern piano playing; and his sonatas are of the greatest mark for the first few measures. much for the accuracy, of our friends. of the person who has it. When it L p in belles-lettres, “classic” means something akin to Iso, which value for the development of tonal beauty and elegance. An exceedingly beautiful place where this effect can down the telephone number on the c.v “antique •” it refers to a certain historical time. In “model.” If a work of art (of any branch of art) is to No. 7 3* And why is Handel’s piano music so seldom taught - be used in a big way is on the final chord of the piano saves time later on. It is very easy t<> in making be called “model,” or classic, it must present its thoughts ’ lio, to word "otoio- r«(ei> “ * What I said of the genial, jolly Bach is no less applicable introduction to the Grieg Concerto. this notation without giving offense, 1>> ply stating in history, though it points to a much more recent P and sentiments in an ample, intelligible manner and be f —Ml to Handel’s smaller pieces. I know that the H°rmonwus 1 §F- t=r— 1 LJ While the orchestra is awaiting the fall of the con¬ that “It is music that is often in deman id my own riod, because such music as antedates J. S. Bach, we call at the same time, free from superfluities. It_must De Blacksmith is still used here and there, and m the more t II i t ductor’s hand if the pianist usejs the “tremolo pedal” faulty memory makes me need some mi >i keeping “archaic.” There is another, secondary, meaning im¬ its own essence; nothing more; nothing less. But, then, advanced grades also the Fugue in E minor; but such soli for this place the dying tone of the piano flows into track of my belongings.” plied by “classic;” but before turning to it let us see essences are a rather strong diet for young *“hS; tary morsels are scarcely sufficient to whet a pupil s appe¬ CSffl and mixes with the spiritual pianissimo of the orches¬ I do not mean to give the impression r : all people whither the first definition will lead. Children do not, as a rule, “cry for them. They prefer tra in such a delicate way that the ear can hardly de¬ who borrow music are inveterate thieve palatable dilutions and rightly so. tite7 for Handel’s unique lapidarity of style; nor do they tect where one begins and the other leaves off. certainty that an immense amount of ■ The Veiled Future Now, the writers of juvenile music in our day i suffice to produce a familiarity with one who, lest we Next we have a simple invention for making the waltz In the Berceuse of Chopin this pedal is used for the disappear in this way with the best of in is on the mean of course, the well-accredited ones—furnish just forget” was, after all, a “grand-master. No one can more buoyant and interesting. This is the use of the The future is veiled to human eyes. .The present is diminishing of the last chord into ethereal distance, an such dilutions, just this palatableness, to make a child revere no one love, John Sebastian more than does the “Wiping-Off Up Touch” on the second beat of the an ever-appearing and ever-vanishing moment. The past effect that is particularly fitted for this composition. amenable to good, worthy thoughts and they do so not writer'; but this love has not blinded him to the act bass, which, to put it figuratively, picks the rhythm up alone is ours to contemplate, to study, to earn • There are numerous other “tricks” that I might elab¬ to divert the child from the Classics, but to prepare that life is far too rich in experience, too many-sided in by the center and in this way saves it from an unfor¬ We are what we are, because of the past , for, it con orate upon at length, but I will advance but one more him for them. This preparing promotes the child s good its psychic manifestations, to make it possible for any tunate sagging into the mire of monotony. The “Wip¬ tains the roots of our being, not only physically but also suggestion. cheer; it gladdens its little heart that is so willing to be one master, however great, to exhaust i s in erpre ing-Off Up Touch,” as described in my Etude article spiritually. The older we grow, the more our mind Thousands upon thousands of pianists are trying to gladdened and it paves the way for the child s Perception through art. Hence, despite the almost incredible mas¬ of last August, is the wiping off of the keys in much Liszt’s Playing matures, the cle'arer we recognize that we cannot under¬ unlock the door to the room where success is stored. of musical beauty; a matter which very frequently his to tery of John Sebastian, both in counterpoint and style, the same manner as one would stroke a kitten’s fur, stand the present, its ideas and tendencies, unless we “Why are there no more successes?” someone may ask. take a back seat because of the child s wealth his style was one style; but, “there are others and not so drawing the arm up from the keyboard with the same know the past tot has led to them. Hence we revere It is because the majority of them are working in the By Edward Baxter Perry phalanges, tendons, flexors and kindred parts df its movement, keeping the hand drooping and relaxed all our ancestors; hence we read not only the New Test; - dark. True, the light hangs directly over the door, and “insides.” The choice of modern teaching material may, VeForf; gavottes, bourrees, gigues and dance forms in genera , than to scholarliness. When, with a good Scarlatti music, the “letters” of which are so much less definite well as the fanciful, poetic Bach of the second movement Breaking the closing chord of a cadence is often a His instrument was strung with strands, you'd swear, foundation, they come to the “Well f^cred/ o which of the Italian Concerto, for instance. Why, in all com the title is much too rarely explained to students, they means of producing an effective ending. This is ac¬ Of sirens’ golden hair. *n If^we* compare the child-books of to-day (in prose or mon sense the first approach to Bach should be made will treat the subjects of the preludes and fugues far complished by retarding the right hand until all but Playing Teacher verse) with those of a century ago we find the present through the stern-looking contrapuntal gate is a com- more justly. From the very start they will seek the the last note of the rolled bass have been played and Yet not alone of sweetness fraught with pain ones immeasurably superior to the old ones; because th olete mystery, but it seems to be the usual course. And melodic curve, the variety of shades in the Ton-spiel then bringing this and the right hand together with an By S. M. C. His music told; but thunder roll and crash, authors of the present child-books have learned from yet when we look for material to develop delicacy of They will seek the beauty, the beauty, the beauty of them extreme “wiping-off" touch. This is especially useful in And rush of torrent rain and lightning flash, those of the past. They have learned that a book may execution in a pupil or for refinement of touch gradua¬ instead of the mere contrapuntal texture. bravura compositions for guarding against too abrupt And forest’s trembling at the cyclone’s roar; be juvenile without being inane: they have absorbed the Jane and Evelyn, twO seven-year-old tots, recently be¬ tions, for clever, witty phrasing, for a bit of expression an ending where a broadened cadence would add value And frenzied waves that on a rock-girt shore gan the study of music. They have the same instruction benefits of style, diction, form: they have reaizedthat of good-natured humor, cajolery or even drollery, t The Musical Masses to its rendition. Forever vainly dash; the chief distinction between a present and former book, the same lesson period, and the same teacher. The Inventions and the Clavichord are not within hiding dis¬ In closing, we will touch lightly on one of the great¬ book for children lies not so much m the choice as Am I talking against the liTusical Moses: John Sebas¬ est mediums for effect in the concert hall, pedaling. lesson is explained to both and then each takes turns tance of those dance forms and andantes or adagios, tian? Perhaps so, but if so, it is because I love him too at the piano, the one standing guard to call attention to rather in the manner of presenting its artless, ingen such as the Sarabandes. There is a large number of Here, again, we have another great difference be¬ And softest lispings of young summer leaves; much to see him degraded to a pseudo-Czerny Students mistakes in notes, time or fingering, while the other uious psychology. these dance pieces and many have been published separ¬ tween . the artist and the amateur; for the artist uses the And sigh of human heart that longs or grieves. can, of course, not know it; but teachers ought to know plays. As neither of them has a piano at home, they ately from the suites and partitas to which they betog pedal much more sensitively, not to say less, than the Or loves and hopes, or questions, or believes, Modem Children’s Pieces and never to forget that a man like John Sebastian practice at the studio, and the same method of procedure without, however, having any other unity with them amateur. However, in building up a climax the vir¬ Of all of life that’s true or that deceives, should not be approached by a musically ignorant mind tuoso uses it more, as a rule, than the untrained pianist; is followed as during the lesson period. To see the And is it the literary world alone that has learned than that of tonality. Others are taken from the vio n Or that the brain conceives. It is all very well to pronounce his name with a voice of for it is here that his appetite for artistic effects de¬ seriousness with which they play teacher, and the earnest¬ and profited by these lessons from the past? Is not the or violoncello sonatas; and they were most reverent y modern'musical “child piece” a veritable marveL of sonorous chest tone or in a pious voce> mands a sustained amalgamation of sound. So long ness with which they correct one another’s mistakes, is and practically transcribed b? Tours, Fasten, Parso , love and genuine reverence know of better ways to dem¬ as each new harmony dominates the preceding one, the a delight. beauty when compared with those of wh.lom Kuhlau St. Saens, and many others. This ought to be toi mate tsetore us human life and Nature’s face onstrate themselves; and the first thing they do ii to artist holds the pedal until the climax is complete. It One day Evelyn came to my room to get a pointer 11796-1832) and dementi the Dry-as-Dust (1752-1832) . rial used to awaken an interest m and love for Bach in a n c angeful mood or frowns or smiling grace; shield the object of worship against being approached in then has back of it the resonance of the entire piano, (which is an indispensable piece of equipment for these There is scarcely a piece for young folks written now pupil’s heart and mind. Instead of it, however, he gets which, besides a clear and yet refined construction, does a spirit of dislike born of the utterest ignorance of its and the listener is carried blissfully on until the end, little make-believes, and alas, for some grown-up teachers, The r^-PmeS 3gainst the blue of ^ce the Inventions, some of which are clever, but intrinsic greatness and of its tremendous significance to instead of having an untimely drop by the wayside, as tool). She was met by one of the teachers, who said to i ing patterns, like to wind-blown lace, not contain simple but interesting harmonies and mel¬ and he toils and labors at the polyphonous difficulties the art of music. .. , is often the case where the pedal is too frequently her, “Are you going to take a lesson?” “No, I am May sometimes briefly trace. odies of a noble and agreeable cast. It also shows good without, or very seldom, achieving that facile Ion and modern counterpoint, all kinds of little devices like As a matter of course the same considerations, and changed. There is no danger of a discord under these going to give a lesson,” replied the youngster with an A comp1^ universe for ears that s spiel” (tone-play) which is the chiefest purpose of with equal force, apply to mozart, Beethoven and other circumstances, so long as the pianist is making a cre¬ air of importance quite surprising in one of her size. imitation, enlargement, contraction, ellipses, inversions Afloat upon a flood of harmony. more recent masters. . . _ . „ . scendo. But immediately on beginning a diminuendo the If you are a teacher of young children, try, if possible, retroversions: in short, all the fireworks of musical craft thi i Us high right hand. After trying this for a week you will begin tones and pace, with equal ease. One may often storm relation to it, must be practiced at all rates and degrees furnished a long way for little feet. As Longfellow “Snowflakes now are softly falling (legato), ahpve timber line on some mountain, with t: water in to do the left hand alone fairly well; then reverse the pp or ff through an uncertain passage effectively, when of pianissimo and fortissimo to discover any condition puts it, “I’m weary thinking of your road.” Even Lightly on the ground (piano) ; your canteen freezing, and wait for dawn ! ( process. When the difficulty is only (or one of the hands though the pathway was strewn with flowers from 'the slower playing, or the attempt to infuse a new inflection under which the hand will be inconvenienced. It must Hailstones now are loudly tapping (staccato), hand, suppose you receive a telegram at t' P. M. play that alone a great deal in the way explained garden of love, the old notebooks had “no royal road into it would spell disaster. be practiced at times at a much faster pace than is neces¬ They are big and round (forte)'.” announcing that a friend will come on the o’clock Slow practice for overcoming staleness needs great to learning.” This may be the case with a work somewhat new sary to bring actual rate of performance to the mind as train, and you yourself in the midst of hot; caning: concentration of mind on the finger and arm action When I became a teacher, I thought more and more The scale, too, has an easy preparation when sung to 1 and consequently not sufficiently habituated in the player s a somewhat leisurely rate, and it must, be practiced at the hour is just as long, but your motions wih because staleness has resulted from the waste of muscular of the needs of the very little ones; and I came to “Rich man, poor man, beggar man, thief,” faster! system; and also it may occur with a work too often such a rate as seems so slow that it is difficult to retain tissue and control through repeated performance the dread for them that rock by the wayside—the staff and An hour is a slow time-unit, a lento, as it v but the performed so that staleness is setting m. connection of context. Now, that slowness where the or to muscles working from habit with the mind centered on its notation. Materials there were in plenty for the hour before datyn is the application to a pieo . The cure is m^ch the same in both cases. hand feels the awkwardness of performance is very the musical thought. Muscular action with the mind other grades; but little for the tiny tots, until there be¬ “The squirrel runs up the old oak tree, which the notes are as long as the actual tun valuable since the mind must at the same time gain the Mind Control constantly following' the action and giving conscious gan to appear the various kindergarten methods. I And shakes some acorns down on me.” the hour before train time resembles this 11 ability to think through the passages at the same slow attention to every shade of movement bui ds up, while studied all that came within my reach, and soon was with much to be done in the time alotted! In the first instance the imperfect control of mind pace without losing the thread of the work and must From this delightful manner of entering the world of the reverse destroys. Hence penmen would not suffer able to reproduce many new and interesting features. over fingers is because the impressions and habituation, gain a certainty of grasp of its detail. As the mind music, the child of five or six years (or even younger) Moreover, the early editions (is not that > muscular cramp if they did a few minutes deliberate Children love to sing as well as to feel that they are though deep enough after considerable rehearsal, do not and hand work in intelligent performance as hand m copyrighted in 1894, the original?) bear tlu writing exercise daily, giving attention to the act ot accomplishing something, even a tiny bit, each day. The may be led easily on to the real study of notation. remain so a little later. In the second case habitual glove, it will mean that both become so habituated to modern finger plays, transferred to the piano, are won¬ As “the proof of the pudding is in the eating,” and a indicat.on J =72? This is not printed in n theses, performance of a work, at one time perfectly controlled, any and ever pace that catastrophe will be almost im¬ writing instead of what they are writing about. teacher is known by her pupils, the past year’s expe¬ a fact whicn often means that the mari.inc . deter- has been allowing the detailed impression m the brain derfully effective. I have succeeded, too, in developing possible. In a case of accident, as when a nail catches in. Practice Scales Without Fail Every Day the voices of small children, who could not at first sing rience with a class of happy little girls, now well ad¬ mined by the composer himself. Dvorak, tin robably to lose its sharpness and the muscular habit tojeiiect this a key or a hurt of some sort occurs, the perhaps resulting Scales should be practiced in all keys from end to end more than two or three tones of the scale, by the daily vanced in musical notation and all lovers of their lesson indicated that he wished 72 quarter notes to ■ minute, state, a physical condition called “staleness.” (imperceptible to the listener) break of pace will not be of the piano, at all rates and tones, every week, some use of the singing method accompanying these finger time, speaks for itself. As one of them quaintly re¬ or the entire first section (to the change of nature) The trouble is that the perfect control once acquired accompanied by a perceptible blunder; as the mind and days taking double notes and other days single notes, plays. marked during the initiation period: with repeat, in less than one minute by the ci . This is not ours for ever, but needs attention at intervals to hand can by detailed familarity bridge the occasion. hands separately and together. The staff becomes a less arduous task for the little “I do not think anything is hard in music, I love it so is about twice as fast as the violinists play it md this confirm or rehabituate. . „ , , ■ Now to the cure, “Slow Practice and what it is. Mastering a Troublesome Passage Often a difficult point cannot be mastered by practicing ones when they sing— much.” sounds sprightly. Dvorak also took a g. deal of You have probably seen, and if not it would pay you To master a troublesome passage, isolate it for that point, and it is then necessary to locate the exact trouble to write a lot of rests in the melody, am. .... to see at first opportunity, the moving pictures of beauti¬ practice, going so slowly as to make the movements point of difficulty, place the hands on the notes (perhaps violinists ignore at pleasure. Moreover, the inpay¬ ful horses and other animals in action, shown at reduced difficult to round and smooth because of the slowness. a long thumb under each), and hold the position for Where Long Finger Nails Fall Short ment contains staccato chords, which should al heighten speed by the taking of a greater number of pictures a minute or two till the muscles give warning of a pain. the humorous effect. And finally, the composer milled pbr second. The horse taking a hurdle, which in fact Do this often, also find another arrangement ot notes By Harold Hubbs ffie work Humoresque. If any one (possessed of suf¬ occupies but a second or so, when reduced to occupy that 'exaggerates the difficulty and make a little exercise ficient piano technic) will play it at the metronome about a minute shows just the same movements, but of it for repeated slow and fast practice, and it will be In association with students and players of the piano is too short the flesh at the finger-tips, by repeated and speed, observing all the rests, the staccato, and the slowly enough for the eye to examine the progress m mastered. But you must be content to sit and work one’s attention is attracted by the various whims and continued pressure, has a tendency to become sore where leggiero, he will be charmed by the sprightliness of the detail of the horse leaving the ground, rising to, and persistently with the mind oblivious to everything else styles of manicuring. This makes one wonder as to the it is pressed against the end of the nail. This may be piece. Many pianists so render it. floating over the hurdle and to the ground beyond, just Those who possess a dumb keyboard will find it advantages and disadvantages of fingernails, in the art avoided by leaving the nail extend just slightly beyond The question then is not the fitness of the name, but as though it were a graceful marine creature. The horse, of course, could not practice it that way, but tremendously beneficial to practice pieces, scales, etc , of piano playing. where it joins the flesh. If by accident the nail be cut a rather of the interpretation. Has an artist, be he never with the weight at 8 ounces, and sometimes at 11 ounces, Much ignorance of the real worthy function of the little too short, nature will correct this by the growth of so great, the right to take a very attractive composition with lower hurdles. But the pianist remaining firmly, on a seat may pw and at any rate a weight heavier than their piano touch, fingernail in piano virtuosity seems to exist. To many, a single night. of a master, and by playing it half as fast as indicated, and some of these even teachers from the leading con¬ tice “dead slow” the most transcendental flights. ( ‘he but not too heavy, a weight at which one can just keep What patience can one have with those who try to by ignoring many rests, and by disregarding the servatories, it obviously has not occurred that the play with long, pointed nails? The absurdity of it is pianist may not remain, firmly on a seat ,f 11 b® on® ° up without strain. A little of this each day will made a staccatos, so change the piece that it becomes not the nails have any value except to beautify the hand. If so evident when one considers the now common legato those revolving death traps so popular-I once went fairly heavy-touch piano seem light, and render ones not ignorance, it must be deliberate disregard that causes method of “wiping the keys with the finger-tips.” bright humoresque intended, but a sad, exquisitely beau¬ headlong into the footlights off one of them when it playing more robust. so many to turn their nails from all their helpful pos¬ Long nails render a correct hand position quite im¬ tiful plaint? This is what the violinists do; this is what swung around with me as I prepared to catapult my sibilities into things of decided disadvantage. A pianist possible. To test this, lay the arm upon the table and Wn0H eStra d°eS Whe" ft I,la-vs t1« Sucre River on a whole weight on a final top chord. Have a good, sensible, Something In a Name of undoubted ability recently played the Schubert March draw in the fingers till they are curved to the playing donhtPmnnSu0,'euVCrSe” 0f the Humoresque; it is un- heavy, four-legged chair. Militaire with some success, but with nails so long that position; that is, till the end joints are perpendicular. y what the strings will continue to do. until the What is Really Slow? By Sidney Bushell Now a slight pressure will tell when the nails are too they scratched the ivory till the listener was reminded ™al Pf1*** 0* composer is entirely lost to the One may be deceived as to what is really slow, as long, which is if they cut against the table. of a lot of rats scurrying across a polished floor. hnwi ’ , r^a y some editions omit the metronome mark, was the racing auto-mechanic who died from the ettec s Is it not time that a better and permanent name be Short nails are especially needed for heavy chord given to the “sustaining,” or miscalled, “loud” pedal. Good strong fingernails are an invaluable asset to the aside fhe 6 knCe t0 the String interpretation, and casting of stepping from the machine when it was doing about playing. If the nails are too long they interfere with The term “sustaining” pedal is fairly indicative of pianist. They have an essential part in the production 30 miles an hour after the wild race had finished, under the grasp of the key so essential to producing a full the record P0Srr'l.T0 make doubl>’ sure of ** chaIlgC' of "good tone, just as have the muscles or bones of the «LnS2SgS-0f uC Phonographs (and this piece is a the impression that the car was practically at a stand¬ the function of this part of the piano mechanism, al¬ tone” Then there is the danger of breaking the nail and fingers. They reinforce that soft, cushioned part of the good seller) give the violin rendition. still The mind and muscles accommodate themselves to though it does not convey very much to the pupil. Io causing serious trouble. fingers which comes in direct contact with the keys. rapid pace so that fast movement does not seeni fast i call it the “loud” pedal is, alas, painfully truthful at What matters a few tears, more or less, from the beaut'iesPffif!Ctly pr°I!e.r for a performer to “bring out” The point in question is how we shall trim our nails remember many years ago, when training for a 10-™mat= misguided miss who comes for lessons, with her nails noser sn 1 comPosition which even escaped the coni- tlnSince the real function of this pedal is to sustain to the best advantage, for keyboard work. Shall fad test in writing Pitman’s shorthand, at 260 words per carefully polished and “pruned” in true oriental style? Purpose of Tg8 3S t leSe rl° not a,ter ‘be intention and consecutive chords comprising similar harmonies, the and fancy rule? Whenever fashion interferes with the minute, then a world record, I used to practice one- If she would play with any artistic effect they must be •t S wVhetrP0Sf’ but ratber heighten it. But is writer suggests, the “harmonic” pedal, as an instruc¬ proper use of the fingers, then fashion must be sacrificed. sacrificed till the fingers fall upon the keys in cushioned minute pieces at 300 words a minute. possible signs offfi^T” ?eHberate,-v disregards all The muscular movements at that rate become easy for tive and comprehensive term. It is possible that the nail hould be too short, but the silence. No listener wants to hear the nails striking the Paul Howard might will nr k ui ' cotI1Poser s intention? In this case one minute though impossible for two minutes; but probabilities are scarcely worth considering. If the naU keys with an ugly, absurd and irritating click. will prevail ag0ainstytherecVom^silSt riSht’ ^ Vi°HniStS JUNE 1921 Page 379 THE ETUDE THE ETUDE Page S78 JUNE 1921 The Practice Hour The Minuet and the Scherzo adagio, hence they seized on the minuet as jus e thing needed. Even at the present day we can appre ciate the variety given by a minuet in the course o a By Russell Snively Gilbert By Edwin Hall Pierce long sonata, but it is doubtful if we are able to rea lze quite how strongly it must have appealed to a pu ic The study"of*any"instrument requires the action of to whom the minuet was a familiar and popular dance— both the body and the mind. Most pupils overlook the The minuet was a universally popular dancs for a it had connotations of cheerfulness and gayety muc mental part Let us consider the various elements that century or two, and is not even now quite > bsoleie, as if at the present day a composer should introduce Thould constitute our pract.ce and d.v.de them up into being occasionally revived as an antique curios ry. It a one-step or a fox-trot between the movements of a is slow and graceful, the step (so the dancing masters sonata. Such procedure would be incredible, but the say) consisting of “a coupee, a high step and a bal¬ classical composers did not always take themselves so Mental Piano-Playing ance.” Musically, the term minuet is, of course, ap¬ Physical A Cure for Slovenly seriously as we are wont to imagine. Concentration of the mind. plied to any piece of music of suitable tempo and Concentration on the body. The ability to listen. rhythm to accompany this step. Control of fingers and feet Growth of the Scherzo Development of rhythm. The scherzo is a piece of music of a light and rather Accuracy of pitch and By LAURA REMICK COPP jocose character and very rapid tempo. It has no The “waltz” played as a concert number at the pres¬ duration. Understanding of the connection with any form of dance, but is often found ent day is almost invariably executed at a tempo so Hearing all the voices. fundamental harmonies. as one of the movements of a sonata or symphony— rapid that it would be entirely out of the question for Visualization. Freedom of expression. more rarely as an independent composition. dancing, and it is quite likely that* the minuet intro¬ duced into sonatas did not long cling to the traditional There would, at first thought, seem to be little rea¬ When you sit down to your piano, close your eyes for mand its toll in indistinctness. Observing the “every- stately movement of the dance of that name. Mozart’s thus developed and they are made more muscular and son to consider these two subjects under one head, a moment and be silent. Sweep from vur mind all Were one passing through a beautiful country, and time-right” rule will make it possible to apply the word minuets, it is true, are almost always genuine minuets, thoughts extraneous to the subject. Then go over the capable of endurance. Accuracy is aided as, if one but in point of fact there is a most excellent reason: for the first time, would it not be the most natural thing “impeccable” that critics so love, to rapid runs. The and will bear to be taken at a real minuet-tempo, but hears a false note played loudly, he is much less liable the two are intimately connected in musical history— above list and follow it out in your work Think what in the world to want to see—really see—the beauty of much-sought and highly-prized “virility,” another pet one grew out of the other. Haydn’s minuets are quite often of such a structure your teacher asked you to do and find the most practical to strike it wrongly again than if it did not speak so the scenery? Likewise in music, should not the listener word of the critics, comes from this kind of practice, One of the best examples of the true minuet, and a as to suggest (to any good musician) a very rapid forcibly to show him his error. Quality of tone is en¬ tempo. Courtly grace is not so often in evidence as way of doing it. be allowed to hear, and hear all there is, as much as is especially through use of the deep tone with pressure very familiar one, by the way, is that from Mozart’s The physical side of the composition will be studied riched if due care for relaxation is taken. Blurred downright jollity and overflowing animal spirits. Often possible at one time? Artistically, the average rendition touch. Conditions must be right, knowledge of the text opera Don Juan, beginning first. With the mind concentrated on the ! ■ dy the kind notes are eliminated on the same basis as are the false there is an element of humor. Occasionally we come could be much improved if the performer would strive absolute, forte tone used, and then keep to the wheel. of technique to be used in each phrase wi'l be studied ones. All in all, using a forte tone is the greatest aid across the direction scherzando (playfully, jestingly), to play every note just as it is written and sufficiently Harmonic articulation, too, is necessary. Let one hear and decided upon with the fingering. The pedaling or there is. . and more than once the term Presto, which indicates brought out, so that it could be heard, instead of serving all the notes of a chord in their properly adjusted the bowing must be worked out in relation to the har¬ Tempo, also, furthers articulation, and, vice versa, a high rate of speed in performance. In fact, the up to the auditor, as is so often done, a lot of approxi¬ dynamic relation to each other and music seems to take monic and the melodic lines of the phrase articulation helps or sets tempo. No piece sounds well minuet has become a scherzo, though Beethoven was mates en masse. played faster than it can be brought out. If one would on a new meaning. This is especially true as touching the first to make habitual use of the word, and it was Accuracy of pitch is often neglected by ; mists. Even the upper notes of Chords where they carry the melody; but it would be easy to find numberless others, al¬ those who arc tone-deaf, if they persist, can learn to never play at a higher tempo than he can play well, even he who perfected the genuine scherzo. In his First Be Sure What You Are Trying to Do also, when the tune is in inside voices, as Schumann was though (as we shall later explain) not every piece sing a simple melody true to pitch. Tin i-. the prepa¬ if not quite up to the expected rate, it will sound bet¬ Symphony he still uses the word “minuet,” but the ter than if taken at a top speed in which distinctness prone to place it, leaving the pianist to struggle with labeled “minuet” really is one. With such a rich store ration for serious ear training work. The duration of Articulation can be gained, as' can so many of the good movement is practically a scherzo; in his other eight must be sacrificed. Misty, blurry playing is usually the its inner meaning and hidden themes. of genuine old minuets to draw from, the writer has each note should be accurately counted until it has made things of life, by acquiring the habit of being careful. symphonies he invariably uses a scherzo, either with result of tempo exceeding one’s powers of articulation. been much astonished to hear music used which could a firm impression upon the mind. Then i anting is no The first thing to know is what note is required. Surely not by any possibility be minuet music, in some modern that name or none, except in the Eiahtb Symphony, Make the piano as human as possible, make it talk, longer necessary'. one will not expect to be correct when he does not even Musical Punctuation revivals of this graceful dance—on one occasion where for once he gives us a genuine minuet and calls and let its lovely speech be heard to advantage. Most The fundamental harmonics must be ann’yzcd and un¬ know what he is trying to do. Any means, then that Dvorak’s Humor'esque! it by its proper name. By the way, Wagner, in his false notes happen because they are incorrectly read Note articulation leads to the harmonic, as it aids in derstood. This is not difficult. will lead to a definite and conscious knowledge of the The oldest minuets were quite short, consisting book, On Conducting, complains of the conductors of or one is not careful that he strikes them accurately. developing a technical equipment able to cope with its Many students are helped in difficult passages by text will aid. The study of harmony is a great help m merely of two sections of eight measures each, with his day for taking this minuet at the rapid tempo of bringing the student into close acquaintance with his key¬ Some, however, occur through careless reading of acci¬ difficulties. As theory is being studied more and more a scherzo, failing to realize that Beethoven for once visualizing not only the notes, but the fingering. An repeats, but soon it became common to make the sec¬ board, and assisting him to see the relation of notes in dentals or chromatic alterations. This latter fault can broadly each year, so it is possible to find hearers who went back to the regular old minuet, probably influ¬ organist can close his eyes and visualize hi- feet on the ond section sixteen instead of eight measures, and groups; but the really great requirement is slow prac¬ be cured only by training one’s ear. Wrong use of the care for and enjoy following the harmonic structure of organ pedals. examples are not wanting of still further variety in enced by the fact that the movement, which in this tice, slow enough that one may know exactly what the damper pedal, which often causes inarticulate playing, a new composition. Harmonic articulation, not only as The mental side, while more tiring, i ! far more regard to length of seefions. The custom early arose particular symphony takes the place of the usual “slow demand is.' Much slovenly playing is caused from false can only be remedied by learning its proper use. to the proper'tone balance, but also as to the progres¬ interesting. of writing a second minuet to alternate with the first. movement,” is not at all slow, but is of a rather light tones; and many times they creep in because the early sion of the chords, is needed to unravel some of the Half the students do not really, hear what they play. In the earliest examples this was in the same key, but and happy character. (Rather than encumber our readings are done too fast, due to confusing practice and extreme modern'music that would baffle an ultra-critic text with numerous notation examples, we would rec¬ If they did they would surely improve it. Indeed, when Let the Metronome Help later it was usually in a different key—quite often in sight-reading, two separate and utterly distinct processes. to understand at one hearing. . . Another gradual help is the gradual working up of the tonic minor, but sometimes in the sub-dominant, ommend those interested in this subject to play the a pupil has developed the power of listening to himself, The way a composition is approached in the beginning Articulation of content is a requisite to bringing out speed. Here is where one can easily err because he or in the key a major third below, or even in a more various scherzos and minuets in the four-hand piano his improvement never ceases. Think what that means. will be a good barometer of how it will sound when fin¬ the meaning and making the musical ideas intelligible arrangement of Beethoven’s symphonies; also those will not understand how very minutely, almost imper¬ remote key. Thus if the first minuet were in C, the Young people want the man who has rhythm to play ished. Taking it at first as fast as one can read it is not and of practical interest to the hearer. Following the of Haydn, Mozart, Schubert and Schumann.) their dance music, no matter how many wrong notes ceptibly it must be acquired. So difficult is it to real¬ second might be in C major, in C minor, in F or in A practicing, but merely reading at sight. If one wants line of the melody is the matter of greatest import¬ he may play. In the old-fashioned waltz they used to ize the word “gradual” that a resort to the metronome flat. The dominant (which in this case would be G) ever to perform that piece in a satisfactory manner, ance. It is the first artistic requirement as it will do Further Modifications of the Scherzo is of great benefit. Take short passages, increase speed was more seldom used, for the reason that the first step the time, while in the modern waltz th glide the enjoyable to his hearers, he must approach it with rever¬ the most to make the composition understandable. Having once cut loose from the conventions of the rhythm. slowly enough on them, and rapidity will take care ot minuet often contained within itself a modulation to ence and care, ascertain what each note is, how it is to Careful phrasing is an aid to this end.* Phrasing is minuet, it is not strange that the scherzo came to show Sopranos hear the melody, but not the bass. Men itself and without the sacrificing of articulation, tone that key. The relative minor (in this case A minor) be played, and then do so accurately. merely punctuation in music, and, as one could not un¬ less and less likeness to it. With Mendelssohn the who sing bass do not hear the melody. K\ery student or any other good quality. Of course, no amount of was also occasionally used. If the first minuet were How the note is to be struck, with what finger and derstand a letter very well, which was sent lacking the scherzo took on a new characteristic—that of fairy-like should work for the ability to hear all the voices care or knowledge can make one articulate who is try¬ in minor, then the second minuet might be in the tonic touch needs attention; and, when determined, the decision usual periods, commas, etc., so music unphrased is as major, the relative major, or some other related key, lightness and elegance, in place of the rough humor of together. should be adhered to at least until a better way is found. ing to play with a stiff wrist or any tenseness. A gen¬ eral correct condition of one’s muscular equipment is ignorant in sound as the letter looks not punctuated. or even in the same key. In early times it was quite Beethoven or the light-hearted simple jollity of Haydn. When all these things have been mastered, try to get Accurate fingering is the basic principle of good technic, A beautiful melody exquisitely phrased is a lovely thing. common to write the first minuet in two-part harmony, Mendelssohn often writes long' scherzos in one unin¬ the composer’s thought into your mind and convey it to which will not remain good unless it is articulated so taken for granted. Many special touches are effective, one finite gener¬ By a study of dynamics and a keen listening for color¬ the second minuet in three-part, as in these examples terrupted movement, with no “trio” whatever. He, as your listeners by means of your instrument. Just play¬ that, according to the old “saw,” it is a poor rule that ally used being called “pointed finger tips. It is true ing the unimportant parts will be relegated to the back¬ from the Third French Suite by Bach: well as many modern composers, often substitutes 2/4, ing mere notes is like writing words from a spelling will not work both ways. Select one fingering, the best that pointing the ends of the fingers toward the keys ground, allowing the more important ones to stand out 6/8 or 9/8 time for the earlier conventional 3/4 or 3/8, book and expecting your friend to get a message from thought of, and always use that, else in a moment of will bring a certainty in striking them that will cause so that the text is better understood. Careful atten¬ and if we consider a certain movement of Tschai- them. It is not the notes you play, but the thought with high tension, what shall be the choice? There is no time very distinct tone work. Pianists have a highly sensir tion to the musical form, as well as the thought, will kowsky’s Pathetic Symphony as a scherzo (as it un¬ which you play them, that makes people want to listen for selection, and a stumble may result, marring a whole doubtedly is), we have an example in 5/4 time. to you. performance. Adequate technic is produced by strong, tized touch and must, for they should sense the feel¬ emphasize the presentation; and, if one is a musician, ing of the ivories to the greatest degree of nicely. There Chopin’s Scherzos, for piano solo, call for special active fingers, slow practice helping to develop the neces¬ this is a necessity to him. But the layman will have his are many, many special touches, according to the school pleasure heightened by knowing the construction of the remark. They are among his noblest compositions, sary strength of muscle. and are long and highly developed. The use of the What the Teacher Should Believe to which one belongs or as he may have worked things sonata movements and being able at recital or orches¬ word “scherzo” as a title for these has been a stum¬ out for himself. All that assist clarity will be accept¬ tral concerts to follow the various themes of a sonata Where to Strike the Keys able so long as they do not in any way violate the laws bling-block to critics; one feels disposed to raise the By Ada Mae Hoffrek or symphony. question: “If this is the way Chopin jests, what would Where the key is to be struck also should be con¬ of good taste. he say (musically) when he was in earnest?” But sidered • as blurred tones, a constant menace to .clearness, Note preparation means much, along the foregoing I believe: lin-s Really, if all notes were properly made ready no Articulation of Public Speakers one should remember that not all joking is light¬ In myself. often occur because the keys are not properly put down. In using white keys the stroke should be made as near such incongruity as a false one could take place To hearted; sometimes it is highly ironical, or it may serve In the material I teach. Actors and all public speakers make much of articula¬ to hide heroically a deep-felt anguish. Witness the the center as is possible, since, according to the position prepare them is quite a science and consists of the tion They wish" the public to hear what they are say In my ability. finger being over the key as long as possible before it is inimitably funny cartoons of “Life in the Trenches,” In my pupils. of the weight underneath, the best response is so ob¬ ing, as they use speech to convey their ideas. Music is drawn by Bairnsfather, a soldier who was actually ex¬ tained. Necessarily, when black keys are played, this time to play it. Hover over the ivories and place as a Lguage a language of the intellect and the emotions That I can benefit society and myself. many as possible in advance; sometimes only one, some¬ periencing all the very perils and discomforts which he rule cannot be strictly observed, but in very intricate The composer uses it as a medium to express h.s moods _ « a a , j etlme °f conscientious effort will yield i times several. Big jumps necessitate much practice, as Hence the second minuet was conveniently and prop¬ chooses to display in a humorous light. Witness, again, a happy old age. passages it is tf assistance. In using the black ones inspired by nature or life experiences. Is it unreason¬ erly referred to as the “trio.” This name clung to it the “Grave-digger’s scene” in Hamlet. place the finger far enough beyond the end so that it real preparation is impossible so far as the hovering is conf-e-ned; but the distance must be known or sensed able to expect that music should be quite as well articu¬ long after the custom was forgotten, and is used Modern composers, Brahms among the number, oc¬ will not easily slip off and thus blur the good articula- lated as speech and that the effort to make it so will be fair treaimenTin^iurn35' treatmem ** 1 tion one is striving to acquire. Avoid skimming along as m”ch as can be. Single note articulation is the first at the present day for the second number of not only casionally use' a diverse short movement in place of the much appreciated-and helpful? Bringing out all of the on the mere tops of the keys, or skipping over them in a requisite and generally the most necessary; that is, put¬ a minuet but of a scherzo, a march, etc., regardless of minuet or scherzo, but not having the exact character JiSrtaffords me a max” °f °pp°r,un notes of a composition in their proper dynamic relation superficial way, by using pressure enough to put them ting down every one clearly with full tone, wrist and the number of voice parts in the harmony. Examples of either, called an “intermezzo.” Smetana tried the to each other, as melody, counter-melody, accompani¬ of1--Care of 'he present, the future will take c; well down and to give a round, full tone. Pressure touch arm relaxed, fingers strong, knowing exactly what the of minuets with two trios are not unknown. exper:ment of using a polka instead, in one of his ment, etc., following its harmonic and structural con¬ The minuet formed one number of the old “suite,” quartets, and several have made attempts with the is used nowadays as much as possible, as an aid to note is and repeating carefully every time. tent with the same idea of presenting to the auditor which was practically a series of dance-tunes in the waltz, in similar connection. It is probable that the wishing—in action, not alibis. sonority and smoothness of tone, but it must not be clearly and concisely what the composer has to say, will same key but of contrasted rhythm, though there were future has in store many further changes and develop¬ That ™ V profession >s preferable to my own. applied to the detriment of a relaxed wrist and forearm. The “Every Time Right” Rule Tha no other art is as inspiring as mine. The matter of quantity of tone is an important one, lend dignity and elegance to one’s playing and a seri¬ many suites without it. It did not originally form a ments in this interesting musical form. As Tennyson In order to be an artist in clarity one cannot play That mine ,s the finest 0f fine arts. and the greatest secret in connection with clear playing ousness to please that will ingratiate him into the mind part of the sonata, but composers began to feel that says: . perfectly six times and then carelessly the next few, as is told in this; use a forte tone in practice. For many and heart of any listener. some sort of relief would be agreeable after the seri¬ “The old order changeth, yielding place to new the habit of taking pains has been violated and will de¬ ousness of a movement in sonata-form or after a slow . . . Lest one good custom should corrupt the world.” ness^f^I" °f exPenence is worth a whole wild reasons it is advised, because strength in the fingers is 688 of warning. James Russell Lowell. JUNE mi Page 381 THE ETUDE THE ETUDE Page 380 JUNE 1921 How Young Teachers May Successfully In playing the two-finger exercises, the following corresponding pairs of fingers are used together: Introduce Touch and Technic Right hand . 1-2 2-3 3-4 4- Left hand . 2-1 3-2 4-3 5-4 They should be practiced with both hands together as By Leonora Sill Ashton well as with each separately. After one touch a week has been mastered, then try The Teachers’ Round Table to impress the truth of Dr. Mason’s own words upon The years come and the years go—but the four in¬ Conducted by N. J* COREY valuable volumes of Touch and Technic, by Dr. your pupils. William- Mason remain as a monument to American Strength and Lightness musical pedagogy. Many times teachers have been “The best possible results of the daily practice will heard to say, when some supposedly new method is be attained only when the different varieties of touch introduced, “It is very interesting, but Dr. Mason have been combined in their proper proportion and the department. Full name and address must accompany all inquiries. taught that and embodied it in his Touch and Technic due balance maintained between slow and rapid playing long before your new expert was ever heard of.” —the former conducing to strength and certainty, and The mistake that many young teachers are liable to octave, and to build the first chord you will find that the latter to lightness.” make with touch and technic is that of giving too much One more gem, gleaned from this first volume of only induce my pupils to work like that what could I you will select the tones one, three, five and eight out The following is the model sequence of the two- The Age Limit Again not accomplish with them!” A natural love for music, of this great wealth of material at a time. The fol¬ Touch and Technic, reads as follows: of the scale. This is the tonic chord of C, called the finger exercise as given by Dr. Mason: “While reading the Teacher’s Round Table 1^ hap¬ coupled with a capacity for unlimited and patient work lowing may be helpful to many in the assignment of “To play rapidly does not mean to play hurriedly. common chord by those who do not know the technical •2(a) pened upon the article entitled Thirty-five Years Young, Now the question is: How many of those who be¬ the work. Hurry in playing must be avoided. Quiet:. - of motion name. Now for E in that chord substitute E-flat as in ginning late, have worked like that, have yet failed? It Dr. Mason’s preface in the first book, devoted to and it occurred to me that possibly my personal ex¬ exhibit B. Let the pupil play the two chords, alternating arid complete repose in action must invariably be the is not only to those who begin late that teachers might two finger exercises, says, “The object in view is to perience, if known, might not only help Thirty-five until you are sure her ear discerns the difference be¬ rule.” hand this letter, but also to their younger pupils who build up and lay the foundation of a good pianoforte Years Young,’ but other music lovers of mature age, tween them. Some pupils cannot hear the difference touch and technic in the shortest possible time, and, ambitious to know and to perform beautiful compositions. have arrived at the reasonable age. Real workers are not in the majority. Our correspondent s list of pieces until after considerable drill. In response to this same when this has been accomplished, to keep the muscles “About five years ago I took up the study of piano music question asked by Phillips Brooks of his organist, he in the highest state of training, through the daily use studied is too long to print here, but it ranges from seriously, beginning as any novice from the very first steps. played these two chords. The famous preacher said of the exercises adapted to that end.” Glimpses of Great Masters at Home Beethoven’s Sonatas, Op. 49, to the Sonata P^eMue I was twenty-eight years old and had been married six that the second chord sounded as if someone had sa Therefore, explain to the pupil, at the' beginning, that and includes many classic and standard compositions. months. From early childhood I loved music better than down on the first one. Now explain to your pupil that these are not technics or exercises to be learned for By Arthur S. Garbett anything else, and have regretted that circumstances for¬ the time being and then laid away, as having done Mental Evolution the principal difference between the major and minor bade my taking more than a half a dozen lessons at the age their work; but let him understand that they will ac¬ chord is in the interval from C to E, which is a major of eight. Somehow or other I always knew the notes and complish a definite end for him, and then enable him Beethoven third, and from C to E-flat, which is a minor third. It to hold in place what he has attained. Explain to him during my girlhood, when I heard anything that appealed be^t^hawe^their t theve@ar™Uac is the character of this interval that defines the major that the two-finger exercise is the simplest form that Beethoven suffered a threefold loneliness: he was un¬ the music of The Mount of Olives and Fidel• to me, I would buy the piece and ‘play at it.’ Of course c^mnlisMnv is always1-to8£easv.' ta there any'way of and minor scale. Let the pupil commit cadence A to teaSitag1 these people rv’“ * *“*c can be devised, but that it can be put to many uses in married ; he was deaf; he was a genius. The first de¬ in the village of Hctzendorf. I did not play correctly, but I derived pleasure from means, and that it is a 1 memory, and then also cadence B. It will be noted that the way of touch. prived him of the loving sympathy he so much needed; Frugal by habit, his meals were simple. 1 my efforts, and the knowledge that I did not under¬ there is another altered note in the second chord at This is a sort of sociological problem that you will This of course is all preliminary. Here you will ask the second, of social intercourse and of the music that cup of coffee on rising, carefully counting on' ,ixty beans stand how. to play well made me very anxious to learn A-flat. This is the subdominant, and again it 1S t™ have to undertake. Leading ignorant people him to actually define touch, teaching him the excellent was the breath of his life; and the third set him apart as the proper quantity. For dinner he i i to do so. And while my opportunity to study came third that is lowered in making it a minor chord. The ance is always the mother of prejudice) through a definition in Dr. Mason’s own words: “By touch is thing light—a bit of fish or macaroni and < lecse. On rather late, (according to the popular idea), I think from all mankind. Beethoven had many friends. They process of mental evolution up to a plane where they may third chord is the same in both cadences, and is called meant the art of eliciting tone from the pianoforte.” that what I have accomplished proves that, possessed o were kind to him and helped him in his troubles, provided Fridays he would sometimes invite friend t at “Schill” find enlightenment is a difficult process, and one outside the dominant. Now play the scale in accordance with The different touches are named and understood by a burning love for music and a wil mgness to work him with financial assistance; and yet none was such a with him—a haddock-like fish from the 1 nubc. He the beaten path of a music teacher s ordinary endeavor^ cadence B, lowering the third and sixth degrees a half¬ the different effects they produce, legato, staccato, por¬ against all odds, even a person over the dead-line age companion as Goethe might have been had their single occasionally drank wine, preferring a van produced It is especially difficult as such people always fortify step Out of this will grow what is termed the harmonic tamento, etc., or according to that part of the anatomy may really arrive. meeting ripened into friendship. Beethoven felt the lack from the heights around Buda. A pipe i glass of each other by their mutual interchange of PreJudl“ a"d minor scale, which is the simpliest minor scale to study which produces them; as arm-touch, hand-touch. In “For ten years before my marriage I had a position of a real companion keenly; he needed someone to play beer he enjoyed. But above all, he drank copiously, ignorance. The fact that they are not in reahty to blame first. Explaining the minor in this manner, with ca¬ all forms of touch the muscles must cooperate with of great responsibility and grew very methodical Ac¬ David to his Jonathan. “I have no real friend,” he He loved water, bathing in it frequently, ometimes for their condition does not make the problem any less dences upon the same tonic is simpler for the each other. curacy became second nature. Therefore, upon taking wrote to Bettina Brentano. “I must live alone. But I pouring whole jugfuls over his wrists as ric for ra¬ troublesome. In such a community it seems almost !“, student to understand than trying to make him under¬ By placing your own hands on the keys, show the un music I came fortified by two powerful elements- know that God is nearer to me than to many in my art, perative that you should become a sort of socrological stand it in the form of the relative minor. This latter pupil how the hand, fore-arm and upper arm have all' spiration, allowing the water to drain off ora il ic floor- accuracy and system. At this stage I practice four missionary and constantly talk with the various parents may be explained later. Do not try to explain too much helped the fingers to produce the tone, how they have and I commune with Him fearlessly. I have ever ac¬ one reason, perhaps, why he had to chan lodgings hours. I begin by doing several of t^ ^uaig five- and try to give them something of an understand g been “the fulcrum against which the levers of the fin¬ knowledged and understood him.” frequently! Wrangles with his landladies, d with his at one lesson, nor all of this, except in two or more finger exercises, then three major scales with their ac what the study of music means. The situation is not gers have moved.” To speak of the “home life” of this lonely, homeless unspeakable brothers were frequent, and ! not help comparing minors, harmonic and melodic m tour lessons. genius seems an anomaly. Save when he visited such rendered any easier by the fact that occasionaHy you Then to give him the idea of the utterly devitalized to prolong his life. octaves properly accented, the triads and chords of An Outward Bend friends as Count Lichnowsky or Prince Lobkowitz, save will run across a “Mary” with exceptional talent who arm, which means “a condition of perfect limpness, sup¬ In his youth he was something of a dm :v, with a sevenths and a chromatic scale. This is followed by will progress rapidly, and then all the mothers will (tall “T have trouble with the outside of the hand, for his brief glint of home life with the Breunings in pleness and limberness throughout the arm, hand and bizarre taste in clothes. Carl Czerny, when . . >v, visited a study of Cramer and a Bach Three-Part Invention you to account for not making their Sarahs, who are fingers.” Have him hang one arm at his side, while Bonn, after his mother died, his whole life was spent him, in the hope of taking lessons, and for 1 him clad always reviewing a former Bach and Cramer selection. dull, play just as well. They do/iot like to be to d their in Vienna, in one dreary attic after another. Occasion¬ *>,£ 'IS.-UTKft'a the opposite hand shakes it to and fro. Then let him in coat and trousers of goat-skin, hairy si Then the pieces. I try to do most of « children are duller than Mrs. Brown s. Meanwhile there Can you suggest any way of correcting this? - swing the arm by its own force, always keeping the ally the monotony was broken by a visit to the country later days he was careless of his appearanc the forenoon, but am not always able to do so, owing to is only one plan for you, aside from ignoring the issue, G. H. muscles relaxed but vital; and finally have him play in search of health; but mostly he wandered from one old clothes to new. household duties. An hour or two each evening and that is to make the matter a constent topic of con- You should be able to correct this difficulty.by a little the exercise which Dr. Mason gives. lodging to another; and, from the many descriptions voted to playing over old pieces. He was a fine teacher, but hated teaching, versation whenever you come in contact with these patient practice. You are evidently not maintainmga given by those who visited him, one gathers always the ing the pupils he accepted. Carl Czerny, w > received “I enclose a list of the music I have studied, taking people; and doubtless you frequently will have to go level position of the hand. The saying often is that same impression, of bare walls, scanty furniture, scattered a few irregular lessons from him, savs he insisted on two lessons a week all the year with the exception of out of your way to do so. As to whether or no when the hand is in right position the centre of gravity one month in the summer. My teacher, while not one papers, a piano or two and a few other musical instru¬ scale-playing, and used Emanuel Bach’ itruction book, may be “too easy,” you will have to judge by the pupil should be toward the thumb. That is, the hand of the best-known, has taught twenty-seven years in this ments, clothes lying where they fell and a general atmos¬ For young Gerhard von Breuning, i, he recom¬ general progress and the manner in which she plays lean slightly toward the thumb. In assuming this posi¬ city, is a composer and organist and a thoroughly com¬ phere of indifference to material things. mended dementi’s studies. He taught a legato touch, pieces of a given difficulty that you have already used tion the little finger is naturally brought up into position. petent musician. I am ranked as the best of his twenty- In such a community, however, you will have to u Before deafness interfered he was sociably inclined, making more frequent use of the thumb than was com¬ You must now study to maintain this position, which five pupils, and I want to say that, if I have m any way showy pieces and avoid such “classics as will be over and his genius as a pianist, and especially his gift of mon at that time. His desire was to counteract the will need close application and attention on your part proved ‘the exception,’ it has not been altogether due to the heads of your constituency. As the author says, “The tone produced in this ex¬ improvisation, made him welcome in princely houses, staccato” touch of Mozart’s day, which had been neces¬ It is a good plan at the start to exaggerate the ercise will be almost wanting in character; but the where otherwise his bluff speech and open rudeness might my own efforts, but because of my teacher, who has leaning toward the thumb for the sake of practice Ljft sary for the harpischord instruments but was not suited been very thorough, very patient, and not particularly important position of the arm will be gained.” At this have denied him admittance. As silence closed about Major and Minor Scales the little finger up and down, as high - possible and to that still rather novel instrument, the pianoforte. As keen upon quitting instruction the second my lesson hour point, do not attempt to explain all the touches at once. him, however, he locked his doors to all save his inti¬ “How can I explain to a pupil ,pe difference strike firmly, working very slowly, and sorutimzmg a student it was a different matter. Beethoven never quit has ticked off its limit. In this, of course, I have been between a major and a minor scale? —H. M. One at a lesson will be sufficient. Be sure that one is mates, and even to them at times. Schindler, Ries, closely. In the exaggerated position the little finger Studying He studied the piano and the violin in his most fortunate. I have worked strenuously and I admit thoroughly understood and mastered before going on Moscheles, Carl Czerny, Lobkowitz, Rasoumowsky, and Assuming that your pupil knows nothing of harmony, will even strike at a slight angle, with the point away you , and throughout his life made a thorough investiga- it has not always been easy for me to. de.^°*e to the next. other persistent friends, however, kept in touch with him and that you also do not, as will be true of many young from the hand. Then take a passage-work exercise hke uon ot all the instruments of the orchestra/ He studied a day to the piano. Time and time again it has been constantly, and were wise enough to regard his out¬ teachers who read the Round Table I will try and give the following, in which only the third, fourth and. fifth composition with Haydn; and, when Haydn proved lax, at the sacrifice of other pleasure that I have 1«r"®d a Three Important Touches bursts of passionate irritability as merely pathological you a very simple explanation suited to such conditions. fingers are employed. Practice slowly every day with ,. t0 Schenk and Albrechtsberger and Salieri, making nortion of a new piece or a new study; but the result These touches may briefly be described as follows: symptoms, the consequence of a mighty spirit forced to First, copy out the two following cadences. each hand separately, until you have finally traced the has always been compensated me. I find time to read hand to take and keep an upright position. For the I. The hand touch, where the hand moves upon the take shelter in a frail, inadequate body. In return they tfl1LhrTJ;Xtr

British Copyright secured Copyright 1931 byTheo.Pre.eer Co. *Fromhere gohachto % and play to Urn; then play Trio. THE ETUDE JUNE 1921 Page 387 the ETUDE IN LILAC TIME H.ENGELMANN

Copyright 1921 by Theo.Presser Co. British Copyright secured JUNE 1921 Page 389 the etude THEME

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> > pp 7 * jftV JUNE 1921 Page 391 THE ETUDE the etude Page 390 JUNE 1921 SLOW movement from the “MOONLIGHT SONATA L. van BEETHOVEN, Op. 27,No.2 Adasrio sostenuto m.m. J=50 ,;tli a) Si deve suonare tutto auesto pezzo delicatissimamente e senza

or z: n * $ Sfo. efaTcer if"" | Jp l»-

hence the additional stem. ©) The<> in these four measures apply more Jl) “This entire movement should be p ayed with extreme delicacy andwith movement may be played u„a corda throughout b ) The t riplei accompan- well brought out. C) While arpeggiating for the purpose of bringing out particularly to the melody tones, f ) This middle voice should be well ■ raised dampers.’” The direction as to the use of he pedal is not to be liter- iment in the middle voice should be handled with discretion and somewhat melody tones is to be generallydiscouraged there are a few passages inthis brought out. g) Slightly emphasize this leading movement ui the left ally interpreted. The damperpedal should be released and again depressed subordinated throughout. The sustained bass tones and the melody in the movement where the device is peculiarly effective.These have been indica¬ hand. at each change of harmony. This correct use is frequently indicated. This upper voice should be played in a tender, dreamy manner, the melodybein* ted thus :t Cl) This F# is to be regarded as the closing note of themelody, JUNE 1921 rage 393

THE ETUDE THE ETUDE

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Copyright 1921 by Theo.Presser Co. British Copyright secured Page 394 JUNE 1921 m^T^TniVT rOT! T fWTJ? PTUDq TOKEN OF LOVF ARTHUR wft t WcT * MEDITATION . ARTHUR \\ ELLESLEY A taking drawing-room piece consisting of a single theme, broadly treated: first in the major, then in the relative minor, ra e

Moderato m.m. J=i04

P

4 <-*- e- \ 4 3 8 8 2 3 Li i i . a—HHg4 ■ 1" ePS L>1 > i e cresc. > prrt. T T T.T- —4-i-s-i—1~ ^ir ^F: % 3 * > = * J J ft j= ftr- .m -±=. i Mm i m

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Copyright 1920 by Theo. Presser Co. British Copyright secured PASTORAL SCENE In the manner of a vocal duet, followed by a baritone solo. Play very smoothly, in organ style. Grade 3. C S MORRISON Od 190 No 3 TranquiHoM.M>=88 - ' ‘ ’ ’ p'

Copyright 1921 by'Theo. Presser Co, British Copyright secured .UTNE 1921 Pag* 391 0E ETUDE Page. 396 JUNE 1921 THE ETUDE WHISPERS OP SPRING VALSE „ MX. PRESTON A waltz in running style always makes an acceptable drawing-room piece, and at the same time it affords exce ent practice in finger.. AT nr iinH in ttfP'irHnpuc r\E T>Wlini Q7. Tempo diValse m.m j =144

^ffrr delicato ] ^ "if

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* From here go back to the beginning and play to Fine, then go to Irto_ JLA±Ut

Sostenuto m.

Copyright 1920 by Theo.Presser Co. British Copyright secured JUNE 1921 Page 399 THE ETUm M A RC'Pl Page 398 JUNE 1921 rue eiude. Gt All 8' and 4' stops lYLiAJA^-L-L PRELUDE A. KOPYLOW, Op.39 No j D sw. Full coup, to Gt. ON A THEME FROM'EAUST K 8 ( Ped. Ped 16' and 8' CH. GOUNOD The modern prelude takes its name more from its form than from its content. The idealization of this form, begun by Chopin, has been carried on most f the immortal melodies heard in the Finale of this popular opera; well adapted for organ tranBcrip ion. J. E.ROBERTS effectively by some of the contemporary Russian writers. Moderato m m J = ios Moderato m.iv

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Copyright 1921 by Theo.Presser Co. — pfnrrntr JUNE 1921 Page 401 rffE ETUDE^t0 tranQuino moito ^ress.jwcont. p Cv_ TEE ETIT])E Page 400 JUNE 1921 To Alice Crew Gall

brook-let,Where f line trees so ten-der - ly moan. -- LIKE BARLEY BENDING TOD B. GALLOWAY *3 There by the £ tide of the still flow-ing 1 pr\ Pine SARA TEASDALE# . , , m .„pv Btvle Mr. Galloway’s latest song. A touching sentiment,well set. To be sung in declamato y y "33 iv espress.tranq.puco rit.P UmuiMLo— fff~ p legate_

G 'cantabile ^

CANTILENA fl&NRY TOLHURST (ft?" ^ t> d'~- a' iLLLi LL L L L • L "I *1 2 f* — j-4 H 4* in B!> izr f it $ 77 7 »y~* * m broad flowing style, with ornate passage work. Especially good as. a study in bowing.. molto espress. Andante cantabile Tlf. * 3“ *• £ VIOLIN 0 1 l L r. ;-=L ] L, I Lr<~ -

So would I, soft - lv. Day long night long, Change mv sor - row in - to soner ft 1 , bhw5—v —— 'nP VP EIANO JLviK^-A .f! J Jj 1 % ■ n - pn - n *? =bp=— 7 7 v 7 W

# Words used by permission Copyright 1917 by The Macmillan Co. To Enrico Caruso Copyright 19*21 by Theo.Presser Co. British Copyright secured OYER THE MEADOW Words by ROMILLI REVEKIE g.romilli A broad and flowing melody; to be sung with tender expression

British Copyright secured. Copyright .1921 by Theo.Presser Co THE ETUDE JUNE 1921 Page 1.0 the etude Lessons of the Accompaniment

By Leonora Sill Ashton

IN subdividing the different parts of a There are arpeggios and great chords, musical composition for the purpose of and intricate harmonies, each of which is learning each one most thoroughly it is a lesson in itself, and by receiving due interesting and instructive to note how attention will add power to the fingers in many lessons applicable to other practice an unlooked for maimer. hours may be drawn from each one. The This is the opening of the door of mys¬ left-hand performance, which generally teries of all music after the great master. forms the accompaniment to the melody, The left hand receives as much attention has a special number of these, and it will by the composer as the right, and often net be a waste of time to gather together the song itself is given to that hitherto a number of compositions of the different despised member, and the accompaniment schools and study the different forms of is bestowed upon the upper key branch for accompaniment. the right hand to manipulate. First: There would probably be the Beside these lessons in technic the care¬ Alberti form so much used by Mozart ful study of the accompaniment has wider and the older classic writers—almost a things to teach. A good foundation to five-finger exercise: the knowledge of form may be laid. As is seen above, this special part of the composition forms a kind of hall mark which tells to which school it belongs, and as time goes on a pupil will learn to know almost at a glance what age of music This should be practiced with perfect claims the printed page before him. legato with an undeniable accent on the In addition to this, it is the accompani¬ first note of the measure. ment which distinguishes the rhythm—the Secondly: The same should be taken time of a piece. with the different staccato touches. In The ears of many children are faulty fact, every finger touch in Dr. Mason’s in this respect, and too much stress can¬ Touch and Technic may be used, and thus not be laid upon the count and its direct with no difficulty. This simple accompani¬ application. ment may afford practice which will not So on and on the lessons might be only give accuracy and finish to the com¬ multiplied, but that is left to the teacher’s position in question, but bring strength discretion. A whole world of music and firmness to the wayward left hand, opens, apparently, with the striking, of and lightness and brilliancy to the fingers. every note, one may almost say, and it is Passing over the near and yet so far the great art of music teaching to single distance between Mozart and Beethoven, out from this the points which are to .work we find this same accompaniment still in best for the furtherance of the pupil’s un¬ use, but coupled with it—perhaps on the derstanding. same page—strange new rhythms and har¬ Do not wait until the lesson hour ar¬ monies, which tax our brains as well as rives to find out then what is needed. our fingers. Here the accompaniment is Live in your teaching, and search all the ^8rG>?7lA<2cA no longer a servant to the melody, but it time for the best and surest way to unfold has become independent, and has a mes¬ what, is difficult to those placed in your sage of its own to deliver. charge. \aby bjrcmd Memorizing Quickly

By Earl S. Hilton There is no longer any reason for forcing your¬ up to the accomplishment of the composi¬ self to be content with an upright piano when Going about on the level ground is an tion. you know you want a Grand Piano. The two easy matter for a normal person, but, to A process which will bring about quick time worn objections to the Grand Piano reach a higher point, for instance, the top icsults in learning any piece just above have been overcome by the Brambach Baby of a mountain, a new kind of effort is re¬ one’s present capabilities, and also help to Grand: first—Space, for the Brambach meas¬ quired. Such an effort not only aids to memorize is outlined as follows: Practice ures 4 feet 8 inches in length and occupies only reach the top of the mountain but it also from one to four measures, each hand the space of an upright, second-Price, as the strengthens the climber. New muscles are alone, afterwards both hands together, un¬ Brambach costs only what you would expect to brought into use and developed through til (1) correct notes, (2) fingering, (3) the process. This makes him a better time values of notes, (4) evenness of pay for a high grade upright. physical being. rhythm are attained. Then, proceed to the If it has ever been your desire to-own a Baby If one wishes to play a piece with ease, next one of four measures, following the Grand you should know all about the Brambach. a composition which is within his ability same process. This method is successful and technic should be selected. But, if a for quick results, if, at the end of every We will be glad to send you details if you send period of practicing four measures, you piece is attempted which is above one s us vour name and address. Please use coupon play the entire piece, from beginning to ability and technic, then a certain proc¬ below. end. ess should be followed in order to reach BRAMBACH PIANO COMPANY Meyerbeer’s Bill Mark P. Campbell, Pres. to translate his amusing rhymes, but the 640 West 49th Street, New York Meyerbeer could hardly rival Rossini as bill ran: a wit, but he could at times see the funny One Sun . 20000 francs ERAMBACH PIANO COMPANY, 640 W. 4 side of a situation, especially if he was New Costumes . 50.000 “ himself the victim of the joke. Once he Services of Tailor. 13,000 made a very amusing couplet which had Services of Claque. 15.000 to do with the production of La Prophete Start Dust . 17,000 “ To Meyerbeer for Art.... 30 in Paris, in 1849. We will not attempt

A New Romili Song Ove± the Meadow, the new song in this issue byG^ Romili, ^kten Tn ^the fluent, melodic style of 3^^'studied voice with William Whitney, son ufe of Bov^mn Co e^e', - Italy with Lombardi, the teacher of Caruso. He of Myron Whitney, and later in lta y assuming the name of G. Romili then appeared in opera Mr ’Rotnili has published in all about -his right name being J f r most Qf them. Being a singer himself his forty songs, writing his own a induced many famous' artists, songs have a delightful vocal q£My. ^ thdr progranls. Please mention THE ETUDE wUen addressing our advertisers. including Geraldine Farrar, to place f the etude JUNE 1921 Page h05. Page m JUNE 1921 THE etude of her life. No singer of her time had The same might be said of Galli-Curci’s ;• more fluent execution, and yet she felt the Bell Song from Lakme. If you want J need for daily exercise. One of the most style, one of the quickest and best ways celebrated singing teachers in New York in which to stimulate it is to buy a talking has said that the voice is unl.ke every machine. “This will make me a copy,” you other instrument in that it is never exactly say. Nonsense! If you are a copyist you the same on two days in succession. The will never have style anyhow. Use your singer must expect these differences as Department for Voice and Vocal Teachers brains, listen to as much good music as he is a human being. He should, however, /'M you can possibly hear, and you will soon try to keep his voice as uniform as possible Edited by Famous Specialist acquire a style that will be just as indi¬ through exercise. It is really wonderful f ■: j vidual as your handwriting. what regular practice will do. It is for such . “Thank You for Your Most Sweet Voices ” SHAKESPEARE larfial a reason that some of the master teachers d_i Daily Drill of the world contend that one hundred Perhaps, if you are the average singer, lessons taken on successive days will often your voice lacks, more than anything else, do more good than the same number of daily drill of a careful kind. The great lessons taken over a period of one hun¬ What My Voice Lacks Patti once wrote that she never failed to practice scales twenty minutes every day dred weeks. By George Y. Cramer

your health with plenty of outdoor exer¬ The Pebbles of Demosthenes Recently the writer passed through a Most of it is due to quality. I have could not image a beautiful tone, that the cise, work' patiently and pcrsi-tently, but great music studio building in which there reason they did not sing more beautifully been a little prolix upon this because I never forcing and you will reach your By Nettie Garner Barker were over two hundred rooms. When one was that they had no mental conception want the young singer to know that if his voice lacks quality—range, force, etc., greatest possibility for power. their vocal careers. Possibly they never approached the building there was percep¬ of what was beautiful and what was Every vocal student has more or less Many of the voices which seem weak heard of the hyo-glossus, but in their cases tible a kind of roar like the distant hum of mediocre. Then I tried them out with may do him little good. trouble with the tongue. In fact, nine- During recent years there have been far can be built up by the means we have sug¬ The quality of its tone it was well developed, else they could not Niagara. As one got nearer the structure phonograph records, putting on the record tenths of the vocal failures may be laid at the screams, cries, yelps and barks of the too many statements such as, “Her voice gested. Many others are weak because have given to the world their beautiful of some really beautiful voice and then door of that unruly member. is a made voice; you know, my dear, she the singer is self-conscious. The writer enraptures the heart vocal students could remind one of nothing some voice that was full of obvious ‘gaps.’ Lilli Lehmann, in her How to Sing, had very little voice to start with, and has had many pupils of this kind. When ' °Demosthenes, the greatest of all Greek but the animals at the zoo. Hundreds of They invariably chose the lovely ’Voice. says: "The bad, bad tongue 1 One is too she has very little now; but she interprets the pupil began to sing lie had his mind as its beauty of con¬ orators, in a dim way sensed this muscle pupils under the direction of as many Then I tried them with tones I produced thick, another too thin, a third too long, a teachers, more or less able, were trying to so wonderfully.” All very well. Some overburdened consciously and subcon¬ and proceeded to develop it. He stut¬ muself. They had no difficulty whatever fourth much too short. Ladies and gen¬ epoch-making actors, who would have sciously with so many thought relating to struction delights the tered and stammered because he could not do something to their voices to supply in distinguishing between a beautiful tone tlemen, these are nothing but the excuses some lacking element. and one that was faulty. The whole been great dramatic readers, have been the mechanism of singing ti ■ experi¬ control the tongue; and back of tongue- One could not help thinking of the con¬ able to record successes with slender enced without knowing it a I i of fear eye- of the lazy!” contrcl (and impossible without it) is a trouble with the pupils was that they did Excuses of the lasy! We beg to differ that he was not going to do ad that he strong, flexible hyo-glossus muscle. dition that so many pupils confront. There not care to work hard enough or long voices, but; their success is exceptional. with'the great artist-teacler. is just one little element which usually ought to do and his throat h.-came con¬ Demosthenes placed pebbles under his enough to produce the right re'sults. They Work first for quality; quality in the It is not laziness, ca. sless practice or makes the difference between success and whole range of your voice. Sing your stricted, dry and unnatural. The result tongue and made himself speak with those wanted to sing and they were not willing impatience for quick' results. It is the failure in the voice of the average singer. simple exercises over and over again, was a puny tone. in his mouth. Result? His speech be¬ to wait patiently and work industriously Schomacker Piano undeveloped condition of the tongue The little thing that the voice lacks is that until they got the tone that they knew was listening with all your soul for every Limited Range came perfection; he acknowledged no which the vocal teacher works frantically slight improvement in quality. Sing nat¬ muscles. right. There are hundreds of pupils like If your lack is range, there is usually Company There is a muscle growing upward into superior then or now. to supply. urally and freely. Try to imagine that There has been no improvement over that, who compromise with themselves on hope for you. The famous i nglish con¬ the tongue- -the hyo-glossus. Ever hear Range, flexibility, power, sweetness, you are a song bird, floating in the air bis method. Try cork, of different sizes, ordinary tones, and do it so much that cert hall singer, who it is said had only ESTABLISHED 1838 cf it? If you have not, get acquainted clearness, plasticity, responsiveness—these and using as little effort as possible to instead of pebbles. Daily, conscientious they make their voices continuously or¬ five notes in her voice, may have been with it as soon as possible. If you have are the gaps which the teacher has to PHILADELPHIA, PA. work for six weeks will do wonders. If at dinary. Most singers could sing a great produce results. physically incapacitated; but nearly every i —get better acquainted with it. Once this bridge. The average good teacher does deal better if they would work persistently normal being has an octave and a quarter muscle is understood and mastered, most the end of that time, your voice is not a not try to bridge them. He knows that, if Lack of Force strong, beautiful, and vibrant as you wish to avoid tones that did not come up to at least of passable tones, i f they are of your vocal troubles will disappear like he can have his pupil long enough, he can their nearest approach to what they be¬ Lack of force in tone production is by brought out properly. Many of us go magic. Mme. Lehmann, Caruso, Farrar, and your tongue is not under perfect c( build from the foundation up; and that, if trol, keep up the daily work. Eventually lieve to be an ideal tone.” no means always a lack of strength. Very through life with two octaves without ever Melba, Lind, all the noted singers, had this the work is done right throughout, there DREAM you will have it and it will be permanent. The foregoing may be the best remedy often it is merely a lack of resonance. realizing it. One old Italian teacher, who muscle well developed when they began will be no gaps or weak places. However, for a lack of pleasing quality in your voice. The singer, however, should always realize the whole trouble is that the voice teacher taught in America a long time, used to Remember that without a pleasing quality that some voices are naturally big and say that if one would always start prac¬ VOYAGE does not have anything like a fair chance your voice can never have anything in the others are naturally small. It is very Preposterous Vocal Terms with most of his pupils. They come to him ticing within the natural range of the voice SONG BY way of a market value. much the same as with a musical instru¬ and sing scales downward, always insist¬ for little repairs as though he was a kind of ment. One can not expect to get the By William Liskey cobbler. Some of the leading “voice spe¬ Human Feeling ing that the first note of the scale was as Victor Young same amount of tone from a one inch pipe perfect as possible, the range c. uld be ex¬ cialists” are to blame a great, deal for this. The thing that puts the singer over first ALICE VERLET ac- rects, “Looseness of jaw and the proper as from a sixteen foot diapason. If you tended without danger. Another famous The subject of Voice Culture is one The man who charges an exorbitant fee with the average audience is the ability to enunciation of the words will make you a really have a small voice, you can make English teacher had a unique plan for ex¬ ®h ch7 have had the that has been much discussed. In all this, for just a few lessons may be able to give put the human feeling into works intell- singer.” Of the making of such sugges¬ one of the mistakes of your life in tending the range upward. He always one phase has been systematically avoided. value for the time he takes; but he does gently interpreted. After this comes the tions there is no end. Even the morning trying to make it a big voice. A certain accented the note just preceding the top Here rises the point of nomenclature. not take nearly enough. Vocal evils can quality. Few singers know that the dif¬ paper must discuss the’registers and other physical limitation is there, and the sooner note of a scale ascending and then de¬ Should we not abolish such terms as reg¬ not be cured with very slender attention. ference between the fees taken by Galli- “what not” of the artist of the previous you find it out the better. This, strange scending. In other words, he avoided SUNG BY MANY OTHER READING ARTISTS isters, glottis, head, chest, medium and When there is anything serious the matter Curci, McCormac and Caruso and the or¬ to say, has very little to do with the size evening’s concert. What chance, pray, putting the stress upon the high note. An, A DREAM VOYAGE falsetto voice, etc.? These words, even with the voice it takes weeks to correct dinary fine singer is enormous. For in¬ of the person. The writer knows of a bari¬ has the bewildered student to bridge the These upper notes must be used very in their best usage, are very vague. the evil, sometimes months, sometimes, stance Caruso will draw $20,000.00 a night; tone and of a tenor who were very nearly mire when he reads a criticism thus, “Her sparingly, if there is the least sugges¬ Supposing you were studying and your years. while we know of a singer of very high midgets in size, but who possessed voices medium register was wonderful, her upper tion of effort. Three prima donnas ofi teacher said, “Your chest tones are too standing, whom any reader of this article of such power that if one were behind a register fairly tight, and the chest regis¬ The Problem of Vocal Placement world-wide fame have told the writer that open.” What would you do to close would identify at once as an artist of screen he would think them the voices of them? If you made a voluntary effort ter sung roughly.” Probably the first great weakness which they scarcely ever even try their highest The student would just as well not look national renown, who is glad to get $300 a giants. Singers with small voices, who to close them you would stiffen the throat, most voices have is what most teachers notes in practice. It is comforting to in the paper for the opinion of the critic. night? What is the reason for this great try to make them big in a short time, are which certainly would be wrong. would call the “lack of placement.” By know that they are there, but they do not gulf between $20,000 and $300 a night? sure to force. Practice normally, build up a lesson and is in- Why could not the references to the sing¬ this is meant that the amount of breath think of taking the risk of breaking on A soprano is s from C up must be ing'of artists like Melba and Tetrazzini administered to the vocal chords at the them. structed, “The n pi f ” How can a student be made understandable to a human being? right time is correct in quantity and that Style and Interpretation sung in head voi Why not something like this: “Her voice send a message i her vocal cords to the natural means of reinforcing the little Lack of style is one of the most con- was remarkably schooled; jine in its light¬ squeak made by the vocal chords , until it Three Famous All-American Opera Singers give her a head voice? spicious shortcomings of many singers. The tenor is directed, “Cover your tones est pianissimo; clear, ringing and pure, becomes a beautiful tone are employed Wi hf'- T.J This is something which can scarcely be from E up.” How shall he cover them even at its fullest power. Her mezsa voce naturally and musically. REINALD WERRENRATH taught at lessons. It can be absorbed, if without stiffening the throat? Or the (half voice) was clear, showing excellent More and more teachers seem to be MME. LOUISE HOMER it is ever going to be a part of the singer’s control.” By this method, a student would coming around to the theory that nature teacher will say, “You will be careful to HENRI SCOTT equipment. Many singers are quite with¬ avoid the break at E or F,” with the re¬ be given something to grasp as to how itself is a pretty good guide and that the out style all their lives. The best way to an artistic tone should sound. most natural means of securing quality is sult that the pupil tightens his throat be¬ Educational conferences with these three great artists will appear shortly in The develop it is by hearing an immense fore reaching the E, and forces his tone Why should not the teacher say, “Yon to “let nature have its way.” In other Etude. It has been our ambition to have this department “the best vocal maga¬ amount of the very best singing. Nothing will listen very closely to your tone and words, open your mouth as you would if FRECKLES in his endeavor to get past the change, at zine of the times.” We have tried to conduct it like a little “ all-round ” voice excels hearing the singers in person; but, the same time losing his free, loose, open endeavor to make it clear and pure.” Bv you were calling someone at a distance. concentrating on the tone he is actually journal. We would like our voice readers to help us in extending our influence in if you can not do that, you can gain very Now Is the Time to Get Rid Keep all of the resonating cavities in the throat. . . producing, the student will progress much this direction by calling the attention of their song-loving friends to the fact that considerably from hearing fine records. of These Ugly Spots. The usual treatise on singing discusses head in a loose, liquid state; avoid any Some singers, such as Caruso, Ruffo, Galli- faster towards its correct production. suggestion of strain at the lips, soft palate, The Etude during the last year has had invaluable feature articles and departments Then* no.«r.» registers, breaks, covering of tones and a Curci and Bispham sing so dramatically multitude of other terms, with the result Someone proclaims that the air must be larynx; think the tones exactly on the from Amelita Galli-Curci, Mary. Garden, Geraldine Farrar, Mme. Julia Claussen T. remove these h’ anely. spot3- and so effectively that one can fairly picture that the anxious student perusing it knows set in vibration in the nasal and head cavi¬ pitch; think the most beautiful quality you William Shakespeare, Carrie Jacobs Bond,'Thurlow Lieurance (Indian Songs), W. J. them through their records. The advan¬ about twice as little after as before study¬ ties by singing Dans le Masque. That is, can imagine; and then sing, sing, sing. Henderson, D. A. Clippinger, F. W. Wodell, Sergei Klibansky, Dr. Walter L. Bogert, tage of the record is that one can turn it ing it. One-book says, “Control the Regis¬ the tone should be produced as if one were singing through an imaginary mask. Mental Tone Concepts Dudley Buck, Karleton Hackett, H. W. Greene, A. L. Manchester, S. Camillo Engel. on over and over and study it. Ruffo’s ters and Success is Assured.” Another It would be hard to imagine a finer list of co’laborators. Largo al Factotem is a marvel. It can othlne. ns What is gained by all this talk about One celebrated teacher said to me re¬ says, “The proper amount of air set in be appreciated only after hearing it many, vibrarion in the nasal and head cavities head cavities and registers when what the cently, “I used to think that my pupils many times. will give the beautiful tone.” A third di¬ student needs to learn is to listen to his JUNE 1921 Page k07 THE ETUDE THE etude Page, 406 JUNE 1921 Now, all this has been prompted by Gwn voice and imitate and produce the Thrift in Music Sttdy what is. really happening every day in the tone that is clear, ringing pure and even, vocal studios throughout the country. By W. Francis Gates ALL the old charm throughout its range. This dealing in abstruse terms is but con¬ » of these two If the old Italian masters knew of many fusing the minds of students, leading them famous hotels now of these vocal terms they did not use into all sorts of faults in tone production, Thrift, like Boston, is “a state ot mind." Possibly the greatest waste of effort comes from the thoughtless choice of a combined and added them, knowing full well that they would and ending often in cases of laryngitis’ Art may have material as its medium, Dut teacher. Y-cutlers vary in disposition and to. Hospitable. Home retard rather than further the progress chronic colds and throat diseases. Is it art is an expression of a mental state. Art temperament just as pupils do. Teachers like. Finest cuisine of the pupil. What concerned these great not time to get away from many of these first exists in the mind of the artist. And are but older pupils. A wrong choice of masters of the past was that the beautiful troublesome terms and back to some of there may be mental waste as well as Every modern com¬ teacher for a certain temperament of pupil tone should be produced through psycho¬ the simplicity of the methods of the older fort and service. may result in a stunted or warped develop¬ logical rather than physiological laws. masters who produced real singers? PlWaste may be found in almost every ment carrying evil effects all through life. _ LEEDS AND L1PPINCOTT COMPANY studio, every school, every practice room, Community Music and the Professional Musician every home; waste of time, waste of . It may give an entirely wrong musical out¬ energy. We all have our lax moments look and a sad perversion of the musical Let No Corn ‘(halfonte-Haddon ^all By Alexander Stewart when carelessness clogs the wheels of ef¬ future of the student. fort. What we need is time-thrift, energy- On the other hand, just the right teacher often fail to secure community-wide sup¬ at the right time may be the making of the ATLANTIC CITY. N. J Many professional musicians are still thrift. spoil one happy hour OS THE BEACH AND THE BOARDWALK - AMERICAN PLAN - ALWAYS OPEN beset by ignorance, prejudice or misun¬ port because of the lack or organized com¬ This comes first to the door of the pupil. There may result a real musician. derstanding regarding the real purpose of munity effort back of them. The commu¬ teacher. If the pupil sees the teacher An equal waster of time is the habit of 11 does it in the right, the genth, nity music committee or organization flitting from one teacher to another. A ANY corn ache nowadays is the community music movement. As a waste moments, who can blame thp student the scientific way. Harsh treat¬ class, musicians have largely lacked the formed on the right lines, reaching many well-considered move may be made at l unfair to yourself. for wasting hours? Generally speaking, ments are unnecessary now. It social point of view as regards their art diverse groups, affords the best kind of the pupil is a copy of the teacher. A sad times, based on reason and experience; but You can stop it by a touch. is vouched for by this great lab¬ D. A. CLIPPINGER A Master of the Voice and its relation to everyday life-. They an opportunity to bring musical projects of waster of time is work that is not directed the hope of making a musical bouquet by You can end the whole corn in have not thought of music as a community general worth to the attention of the com¬ flitting from flower to flower in search of oratory, famous the world over. SUMMER TERM, Five Weeks Beginning June 27th toward some definite end. short order. problem, and as an influence in the civic munity as a whole. Of course there is the waste produced the odors of all, or a sample of each, will If you use wrong methods, Private Lessons, Class Lessons, Round Table for Teachers A community or civic chorus organized result in having the character of none. It The way is Blue-j ay—either and social life of the people. by careless practice. Then there is the cease them. If you pare corns, — SEND FOR CIRCULAR- The fact that the present community along the lines suggested by the commu¬ loss that comes by the playing of unworthy is much better to stay with a suitable liquid or plaster. One moment quit. There is now an ideal corn Author of THE HEAD VOICE AND OTHER PROBLEMS, Price 31.25 music development had its beginnings in nity music exponents, with groups of music. The latter is a subject that can teacher until one has extracted the whole applies it, the next moment One of the important books of recent years smaller choral units in department stores, result of his musical experience and be¬ ender. It is saving millions of the community singing movement has made best be combated not so much by precept forgets it. “Am much impressed by its soundness and sanity,” Clara Kathleen Rogers industrial plants, -churches, neighborhood come as good a musician as he, than to it difficult for professional musicians, es¬ as by example. To say that music is bad The pain stops. Then the corn painful hours. Author of “MY VOICE AND I” pecially, to associate with it any more seri¬ centers, etc., in itself offers facilities never does not carry conviction to the person try to build up a method from a stick here Ask you r druggist for Blue-j ay. Systematic Voice Training - Price 31-25 ous purpose than the mere bringing to¬ before available to reach the community and a stone there, put together without soon loosens and comes out. who likes it; one must combat that liking Apply it tonight. Itwill end your “Will restore the public’s confidence in legitimate voice teaching.” Musical Observer. gether of a crowd of people to sing popu¬ musically. Through such a community by the gradual substitution of what is definite plan or logic. The really thrifty Blue-jay has done that to not student will “stick and study.” dread of corns. lar songs. It is difficult for some of them music organization, there is also offered better. less than 20 million corns. D. A. CLIPPINGER, 617-18 Kimball Hall, Chicago, Ill. to understand that it is purposed now for the first time the opportunity for the that out of these group “sings” there shall musicians of the city to work hand in hand Plaster or Liquid come the organization of permanent choral with those representing the larger business Song by Thurlow Lieurance units singing the simpler forms of part and social elements of the community. Early Jewish Music Price 50 cents—Published in Three Keys music, and that from these latter organ¬ The study and promotion of music from iue=jay My Collie Boy ized groups there shall be formed in time the community viewpoint, the attempt to Bll MY COLLIE BOY By Alfredo Trinchieri a people’s civic chorus which shall develop reach elements in community life which Th. : Scientific Corn Ender material for the more expert choral or¬ have heretofore been untouched by music, services was of an equally high character. ganizations, such as oratorio societies, offers musicians the opportunity of ser¬ Only two musical instruments used by Judging from the list of instruments em¬ church chorus choirs, etc. vice of a kind which they may well afford the ancient Jews are employed by us to¬ ployed in their religious ceremonies, the Musicians forget that many people with to give. Musicians have wasted too much day. that is, the human voice and the nature of their use would suggest highly modest vocal ability and little or no mu¬ of their time and vitality in giving free straight trumpet (resembling our coach specialized methods of performance. It sical training do not join the ordinary service to well-to-do social and civic or¬ horn), retain the character of those olden would seem but natural that these condi¬ choral societies because of the exacting ganizations, which could afford to pay for tions would indicate a high state of devel¬ requirements for entrance. Community the services rendered. ' Community music tlnSince this trumpet may be expected to opment in the music used and that .it was singing groups, and permanent choral gives opportunity for service of a differ- produce the same harmonic sounds regard¬ units which develop from them, will fur¬ end kind, because it is aimed to reach all less of changing ages of the world, it far from barbaric. “Selah,” appearing so often in the nish a medium for the musical expression sorts of people, particularly those who can may safely be used as a basis for specula¬ Psalms, has been rather generally ac¬ and training of the city’s more modest tal¬ ill afford to pay to hear good music, and tion as to what scales were possible m cepted as a “cue” for the entrance of ent, some of which will find its way into because at the same time such effort is the music of the ancient Hebrews. Their an instrumental interlude or symphony, the more advanced choral organizations. broadening the scope and usefulness of harp and other stringed instruments had using the latter term in its original sense In time, also, many of these of modest music as a whole. passed through many modifications and This is but another argument for the high Do You Read Music Easily? talent, who receive their first vocal in¬ Musicians would do well to acquaint very probably were tuned to the natural The Efficiency Idea” will help you standard to which Hebrew music had centive in the community chorus, will find themselves with the service which a na¬ tones of the trumpet. arisen. Thus, the music of the early Jews their way to the local voice teachers’ stu¬ tional organization, such as Community In both ethics and religion the Jews may consistently be regarded as the well- Endorsed by Charlesles WakefieldWal Cadman, and many other noted authorities. dios. Class vocal instruction, which is be¬ Service (Incorporated) stands ready to were much in advance of the neighboring spring of modern idealistic music and ing advocated by many community music offer in the broader field of the commu¬ nations. This would naturally lead one WINIFRED STONE HEATON, 170 So..Virgil Ave., Los Angeles, Calif. especially of that of the Christian Church. organizers, affords an excellent opportu¬ nity music advancement. In its training to believe that the music of their religious nity for many persons to obtain a start in of commuity music specialists, and in the voice training. In due time, again, this offer of the services of these specialists SUMMY’S CORNER elementary class instruction will bring to communities which wish to broaden Bull Buys a Bouquet more pupils- to the professional teachers. their music program; as a clearing house tracted him. Once the writer admired a Teachers of Piano who want intermediate material that will bridge Community music, however, means for information regarding the community The following is related by a lady, a the TRANSITION PERIOD between the Heller Studies and the more than developing material for choral music work in different parts of the coun¬ prominent pianist and musician, of the bouquet in the window of a great florist. Chopin Etudes, or more plainly speaking—Fourth Grade Etudes for societies and for muic teachers. Musical try; in its publications of bulletins and mid-Victorian era, who was on the most A minute afterwards she missed the tall, brilliant piano playing, should use projects of a community nature, such as volumes on various phases of commuity friendly and familiar terms with the great gaunt figure from her side, and, waiting, the series of artist concerts given in so saw him coming out of the shop, bouquet FOUR CONCERT ETUDES : By L. Leslie Loth music work, Community Service is render¬ Norwegian violinist. Are you as interesting to your husband many smaller cities, particularly symphony ing a valuable service not alone to com¬ “Ole was as fond of unconventionality in hand. There, in the street, he presented They are fearlessly pianistic and thoroughly interesting in musical it to her, and when, embarrassed by the as on the day you were married ? concerts, oratorio society concerts, etc., munities but to the professional musicians. in daily life as in his playing. He liked to content. The pupil who masters them has made a real technical stares of the passers-by, she begged at achievement. come and go as he pleased—an uninvited guest. He often came to the writers least to return home at once by a quieter How Old Is a Voice? route, he was amazed. ‘You liked the of others EURUS THE EAST WIND .... FIREBRANDS musical nights, but also would drop in at roughness’, banishes slight imperfec- flowers, and you are ashamed of them?’ he IN THE CAVE OF THE WINDS . . RUSHING WINDS By I. G. de Materno odd times and take her for walks, pre¬ Go to your druggist today and pur¬ ferring the great thoroughfares, as he was said, in reproof, in a tone both disap¬ chase a jar of Ingram’s Milkweed Price of each of the above Etudes.. .80 Some years ago it was stated by a Eu¬ Cream .in the fifty-cent or the one- time, everyone knows of countless singers amused with crowds. Shop-windows at¬ pointed and reproachful.” The success of the above Concert Etudes has led us to publish a ropean authority that the average voice who have sung for twenty-five, thirty, i so easy to achieve, if you begin NEW CONCERT ETUDE by the same composer. was good for only fifteen years. What thirty-five and even forty years. In fact, ay to use Ingram’s Milkweed if one lives right and uses the voice right, “THE TORRENT”.Price, $1.00 can such a foolish statement mean ? Apart One Musical Minute with Shakespeare ngram’s Milkweed Cream does Frederick F. Ingram Go. Another brilliant Etude, thoroughly pianistic. with an ingratiating it should not depart until the decrepitude Established 1885 from the cases of Sims, Reeves, Patti, of age robs the singer of the precious las an exclusive therapeutic prop- melody interwoven throughout the passage work. If music be the food of love, play on. Let music sound while he doth make his V that actually “tones up"-revi- 43 Tenth St. Detroit, Mich Schumann-Heink, Marie Roze, Scotti, jewel. Everyone knows of aged orataors RAIN IN NOVEMBER: By Anna M. Thompson.Price, .30 choice; Maurel, and others, who have carried their with beautiful voices, strong, rich and Music, with her silver sound Then, if he lose, he makes a swan-like end, One of the most attractive bits of tonal painting that has been issued voices in superb condition over twice that powerful. With speedy help doth lend redress. Fading in music. for the early second grade. A boon for the elementary teacher. Ingram's Keep time. How sour sweet music is, Singers should be made to understand ^ MilKweed CLAYTON F. SUMMY CO., Publishers duced vocal sound involves no physical When time is broke, and no proportion Here will we sit, and let the sounds of 429 S. WABASH AVENUE-, CHICAGO that whatever physical sensations are ex¬ sensation. It is the bad habit of asso¬ kept. music ciating vocal sound with physical actions Creep in our ears; soft stillness and the Piano Teachers: Send your name TODAY and let us send you FREE The Study Service perienced in good tone production are Nought so stockish, hard and full of rage, Cream of sorfie sort in the act of production Sheet, which sites the most progressive leaching ideas of eminent educators. effects and not causes of the tone they But music for the time doth change its night which is one of the chief stumbling blocks Become the touches of sweet harmony. Please mention THE ETUDE when addressing advertisers. hear. The actual utterance of a well-pro¬ of the average student.—C. K. R. nature. Please mention THE ETUDE when addressing our advertisers. JUNE 1921 Page h09 the ETUDE THE ETUDE difficulty, Dr. Eaglefield Hull remarks: Page 408 JUNE 1921 case of a repeated dominant (Ex. 5), but imperative in the case of a single dom¬ “This plan of pedaling must never be inant as the penultimate note of the tune allowed to degenerate into a vulgar habit of continual ‘left-legging,’ with its con¬ [AUSTIN ORGANS; (ex. 6); e. g., A Contract for the great Eastman —* comitant evil of much ‘swell-pumping. organ, 178 stops, to the Austin firm, To which word of wisdom so wittily ex¬ comes along with contracts for smaller pressed we yield not only formal and organs. The same quality of work¬ general but hearty and particular assent. manship and care will be shown in the There now remains for consideration or smallest as well as the largest instru¬ discussion only one more method of pedal g-\ ment as always heretofore. Our strongest advertisement is in asking glissando, viz., that of entire scale pass¬ ages. Here it is most surprising to note Department for Organists prospective purchasers to inquire A;—a __ generally of users of Austin organs. __ that such authorities as Best and Stainer The second case of pedal glissando, viz.: have not a word to say about this feature Edited for June by ORLANDO A. MANSFIELD, Mus. Doc., F.R.C.O., F.A.G.O. \im (AUSTIN ORGAN CO. —when the toe slides from a short key to of pedalling in either of their schools or ^1S8 Woodland St. Hartford, Conn. the next long one, generally occurs in methods, although its employment must passages for double pedal (pedale dop- have been common to the performances of “I look upon the history and development of the organ for Christian uses as a sublime instance of the guiding im f • pio). This partcular case is one of the both, especially to those of the great Liv¬ the most complex of all instruments, it is the most harmonious of all, it is the grandest of all. 0 ore eJ_^_ nJpcHFfl most effective and useful examples of the erpool virtuoso. Still more strange is it had the breadth, the majesty, the grandeur that belongs to this prince of instruments.’ —HENRY Waru jsn^n employment of the pedal glissando, and note that in Best’s edition of poor old The Guilmant is most'1 frequently found m pedal octave Rinck’s Organ School—the production of passages, especially the chromatic scale; J. C. H. Rinck (1770-1846), of Darm¬ Organ School stadt, a work which represents the high- Ejear water mark of early 19th century German A Beautiful Effect on the Modern Organ WILLIAM C. CARL, Director pedagogy, and shows how very dry, if not CANADA Calls IJou! very high, the average German organ pro¬ Vacation Land of Ideal Summer Hundreds of students now holding ductions of that period really were, an ex¬ the thumb its normal position on the new Organ Playing describes the process now Climate Writing some few years ago in a well- Maitland directs attention to that on the positions. Students aided in secur¬ ample of this method of pedal glissando key. In a descending passage, the ris¬ under discussion as “playing two adjacent This serves to remind us that a chro¬ Hay fever is i nknown in this clear, pine- known English • musical journal, Dr. harp, while Professor Riemann claims the ing positions. Practice facilities. is included in the pedal exercises preced¬ ing of the right wrist will place the mid¬ short keys with the same foot. This is matic scale in minor thirds, when played and-balsam scented air. Unlimited territory Charles Joseph, the head of the music de¬ easier execution of the glissando on the upon the pedal clavier with only 8’ and 4 ing Part II of the school. We quote two dle thumb joint over the adjacent key, done by passing the toe, or rather the 22d Year October / 2th— Catalog to choose from—cloud tipped mountains and partment of the Goldsmiths’ Institute, Janko keyboard, an assertion which those stops drawn, is not only a splendid tech¬ of these passages:— rugged foot hills inviting exploration; wide which is struck by this joint by a down¬ broader part of the foot, from one side to 17 E. Eleventh St., New York City London, England, wisely observed that of us who have been fortunate, enough nical exercise but a supreme test of the valleys of woods and streams and wild flow¬ ward wrist motion. The raising of the the other of the two keys.” A "rank out¬ there were many special points in organ to experiment upon that keyboard can correctness of the player’s seat and posi¬ ers’ turquoise lakes with sandy beaches; the wrist will then bring the tip of the thumb sider” would probably consider the differ¬ playing which “do not often get attention most strongly confirm. Incidentally, and tion. Here, of course, the pedal glis¬ restful relaxation of camp life or the luxury of onto the new key.” As a specific ex¬ ence between these two definitions as little ‘ORGOBLO” in the various schools for the instru¬ not without importance to organists, all THE ' the finest hotels. ample, our author quotes as follows from better than that existing “’twixt tweedle¬ sando is imperative :— ment,” the writers of which had “more of whom ought to be good pianists, we dum and tweedle-dee.” Indeed, to all in¬ grT-MuToka 'Lafef’Crufc may mention that a fine example of the Bach’s immortal Organ Fantasia in G Georgian Bay—Lake of Bays—Kavvartha Lakes Tim- immediately important work to do in tents and purposes, the definitems are iden¬ Best’s translation of Rinck’s remarks use of the glissando by a modern com¬ minor:— agami—Nipigon—Quetico M inaki— Lower St. Law- enunciating general principles.” As a tical, Best laying stress upon the point of upon the foregoing is to the effect that poser, exhibiting the device in both sin¬ er play-grour nnnt8heb| natural consequence of this apparently un¬ the foot, Matthews upon the broader part. a passage of this character, which would gle and double notes, is to be found in avoidable neglect, the organ student, in Provided this species of glissando be exe¬ be better perfqrmed in the key of C, “may the Miniature Suite in C, by York Bowen, er Park, Alberta, and Mou Dr. Frost’s opinion, would very likely be cuted legato, the precise part of the play¬ be played by sliding the point of the foot one of the most interesting writers of “left to find things out for himself by er’s pedal extremities to be used in its exe¬ upwards with the right foot and down¬ the modern English pianoforte school. For full information write hard experience.” It might not be a very cution is largely a matter of secondary wards with the left.” With the proviso He also adds, and very pertinently, too, serious reflection upon the intelligence of importance. But in defense of Best it or caution that the foot must be placed Canadian National orGrandTrunk Railways Organ that “this action is easier when the thumb many organ students to say that they must be said, however, that any placing rather more flat on the pedals than on the at any of the following addresses — Ask On the organ, however, the manual is on a separate keyboard—the process are not always able to clear up some of of the foot too far over a short pedal side, and as much at right angles to the for Booklet K, mentioning districts glissando is of respectable length and in generally known as legato ‘thumbing’.” . There is a tradition that this is a very these “special points” without assistance. key generally induces “secondary mo¬ PIPE ORGANS pedal keys as possible, there is little, if that interest you. rapid tempo, is somewhat uncertain in Here is an example from an interesting favorite “stunt” of Mr. Edwin Lemare Consequently, we have decided to de¬ tion,” i. e., motion not necessary for anything, more to be said concerning the Boston, 294 Washington St. Minneapol’- e-J *“ execution and of doubtful effect, except work by the son and pupil of the present when trying a new organ. vote this paper to the discussion of a mat¬ tone production, and at once militates execution of this effective but somewhat Buffalo. 1019 Chamber of ..Sou* , in very finely constructed electric or pneu¬ writer, Mr. Purcell James Mansfield, the design ' Business founded (in ^1844. Many of An effective chromatic pedal progres¬ ter ignored by most standard organ tu¬ against facile and rapid execution. The rare pedal device. We may note, how¬ matic actions. This is largely due to the well-known English organ writer, the or¬ sion in major tenths may be found in that tors, and only briefly mentioned by one toe, rather than the “ball” of the foot The Emmons Howard Organ Co. ever, by way of conclusion that its in¬ Cincinnati, 406 Traction Bldg. Laclede Bldg. greater depth, as compared with that of ganist and director of the choir in Park well-known Fantasia in E minor, com¬ or two. This matter is the glissando, or should be the part to be selected for the WESTFIELD, MASS. troduction is as effective in subdued and Detroit, 527 Majestic Bldg. St.Paul,Cor.4lh&JacksonSts. the pianoforte, to which the organ key Church, Glasgow, Scotland:— monly called The Storm, the composition Kansas City, 710 Railway San Franciaco, 689 Market Si. “sliding,” an Italian term which, by its negotiation of any pedal glissando. graceful passages as in those of greater descends. Also, apart from this, the ex¬ of that celebrated Belgian virtuoso of the Exchange Bldg. SeatUe, 902 Second Ave. frequent employment in and connection In his Student's Manual of Pedal Scales forcefulness. These possibilities Mr. Pur¬ tended manual glissando is somewhat last century, Jacques Lemmens (1823- Fishing, Hunting and Camping with musical associations, has practically and Arpeggios the writer of this paper,after cell James Mansfield has evidently per¬ foreign to the genus of organ keyboard Real fishing and hunting m virgin^ 8sroTIA?NEW superseded the English term. describing this method or variety of pedal 1881) : ceived, as the following quotations will snAled big lame in N(?VA SCOTIA, NEW music. But to the music assigned to the psmm glissando as “the employment of alternate Special Notices abundantly demonstrate. The first ex¬ BRUNSWICK, QUEBEC, ONTARIO, ALBERTA pedals the glissando is an important ac¬ and BRITISH1 ion COLUMBIA ForA v. full . ..— - write Historical Aspect sides of the same foot upon two consecutive tract is from a delightfully quaint move- _ _ _Bell. . -Passenger TTrafficraffic ManagManager, Grand Trunk cessory, as we shall hope to demonstrate \ “P_—- raised pedal keys,” mentions the fact of CCS ANNOUNCEMENTS entitled Chanson Rustique, Op. 78, ay System. Montreal, or H. H Melanson, Pasaen- On the pianoforte keyboard the glis¬ presently. Even on the manuals there is ’--“c Manager, Canadian National Railways, sando has been described by Dr. Theo. ly if this device _being generally indicated by a particular application of the glissando Gt. 4’ Plate As a short example of a diatonic octave Baker as "a rapid scale effect obtained by which, although of short duration, is of the sign; a a or a a placed above passage, involving the use of the pedal glis¬ sliding the thumb, or the thumb and the j WANTED and FOR SALE j comparatively frequent occurrence. In I [ ^ the pedal staff when referring to the sando we may quote from Guilmant s first finger, over the white keys, produc¬ his important work on Organ Playing: right foot, and below when referring to popular March on a Theme from Handel The Baby Midget ing either the simple scale, or 3ds, 6ths, ly 4 i.t ■-#- Its Technique and Expression, perhaps the left. Here is an excellent example YOIM; LADY—Six years’ experience in (Homage a Thalberg) Op. 15, No. 2: appropriately dedicated to the composer s &c.” With this definition agrees that ex¬ Piano. Theory and Harmony, desires the most modern of any treatise of its from Mendelssohn’s Fugue in G, Op. 37, as teaehnr in college for session 1921-Z-. mother. The second citation is from a tremely useful work, Stainer & Barrett’s kind, Dr. A. Eaglefield Hull, the organ¬ ■- Address A„ care of The Etcde. / If f~~f —j-- -g- No. 2, perhaps the most beautiful of the remarkably fine Concert Overture, No. 3, HOSE Dictionary of Musical Terms, which de¬ ist and choirmaster of the Parish Church FOR SALE—Conservatory of Musty m set of three dedicated to Mendelssohn’s in C, Op. 50:— _SUPPORTER fines the glissando as the playing of a of Huddersfield, England, says, “Another friend, Thomas Attwood (1765-1838), rapid passage in pianoforte music by important asset in legato fingering is the wp Coup, to Ch. some time organist of St. Paul’s Cathed¬ «, -St»IffAS “Holds Like Daddy’s” sliding the tips of the fingers along the application of the glissando action, either . . ral, London:— SfoSM,I” te'l.xr K But the particular method of pedal glis¬ t only that, but it ia made with the tan keys instead of striking each key with a ^ ddress X. Y. Z„ care of ! and of theBame Quality aa Daddy from a black to a white key, or on sando now under discussion is often useful separate finger.” Dr. Hugo Riemann, in The two successive white keys.” As an ex¬ in passages of single notes which have to be his Dictionary of Music, as translated by Descending from manuals to pedals we ANNOUNCEMENTS | J Baby ample, and one which is decidedly appo¬ performed by one foot alone owing to the y Midget Mr. J. S. Shedlock, is made to say that observe that on the pedal board the glis¬ ]_Rate 20c per word_J site, our author gives this extract from other foot being occupied with either the taken the place the glissando, also glissato. or glissicando, sando is employed in three ways—first, the well-known Postlude in C, first pub¬ MVsic COMPOSED—Send worth. Manu- swell or choir box pedals; or on account " make - shifts indicates, “on the pianoforte, a virtuoso from one raised or short key to another; scripts corrected. Harmony, correspondence iwn for hold- lished in January, 1869, the composition of the occurrence of a passage at either g up baby’a ^— effect of little value, viz.a scale passage second, from a short or raised key to a lessons. Hr. Win.ler. Buffalo, N. Y. _. of that great English organ writer of extremity of the pedal board for any nks-equipped played on white keys in rapid tempo by long one, and, third, in the execution of ARRANGING AND CORRECTION of the last century, Henry Smart (1813- alternative execution of which the player passing one finger (nail side) over them.” a more or less complete scale passage. Of MSS. a specialty. A. VC. Borst, Presser Build 1879) :—- 'ng, Phllaf_delphia, * ‘ ’ Pa. has not sufficient pedal extension; or This, Dr. Riemann points out, was “easy these three methods the first is by far But it is not only in the execution of when silch alternative rendering would in¬ on instruments with the old Viennese ac¬ the most commonly used. In his Modern ATTRACTIVE GUMMED UABEUS— For devoting so much time and space three consecutive raised pedal keys that Sample free! Edward Harrison, Quality volve awkward crossing of the feet. Such tion, but is barely practicable on modern School for the Organ Mr. W. T. Best to the consideration of what is, after all. the first method of the pedal glissando Stickers,” Baltimore, Md. -. cases as these are by no means so infre¬ pianos. The glissando in thirds, sixths or (1826-1897), the first organist of St. but a small drop in the great ocean of may or must be employed, since its use MUSI( MANUSCRIPT’S ^corrected, ^ar- quent as an average organ student may be octaves, is more difficult than that with George’s Hall, Liverpool, England, de¬ organ playing we shall quote, by way of in cases involving the consecution of disposed to imagine. We give an ex¬ Lisle 12c. "dk 18c. single notes.” With this definition agrees scribes this method in these terms: crude'codv or*'dictation. Melodies harmon¬ justification, some further words of Dr. only two raised pedal keys is really quite ized and arranged with attractive piano ample from Henry Smarts Con Moto GEORGE FROST CO. Mr. F. Fuller Maitland in the latest edi¬ Of the movements necessary to the cor¬ “Where three short keys succeed each companiments. Compositions Pprfpc^dtL Charles Joseph Frost. “Pedalling,” says common. A particular case often occurs at Moderato in E flat, No. 1 of Twelve Short 632 Treman! Street. Bella. rect execution of - the glissando of the developed. Expert hand and Tor£,Pp he, “is so integral a part of modern or¬ tion of Grove’s Dictionary. Mr. Maitland other, it is necessary, in playing the pedal the final cadence of a hymn tune, when the ranging. Send manuscripts. J- Bode Ja thumb, Dr. Hull gives such an excellent sen, 20.1S Milwaukee Avenue, Chicago. III. and Easy Pieces gan playing that not a stone should be left fittingly alludes to the octave passages in part, to pass the point of the foot over latter is an authentic cadence or full close in and detailed description that we cannot r unturned to make it as good as it pos- the finale of Beethoven’s Sonata in G, Op. two keys. This must be accomplished as the key of either Db, Eb or Ab. In either MUSIC COVERS—Scud -r> ,mr, _ do better than quote him. “The hand,” Anita, the new fox trot dedicated to Anita™ 1 sibly can be.” And he further justifies S3, which were formerly practicable as smoothly as possible by gliding quickly of these cases, when the dominant, or Stewart. Permanent representatives wanted^ he says, “is raised from the wrist until our desire to be of practical use to the or¬ glissandi on pianos with a light touch, and from one short key to the other with the first, note of the cadence chords is ap¬ •n every city to handle L. E. Songs. Send only the tip of the thumb is on its key. for copy and particulars. L. E. Music > o-, gan student when he says that “pedalling mentions “the parallel passage in Weber’s point of the foot only.” proached from the subdominant and fol¬ mfflmpi0QS®$s®0 In a rising scale a horizontal movement Jacksonville, F'» Concertstiick, which can be played glis¬ Mr. John Matthews, a Cornishman now lowed by the upper tonic, all three of of the wrist will place the middle point sando even on a modern piano.” Both resident in the Channel Islands some these scale degrees being represented by the last-mentioned authorities allude to of the thumb on the next key, when the time a punil of the illustrious Gustav raised or short pedal keys, the employment downward motion of the hand will give the glissando on the violin. Mr. Fuller Merkel (1827-1885), in his Handbook of of the pedal glissando is optional in the JUNE 1921 Page ill THE ETUDE the etude

none, and they are, therefore, equivalent Be the Best Paid Tes to having so much capital towards efficient organ playing.” With all of which we Profitable Vacation Courses In Your Ti are in such cordial agreement that we will . New Time Saving teritv over the say nothing further except that that same ...■ . capital, to be really productive, must be WITH THE .non is c u y, skil{u)ly invested. Hence the student who Methods in Business 3S h®s comprehended the contents of this ™ who‘ there’ must be constantly on the watch for Standard fore, work at a great disadvantage com- L* unities in which to advantageously They result from pared with those who bestow though^ and util;ze hhis acquired knowledge. That such History irtunities will be sure to occur in the the purchase of an types of organ and church music is jin. And when these are discovered of Music ill then be by the manner of his per- ™jpg| nance that the student will show his By JAMES FRANCIS COOKE UNDERWOOD As a means of contributing to the development of interest in opera, for tery of the matter here presented. many years Mr. James Francis Cooke, editor of "The Etude.” has prepared, gratuitously, program notes for the productions given in Philadelphia Price $1.50 GRIEG LEARN PIANO TUNING BOOKKEEPING Metropolitan Opera Company of New York. These have (‘■rtenaivelv in programs and periodicals at home and abroad. Believing tna.t our Zdersmay have a desire to he refreshed or informed upon certain A FIRST HISTORY FOR STUDENTS AT ALL AGES Every Musician Should Learn to Improvise MACHINE , in short, the instrument Eight Delightful Weeks of History Study great bearing upon that of composition kept in the bad and also upon freedom of execution at any All this is a r On the Porch. In the Garden. By the Shore. Anywhere. s one aim in providing ir

e of it are vital Halevy’s Masterpiece, La Juive

MW”1' 3d Week. J. S. Bach, G. F. Handel, F. J. Haydn, W. A. Mozart.

selT in^he composer’s mind? Is it pos- macticed expressing themselves by its s with freedom and spontaneity. The that we find such a vitality and depth

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very probable, that had Beethoven lacked those which found expression by improyi- CO., S N.LaSalle St., Chicago | Standard can easily find it. Va- SSbUSsS* My method Is the only way to prevent the hair r '.“E™" it of that end one a dX^hHeft ffifc THEODORE PRESSER CO. Faust School of Tuning 1710-1712-1714 Chestnut St., Phi

i, for he would fail to obey the =□ Your Music Is Torn ! ££ r. St tings of the mind and also fail to iiii: ull and desultory efforts of our own m n Beginner’s Book for Adults with regard to the art of extempo- n have been shown to compare rather Suggestive Studies for Music Lovers Drably with those of the past; but By CAROLINE NORCROSS Price, $1.75 A. W. BORST, Presser Bldg., Phiia., Pa. This admirable book is based upon the principle that

SSL“ The Story of La Juive 5X le “why” of music and w THE MARSTON PRESS Dr. Ralph Dunstan on Mission Music

AMERICAN POULTRY

CO. :: PHILADELPHIA, PA. JUNE 1921 Page 1*18 THE ETUDE THE ETUDE Page 1*12 JUNE 1921 We Buy a Quarter of a Million Dollars’ Worth - of Japanese Fiddles ' O' : L*- 11518?- ^' fJCjj'*** -__—_—-— - When, during the world war, Ger¬ The consul says that Germany’s place as MADO Shoulder Rest many lost her export trade in violins of fiddle maker at large to the world has Can be used with any style or model the cheaper grades, Japan stepped into the been captured by Japan. He adds: “Mr. of double screw, chin rest; either large F! breach and captured a good portion of Suzuki believes that the Germans cannot or small top, ebony or hard rubber. Department for Violinists it. | During a good part of the war, when manufacture instruments at Japanese costs, It is of the strongest construction, we bought a cheap new fiddle and looked and thinks that, in spite of first prejudices, simply and scientifically planned, giving the best and proper shoulder support 1; inside it, we found the legend, “Made Japanese violins have established them¬ Edited by ROBERT BRAINE to the violin. The pad is large and of in Nippon.” selves so firmly in foreign markets that the correct shape. United States Consul Hawley, stationed they cannot be displaced, especially in the . THE MADO SHOULDER REST at Nagoya, Japan, sends interesting details “If All Would Play First Violin We Could Get No Orchestra Together.” R. SCHUMANN United States. does not injure the violin or interfere of Japan’s new fiddle industry. He says “The key to the situation appears to be with its tone in any way. It is f.iee that in 1919, the United States bought ; from metal spur or projection, protect¬ in Japanese labor costs. In the Suzuki ing the lining of the case against tear¬ quarter of a million dollars’ worth of factories the wages run from 22cts to violins from Japan, this country taking ing and prevents the violin from rock¬ ing while in the case. the bulk of their output. Th-ee factories $1.99 a day. Men workers get from 6octs Some Interesting Things About Violin Prodigies in Nagoya produced all these violins. to $1.99, boys from 22cts to 90 cts, and Price, $1.00 Postage Paid These factories were founded by Masa- women from 25cts to 65cts for a day s body building goes on at the normal rate that he would have lessons of double the work.” The world is full of little folks with or even less if the child is frail, of violin kicki Suzki, who made his first fiddle in Musicians’ Supply Company, 60 Lagrange St., BOSTON 11, MASS. If he betrays signs of nervousness and length to prepare. That is not the idea of In addition to violins, the Japanese are exceptional talent for the violin, and it is practice, divided into half-hour periods, 1888, using as his model “a foreign, violin lack of growth, all his school and musical the more frequent lessons at all. The idea making violas, cellos, guitars, mandolines, a great problem for their parents, teachers, should be ample; and it would be much brought to Nagoya as a curiosity.” studies should cease for a time until he is that there will be more time to go into bows, and accessories for string instru¬ and friends to direct their studies and better if the attendance at school could be In 1914 musical instruments valued at gets back to normal again. This will be the lessons more thoroughly and that the their lives so that their talent shall have cut down to not over three hours daily. $24,419 were produced. By 1919 three ments. the best course in the end; as all future pupil will have his mistakes corrected While the Japanese will no doubt be able its full fruition in later years. For every Arrangements can usually be made with factories were in operation, employing musical success depends on his having a tvfice a week instead of only once. In vio¬ to hold a portion of the trade they have great violinist in the world, it is likely the school authorities, by which a mus¬ 1,100 people, with an output of $539,440 "sound mind in a sound body.” lin playing it is very necessary to decide a secured in string instruments, there is no that there were a hundred others who had ically gifted child, can be let off with half¬ worth of instruments, mostly violins. Of About the number of lessons per week, large part of each lessons to the correct doubt that the Germans will get a large fully as great talent at the start, but who day sessions, the time missed being made this sum $398,491 worth of the instru¬ the writer of the above communication manner of bowing, holding the violin and pgrt of their trade back. The Germans failed from one cause or the other to up by a short period of private instruction. ments were exported, the L'nited States has the wrong idea, which is so prevalent, bow, curvature of the wrist, the mowment have been successful in making cheap vio¬ receive the proper development. The child should play in the open air as taking 68 per cent. During the first six that if a pupil takes two lessons per week of the bow, proper action of the left-hand lins for export for over 100 years, and Quite a number of the communications much as possible; and every possible months of 1920 the output has reached instead of one he must practice twice as fingers, etc. These matters are of the have become wonderfully expert at it. addressed to the Violin Department of means should be devoted to giving him $304,143. much and concentrate twice as much, also utmost importance at the start, if a pupij The Etude, are sent by the parents of proper exercise, and to seeing that the is to ever acquire them correctly. Later talented children, who ask for advice on it is almost impossible to correct these about their studies. The following typ¬ matters. ical letter was received recently: “I have Answers to Correspondents a boy, seven years of age, studying violin A Few Suggestions for ’Cello Students Much Depends on Pupil p—Lorenzo Stnrioni was the last of T. L. K.—It is doubtful if you could play with a very competent teacher. This child the Sixth Air Varif, by De Beriot, until you SopHr, the great violinist, said it was th" Cremonese school of violin makers.. H s hal studied a third or half way through is apparently very talented; he has abso¬ ri,.,! "ns from 1700 to 1709. Bauer .in his necessary for the violin student to have a vnrk the Practical History o) the Vialm, Kreutzer. lute pitch, and can memorize without any By G. F. Schwartz lesson every day, especially at the start. so vs of this m '.ker: “His instruments are special effort. He has gone through the ii i i f i trot t v they arp of very broiifl gram My own experience has been that it is prac¬ •iiid mnoar almost shapeless; but they give first five books of Sevcik, and is now in Many cello students, especially those in should become so loose as to turn or roll or German makers, for $100 or $150. tically impossible to teach a very young • . <• ‘llent tone He employed a spirit the sixth, which goes into positions. He smaller communities, are obliged to get • when the bow is drawn over it, a new ! .ju, ” The same authority estimated the string will prove the best remedy. pupil properly with less than two or three v-linViof violins bv this maker at from $300 has completed the first books of Kayser their instruction more or less irregularly t,', Vino in lgiL^but^owing^to^the^ajlvanw TRKe up JP1U1H1U ivuu KV* Z F 4-Ur. and Gruenwald, and is working in Sevcik’s lessons a week, and a daily lesson would he Kreutzer has been completed. and sometimes from instructors not prop¬ Arched Fingers Fiorillo studies are not more difflcnlt than School of Bowing. He has been studying, better. Of course, much depends on the erly qualified to teach the instrument. The II. Keep the fingers of the left hand one year and a half, one lesson a week, pupil. Some seem to pick up bowing and ficult. 0fTfereFiormoblsttudies are thoroughly suggestions which follow are divided into arched, particularly the third finger. Great¬ and his teacher keeps urging me to have the proper position and action of the arms, violinistic and are included in every well- three groups: er pressure upon the string is possible than : F.-Vlolin strings a balanced course of violin instruction. In the him take two lessons a week. However, proper position and action of the arms, course of study you have used with your I. See that the strings do not bind when the fingers are flat or straight. Un¬ i "kreutzer. i do as the child is attending school I do not fingers, etc., in a tenth the time that others pupil previous M against the walls of the peg-box. If the less the finger tips are full and round it ssihle to decipher 3 ”tiie Brilliant. Studies .of^ Mazafh want him to be taxed too severely by do. Others again have little difficulty with hole through the peg is too close to the is desirable to keep the nails short, par- • taking two lessons a week. the purely musical portion of the lesson, during the study of Kreutzer. side have a new one drilled. A tem¬ ticularly the first finger; otherwise it will but seem hopelessly unable to grasp the ,•!id1 College, at^ Cambridge, Mass.^nd E E. F.—The viola is a noble and.inter¬ One Lesson a Week porary adjustment may be made by push¬ be difficult to set the fingers upon the mechanical part of violin playing. Such a ^ esting instrument, and every violin student strings in a manner to get the best possible fVfhad”abphotograph oTtho inscription, should give a certain amount of time to its "Do you think that with one lesson a ing the string away from the side while pupil naturally requires a great deal more m ire accurate copy, I might probably results. Keep the left hand in such a po¬ study. ■ You ask for some of the “pred- week, this child can become a great violin¬ tuning it. Failure to take this precaution of the teacher’s time. late it. iudices” against viola study. I know of Catalog is likely to result in the peg slipping; or, sition that an imaginary line from the A child of great talent should grow up uone except that the viola Is. somewhat ist, providing he is as talented as his [, —Instead of boasting about how many larger and heavier than the violin, thus Just out—complete catalog CDEE teacher thinks he is? He practices about in fact, it may become almost impossible middle finger tip back to the middle of the in a musical environment, where he can the II and G strings have been on making it somewhat more tiresome to hold, of latest jazz hits, also Stan- Hitt wrist is at right angles to the strings; violin, you ought to^takettie old strings especially in the case of a small person. three hours daily and rarely has to take to tune at all. The small ends of the pegs frequently hear good solo violin playing, dard saxophone solos, duets, trios, otherwise it will be difficult to make the The stretches being greater make the left quartettes—2000 selections. Largest any of his lessons over again. should not be allowed to protrude as they symphony orchestra concerts, string quar¬ nnt'wear'a sidTof clothes until it g hand fingering somewhat difficult in the ease general dealers of saxophone music backward extension of the first finger. As tet playing, and other ensemble work. He that is falls to pieces, nor sno rf pupils having small hands and short and supplies in the world. Expert re- “Do you think he is sufficently advanced interfere with tuning. They may be dolin until they fingers. The pitch of the violin is a fifth- easily be cut off after marking and remov¬ a test and exercise for the backward ex¬ should hear grand opera, oratorio, and all false, ragged and b™™. -. ------f for his age? He holds his violin weLl higher than that of the viola, making the SAXOPHONE SHOP, 423 S. Wabash Avc., Chicago tension, so troublesome for beginners, the great works of music. The effect of l-rised .at the improvement n,^wl"(ft violin more brilliant, which appeals to many bows well, and flat and sharp keys seem ing from the peg-box. Keep the strings, people. On the other hand, the mellow, Saxophone Book Free saxophone — singly, place the fingers in the following position : all this music on the growing mind of a in spxtettes or in regular band; how to transpose cello parts I^^The LOflGIARU VIOLIN MUTE as easy to him as the key of C.” especially the a and d, free from rosin. eluss strings. sonorous quality of the viola tone has an in orchestra and many other things you would like to know, Remove the worst of the rosin with a 2nd finger on c (o string) 4th on d, then young child is incalculable, and his prog¬ --oil ;ts own Tfif vmiy are of T,''T*rr1°l This boy evidently has strongly marked ,T. R.—Could not advise you without a i- T ■ 1 You can order any Buescher instrument 0) I ^ * P'"1™' sharp piece of cardboard, piece of hard place the first finger alternately and re¬ ress will be double or treble as great as if P< nal hearing 2 VioUn lessons in New a. studies. r ree 1 rial and try it six days without obligation. If (FI musical talent. Otherwise he would not perfectly satisfied, pay b^lSIjSted^n anda J W U slv"rtyS'^ireldarfrer17 EDwB?H PKINS, wood or the back of a knife blade; then peatedly on b and bb (the bow of course he had no opportunities of hearing good York City range in price from $*. to pe* // L\j Boom 2l7E, 1545 Broadway, Mew York.0 have absolute pitch and have sufficient love thirty minute lesson, the difference m once complete"catalog mill be mailed free. (26) for violin playing to practice three hours wipe the string between the finger-board will not be used). The thumb should take music. It is a good deal like learning a being based on the skill, experience, or fame G K—Violins come in many sizes: full BUESCHER BAND INSTRUMENT CO. a position similar to that required for hold¬ of the teacher. 3. The Etude cannot iu;der- ^ %. etc.. As you simply send the a day at the age of seven. He has also and bridge with a piece of dry cotton language. A young child learns foreign tnke to sMecificallv recommend individual age of the hoy, it is impossible to say what Halters of Everything in Band and Orchestra Instruments cloth or soft paper. ing a ball, approximately opposite the first languages in an incredibly short space of tenehers through its columns. 4. You would size he would require, as children differ so 3226 Buescher Block, Elkhart, Indiana made excellent progress for the time be find ndifficulty in finding lodgings or a in size, reach of arm, length of fingers, etc. has been studying, if he has completed the or second finger. As the higher positions time if he is constantly thrown with people b.itirdinff bmujo ‘whorp you could practice. Get a good violin teacher to go with you Violin Strings works named thoroughly. His future de¬ A Troublesome Wolf are approached the thumb should be grad¬ who speak these languages^ Music is also when vou select a violin, so that the right DEEP, MELLOW, SOULFUL- size can be obtained. Incalculable mischief ON CREDIT. Easy terms for ETUDE BRAND pends on his health and whether he will A troublesome “wolf” may be reduced ually adjusted to the new conditions, slip¬ a language, and the art of making it is is caused by a child practicing on a. violin i ne sum you mcnuon mi^iu .GET Used by the Leading Artists of the have opportunities for studying the art of or even removed by inserting a cork (a ping along under the neck until ultimately rapidly acquired, by hearing it constantly. n- four years. 0. There are a number of which is too large for him. VIOLINSw DETAILS TO-DAY. it may move along the edge of the finger¬ am-'tour orchestras in New York where you Philadelphia Orchestra music and violin playing thoroughly. druggist will be able to supply the correct could get orchestral training. GUSTAV V. HENNING board or be slightly elevated to allow the Expensive Educational Advantages T t —Practically all orchestal violinists, 2424 Gaylord Street DENVER, COL. size) between the top of the instrument and most of the famous concert violinists of Etude “E” String, 3 lengths. . . .$0.20 net fingers greater freedom. Do not delay the IT. m.—Your letter says that, when you the present day, use the wire E string for Bodily Development and the tail piece. The pressure thus ap¬ Happy also is the prodigy who has a play (i on the D string (third finger) in thj Etude “A” String, 2 lengths.20 net study of the thumb position tco long; easy really great teacher, a man with a great nractice and for public performances. Here Health and bodily development are, of plied works like magic if the trouble is first nnsition, the “key of G” vibrates, it and there we find one who still clings to Etude “D” String, 2 lengths.20 net exercises may be undertaken as soon as you mean by this that your open G string the gut or silk string, but these players are Etude “G” String, 1 length.20 net course, the most important. Higher violin not too serious. If the back of the instru¬ musical nature, and who is a real master vibrates, it is caused by sympathetic vi¬ the fourth position is reasonably mastered. bration. If you play G strongly , on the d in the hopeless minority. If you use the Bundle Lots (30 assorted Strings) 4.25 net playing makes enormous draughts on the ment is liable to be brought unavoidably of the violin. The effect of lessons from wire E, you had best have your violin fitted III. Keep the bow stick inclined upward, string, the G open string can be piaimy with the little steel attachment to the tail¬ bodily Strength and nervous system of the into contact with buttons or metallic ar¬ such a teacher on the growing mind of a seen to vibrate, although the bow does not (Prices Gioen An SVcf-Wo ‘Discount or away from the bridge. To get a full piece, by which the string is tuned by a player. The concert violinist must have a ticles attached to the clothing, use a hand¬ child is very great. touch it. This happens in the case of an sonorous tone, bow near the bridge. To violins. strong body and good nerves; otherwise kerchief or good-sized piece of silk to An education as outlined above is very get a light “breathy” tone, bow up toward lie will inevitably break down in the race. cover them and thus avoid the buzzing or expensive, and there are few of these tal¬ the end of the finger-board. Don’t fail Many violin prodigies fail because they are rattling which will result otherwise. To ented youngsters who are so fortunate as to to put rosin on the ends of the bow-hair, be able to obtain it. Almost all eminent A New Violin Book forced too much in childhood, bodily, prevent buzzing of the g and c strings, both frog and point; and then don’t fail violinists had the advantages enumerated mentally, and musically. The child de¬ tune them a half tone or so above their Violin Playing as I Teach It. By Leopold to sell but here is a work full of real meat., to use the rosin thus applied. Ordinarily Violin ^Playing a Auer's’ personal attention, thought and ex¬ scribed in the above communication goes normal pitch and apply a few drops of above. The development of a real musical Auer. Cloth Bound: 224 PaSee; wlt, I " perience are evident on every page. The a long rapid stroke of the bow is likely genius is like that of some rare plant. All portraits of the author s famous pupil-- charter on “Nerves and Violin Playing is to school probably five or six hours a day, sweet almond oil. A bit of cotton string Published by Frederick A. Stokes, at $3 <«>; to produce a more satisfactory tone than conditions must be right if the prodigy is especially interesting. It is always fortunate and practices on the violin three hours on tied around the string near the end of the ’PM* =- — * —,«« own^ story when a man of Auer’s altitude can be per¬ a short heavy one. Last but not least, to obtain his full musical stature in years E “How I studied the v “How t< suaded to preserve in some such manner and top of this. This is certainly too great a finger-board will prevent the oil from loosen the hair of the bow, and protect to come. Many, through unwise develop¬ ■- violin,” "How tc trill. in definite language many of the facts which strain to put on the nerves and vitality of spreading too far. The instrument may otherwise might be lost to future genera- the instrument with a bag or case when ment, fall by the wayside, and fail to a growing seven-year-old child. be left in this condition over nigl.t or obviously gotten up Please mention THE ETUDE when addressing our advertisers. not in use. of this kind are only ti Up to the age of ten, two hours a day, when otherwise not in use. If the wire achieve the promise of their early years. JUNE 1921 Page bl5 THE ETUDE THE etude Page Mb JTJNE 1921 Timely Awards for Lady’s 10k Gold Ring Question and Answer Department (Continued from page 4.14) HIGH TIFFANY SET WITH Schumann, Op. 26 How Fast Is a Fox-trot? Conducted by Arthur de Guichard Q..Will you kindly let me know the time (metronome) in which dance orchestras play BIRTHSTONE waltzes, also fox-trots t—H. D. W., Euston, ETUDE Subscriptions January ------Garnet Always send your full name and address. No questions will red when this has February ------Amethyst been neglected. and directors of dance orchestras. March.- Bloodstone Only your Initials or a chosen nom de plume will be printed. April ------Diamond agree. Waltz-time, O = M CELEBRATED RECITAL SONGS May.- Emerald Make your questions short and to the point. By DAVID BISPHAM June ------Agate = MM. 144. It should noted From a repertoire of fifty operas, one hundred oratorios and over one thousand five hundred of the finest songs, the famous artist- July.Ruby to the greater number of ETUDE readers will no that the speed depends much__local- upon ity and the dancers. ""‘Society” —people dance teacher has culled the very best works for this collection and arranged August . Sardonyx them in recital form. September ----- Sapphire Q. Must the accent always fall on the first Awarded for 4 Subscriptions October ------Opal beat of the measure t—B. A. A. Q. What is the oldest record of the clavi¬ A. Theoretically and regularly the accent chord f—Harriet D., Providence, E. I. Polyphonic. November ------Topaz or strong beat occurs on the first beat of ...... l., A. The oldest record of the Clavichord n What is the meaning of "polyphonic” ° .1 .,..1 (sometimes called clarichord) is in the Rules of “homophonict”—William B., Law¬ December ----- Turquoise (Commond[ time(_|__cond has a but weaker ac- of the Minnesingers, in 1404. The oldest n the third beat). But the observance specimen existing of the real tangent clavi¬ 4. jKlayetf CARTRIDGE PREMO THERMOS FOR THREE ETUDE SUBSCRIPTIONS or any regular accent may be, and is fre¬ chord, according to Grove, is in the Metro¬ A. Polyphonic means m voiced. It i quently, abrogated by syncopation (or throw¬ politan Museum, New York. In shape it Was applied to contrapuntal CAMERAS No. 2 BOTTLE ing the accent on to an unaccented beat), by the forerunner of the old square piano. The whichVfoCrmsrharmony witlTthe melodies of Just the thing for out-o-door Water-Proof Gingham Apron the use of accents (> A), or of sforzando earliest record of it is in the book already P*S=F the other voices, or parts. Homophonic (or Every boy or girl will be signs (at.) or of the phrasing slur ("*'). In mentioned above. In shape the harpsichord t!r monophonic) means one voice. This term is proud to own one of these lit¬ trips. Pint size, substantially This Dainty Apron is made of the best quality gingham. It is form¬ these cases the whole time seems changed by was the forerunner of the grand piano. Hath p'' applied to one regularly constructed melody, made, practical and sanitary. the removal of the regular accent. For ex- the harpsichord and the clavichord have light tle cameras. Compact, simple fitting to give complete protection. It combines attractiveness with 1g-— which is accompanied merely by chords, or Keeps contents hot thirty strings, but while the strings of the former r-H other devices having no melodic formation. to operate. Six exposures, * the practical feature of being absolutely water-proof and splash-proof. were plucked by plectra of brass or of bird's ■ hours, cold eighty hours. Color combinations in blue and white, lavender and white, or pink and quills, the strings of the latter were set in The compositions of the writers mentioned in photo size 2^4 x 3 inches. vibration by means of a push from a small the answer to Elmer E. E„ above : namely, Awarded for 6 Subscriptions Awarded for 5 Subscriptions white checks. brass wedge or tangent, set in the end of the Bach, Handel, and Scarlatti are chiefly of keys. It is curious to note that Bach, Hamid the polyphonic order, er"—5"11'’ FOR TWO ETUDE SUBSCRIPTIONS and Mozart preferred to keep ti two. Scarlatti, Haydn chord, rather than impair thei their sonatas, given us 7-Piece DECORATED BLUE BIRD 4-Pc. ALUMINUM SET playing arJ . homophonic writing. LEMONADE SET Every housewife should have this tcH Keeds a Dictionary. high grade aluminum ware in her Q. Please give me the meaning and appli¬ Made of thin tinted clear glass, *5 cation of the following musical terms: All’ kitchen. An ideal combination. A Melody One Just Wants to Hum ! Sva alta, all’ 8va bassa, apotome, a punto. decorated with blue birds in nat¬ 6 Qt. Covered kettle, 2 Qt Double Bolero, Chaconne., Chica. colorature, dccuplet, ural colors. Gold band around top Boiler, 2 Qt. Pudding Pan, 4 Qt. fausset, in alt, in altissimo, leitmotiv, mr of each piece. Set consists of half¬ , opus (what is the plural!), Polacci gallon pitcher and six tumblers. Sauce Pan. jostwi 1, sequence, tetrachord, wechselgesang.- Awarded for 4 Subscriptions Awarded for 4 Subscriptions There is an attractive melody and rhythm throughout this song JUST WITH YOU - Neapolitan Song - By G. ROMILLI "Wmm LADIES’ 10k GOLD BIRTHSTONE RINGS PRICE, 50 CENTS Tinuary Garnet Mav .Emerald September ..Sapphire Get Your Copy Now! This is one of the “better” type of popular songs February Amethyst June .Agate October .Opal March Bloodstone July .Ruby November ....Topaz April . . .Whitestone August _Sardonyx December .Turquoise THEODORE PRESSER CO. OIIEMNUT ST. PHILADELPHIA, PA. Awarded for 4 Subscriptions

A HANDY NEEDLE SONGS FROM THE YELLOWSTONE OUTFIT Professional Directory By THURLOW LIEURANCE Assorted Superfine Sewing In this set of songs the writer Needles; all sizes. Equivalent has taken a new departure. Al¬ to eight packets. Ten darning though the thematic material CONVERSE COLLEGESS'w needles and dozens of other ac¬ is chiefly original with Mr. cessories. All arranged in a Lieurance, there are introduced neat, convenient leather- occasionally some interesting _— snatches of Indian Melody. Awarded for 2 Subscriptions BEEGHWOOD SS-SBaK ftWERICftN Awarded for 2 Subscriptions POWDER PUFFS ELECTRIC IRON Tust the thing for summer. Your Have you wanted an electric iron? *RH0LD choice of the “FUl-Me-Puff,” the Here it is. Excellent quality, effi¬ “Rose Puff” or Powder Vanity cient in every detail. Complete with dunning busksBR0WN > Cast. Let us know your powder stand and six feet cord and plug. Awarded for 8 Subscriptions FABRI BURROWES'3SSS, | P Awarded for 1 Subscription WATERPROOF HOUSEHOLD APRON This apron combines the attractiveness of gingham with the practical feature of being water-proof and grease-proof. It is full length and form-fitting to provide complete protection for your daintiest frock. HAWTHORNE “‘tag.... COLUMBIA’’SSSSurss. Awarded for 1 Subscription LADIES’ SILK TENNIS RACKET dahm PETER~SENrgar Wright & Ditson HOSIERY Hub Model, standard size, strong Full fashioned, re-inforced toe, heel frame and high quality gut strings, and top. Finest quality thread silk, Mahogany throat piece. One of the most popular rackets made. DETROIT! Awarded for 4 Subscriptions Awarded for S Subscriptions BOULTON ... .. ar THEODORE PRESSER CO., Publishers MUEBWS&BS& IALVINI _i-.j-.-a statxr The Etude TOMLINSON ! The Predominant Music Journal of the Day IRGIL mNTSSSSip WESTERNSgggSSss THE ETUDE THE etude JUNE 1921 Page 1*17 Page 1*16 JUNE 1921 Portable Phonographs preparatory School Juvenile Tone Stories— Secular Offers on Works in Advance New Music Packages During for Summer Use To Bach Six Characteristic Pieces Duets of Publication Withdrawn the Summer Months We have several different styles of Rv Franz T. Liftl for the Piano There is not quite so much demand We are' continuing during the current The following works have appeared on portable phonographs, suitable for easy The School of Carl Czerny has shaped during the months from May to August, By George F. Hamer month the special introductory offer on the market and the special introductory carrying about to the summer camps, on the piano technic for the last hundred this new volume. The volume of Sacred price is hereby withdrawn. The regular inclusive, for new teaching “ate*ia* f® picnics, in the park and all other places This is a most attractive little book of during the busier winter months. Certain years culminating in Ifiszt. This school pieces suitable for a student who is just Duets in our catalog has proven highly professional price is now in use and we where the open air invites the vacationist. has wandered away from the original successful and we anticipate an equal should be glad to send any of these classes of teachers discontinue their work Two styles of Victrolas at $25 and $35 about finishing second grade work. These during the summer and other classes have contrapuntal school of Bach, Handel and pieces are in characteristic style, each one popularity for the Secular Duets. These works for examination: respectively are particularly adapted to Corelli, but fortunately there is a return new duets will be chiefly of intermediate Russian Album for the Pianoforte. more work during the summer. summer requirements. The Cirola, play¬ being accompanied with an appropriate Therefore, to those of our patrons who wave toward these old masters in piano verse. They are written in a most mu- grade suitable alike for parlor and con¬ This work has been delivered to the ad¬ ing all records, price $35 (reduced from technic, and much more attention is being cert use. In compiling this volume all vance subscribers and the universal opin¬ desire New Music sent to them during $47.50), is the most desirable instrument, sicianly manner. The study of such given to polyphonic work than ever be¬ pieces tends to develop musical taste and possible combinations of voices have been ion has been that it is the best compila¬ the summer, all that is necessary is for as it is of light weight, closes to conveni¬ tion of modern pieces offered by any pub¬ them to send us a postal card to that fore, so that this book is timely. We have to inculcate right principles of style and considered. The duets are all melodious ent size and carries as easily as a hand and singable and the vocal part writing lishing house. They are fdl moderately effect and we will send about three pack¬ published one volume of this kind called interpretation. The study of expression satchel, and is a real phonograph, too. throughout is of the highest cal-ibre. This difficult and every piano player at all pro¬ ages of Piano or Vocal, or both, during The First Study of Bach, by Leefson, but should .begin almost from the outset. Illustrated circulars sent anywhere on re¬ new volume will be ready in a short time. ficient cannot ignore this volume—a col¬ this time. As to the Violin and Piano, in the work by Liftl a much more exten¬ The special introductory price in ad¬ quest. A postal card will bring them. The special introductory price in ad¬ lection of pieces of striking character and Organ and Octavo, a smaller package of sive research has been given and varie¬ vance of publication is 30 cents, postpaid. Better write us now. ties of playing introduced. There are vance of publication is 60 cents, postpaid. originality. The price of the volume is this class of publications will be sent to $1.00, published in the Presser Collection, the regular subscribers without any spe¬ selections of Mozart and Handel and First Twelve Weeks A Volume of Original quite a number of the old Italian school and subject to the usual liberal discount may be returned at less expense by ex¬ cial summer registration. At the Piano New Pipe Organ NEW WORKS. Four-hand Pieces of Corelli, Locatelli and others. The given on that edition. press, using either the new regular or the These New Music packages are subject Collection printed matter rates of eight cents per Duet players on the pianoforte, espe¬ material in the book will be entirely differ¬ By R. C. Schirmer Advance of Publication Offers— to exactly the same rules as on other “On Child’s Own Book of Great Musicians, pound (minimum, fifteen cents.) Sale” music, the professional discount the cially after they have attained a little ent from similar .books that have been This little book should have been in the This new collection has been prepared (3) Use the gummed label which is en¬ advancement and proficiency in ensemble issued preparatory to Bach. hands of advance .subscribers before this, in response to a very general demand. by Thomas Tapper-Liszt. June, 1921 Spetl° same liberal one as on regular orders. So many thousands of various works in closed with the statement, no matter by The packages are to be used from and work, usually become ambitious to play The special price in advance of publica¬ but there has been unavoidable delay on Our many friends who have been using Child’s Own Book—Grieg. Tapper ... $0 the part of the printer which makes it this set have been purchased and used by Composition for Beginners—Hamilton. what method the returns are sent, and terms made at the convenience of the works which are originally composed for tion is 35 cents, postpaid. the Organ Player and Organ Repertoire always write •plainly or print the name four hands, rather than to play arrange¬ necessary to continue the special offer have been urging upon us the desirability the teachers throughout the United Earlier Duets—Kinross... patron—the music not used to be re¬ States and Canada that little explanation Elementary Piano Music—Neely -.. and address of the sender in the space ments. The literature of the pianoforte Elementary Piano during the present month. However, this of issuing another volume similar in style First* Position Pieces for Violin and turned and the balance paid for. is necessary. This is the twelfth volume provided on the gummed label. is very rich in examples of original four- Instructions will be the last delay on this little book. and make-up. This we have endeavored (4) On Sale music received from us hand composition. And it is of such ma¬ The material in this volume is espe¬ to do and we feel sure that the result of of the set. The other books are devoted First* Twelve Weeks at the Pianoforte to Bach, Beethoven, Chopin, Handel, E. C. Schirmer. during the season just closed, and of Child's Own Book— terial that our new four-hand collection By Herbert G. Neely cially well adapted for grown-up begin¬ our efforts will be duly appreciated. This Haydn, Mendelssohn, Mozart, Sehuhert. Great Singers on the Art of Singing such character as to be usable for the next Grieg is to be made up. Both classic and mod¬ The wide-awake teacher will look at ners; that is, there are no “baby pieces” is another good all around collection of Schumann, Verdi, Wagner. The retail Cooke . 1 season’s work, may be retained under Mr. Tapper’s latest addition to this ern composers will be represented as well this book, and then look at it again. The in it and nothing to indicate the kinder¬ just such pieces as are needed by the Introductory Polyphonic Studies. certain conditions to be arranged by spe¬ novelty of the method of placing the work garten. There is a wealth of material in busy organist. The pieces will prove price is 20 cents each. Juvenile Tone Stories—Hamer...... very taking series of biographical books as some contemporary writers. In point Melodies for Teacher and Pupil (4 cial correspondence. This plan is sug¬ for little folks will be the story of Ed¬ of difficulty the selections will not he be¬ before the pupil will at once inspire the this work, and our special advance price available alike for the church service, for thought, “Here is something worth of only 20 cents, postpaid, makes it an ex¬ recital work and for picture playing. Hands)—Mrs. H. B. Hudson. gested to save expense of transportation. vard Grieg. Grieg, like Schumann, has yond the reach of the moderately ad¬ Etude Boy Agents New Pipe Organ Collection. (5) Music that has been specially or¬ written so many pieces within the grasp vanced player. while.” No freakish theories are dis¬ cellent offer. They are chiefly of intermediate grade, Original Four Hand Pieces...... played, but good, common-sense ideas melodious and well contrasted. Wanted Preparatory School to Bach—Liftl. . . dered and correctly filled is not to be re¬ of the pupils in the earlier grades of pro¬ The special introductory price in ad¬ Preparatory School to the Sonatina— turned, although mistakes are cheerfully ficiency that the composer has an especial vance of publication is 60 cents, postpaid. that make the teacher sit up and say, Preparatory School The special introductory price iii ad¬ Do you know a boy who would welcome Biftl . rectified. Do not return music that has appeal to children. Mr. Tapper has al¬ “Why didn’t I see that for myself? So To the Sonatina vance of publication is 75 cents, postpaid. the opportunity to earn a little extra Secular Duets .■. been used, soiled or disfigured in any ways been greatly interested in Nor¬ Twelve Well-Known simple, and yet so true.” Someone just By Franz T. Liftl money—and all sorts of dandy prizes? Twelve Pianoforte Studies—Franz had the insight to grasp the plan and to Twelve Well Known Nursery Bhymes— way, as we cannot accept such music for wegian music and composers and is an Nursery Rhymes Wedding and Funeral If you do—tell him about The Etude assemble it in a form that makes it avail¬ This celebrated pedagogue has given us Boys’ Club—or send his name and ad¬ M. Greenwald. credit. authority upon it. Our friends who have a work that we feel will be useful in all Music for the Pipe Organ (6) A credit for any music returned By Greenwald able in the routine of the teacher. A dress to us. Besides the extra money— Violin Studies—Kreutzer .■■••••• used these “cut-out” books with such educational piano playing. It contains a Wedding and Funeral Music for the cannot be made properly unless the name great success may therefore expect some¬ In this new collection some of the most real boon to the instructor of beginners. By Kraft and special prizes—he will get a good Organ—Kraft . and address of the sender are on the out¬ familiar of the old and traditional nur¬ Advance of publication price, 50 cents, list of pleasing and easy pieces that are start in the world of business. Thou¬ thing especially attractive in this number. of the sonatina style, parts of sonatas, Weddings and funerals are among the side of every package returned to us. The list now comprises Liszt, Chopin, sery rhymes are used. In each case the postpaid. special services at which organists are sands of prominent men to-day owe much traditional tune is also used, the accom¬ but it is a work that can be taken up be¬ to their experience as a publishers’ rep¬ Annual On Sale Returns Schumann, Verdi, Schubert, Mendelssohn. fore the sonatinas of Kuhlau and de¬ most frequently called upon to play. Bach, Handel, Beethoven, Mozart, Haydn paniments, however, have been rear¬ First Position Pieces Very often the organist is called upon to resentative. Summer Music Class ranged so as to bring them well under menti, which require considerable technic. It will require but a little time. En¬ and Settlement and Wagner. The price of any one of For Violin and Piano officiate at short notice, hence, the desira¬ Suggestions the hands and to render them easily play¬ There is no work of this kind extant. This ergy, thrift and a good character are the The annual settlement of On Sale ac¬ these published books is 20 cents; but we little volume will he welcome to teachers bility of having gathered together under The change from the regular routine of are making the introductory (advance of able. Each number may be either played Violin study has grown and developed one cover all the necessary musical selec¬ only requirements. No capital is neces¬ counts is due and expected during the or sung, or both together. Each song has largely in the past few years and the vio¬ who are preparing pupils for a thorough sary. We take care of that. This club is summer months of each year. Early m teaching has made special summer classes publication) price for all orders received music study. Many of the numbers are tions. Our new volume has been most in Musical History, Harmony and other for the Grieg number, 12 cents. an appropriate illustration together with lin is generally more cultivated as a solo carefully prepared with this end in view. for boys only. Tell your little friend June there will he mailed to all schools, complete instructions for its rendition by instrument. The literature of the instru¬ original and all are of a pleasing nature. about The Etude Boys’ Club—or send conservatories and iftdividuals Eaying special branches a profitable diversion for All the more conventional numbers will a group of children. This will prove a ment, however, has been much more lim¬ Our special advance price will be but 40 his name to A. C. Brown, Sec’y, Etude open accounts on our ledgers at that manv teachers. Great Singers on the cents, postpaid. be found in this book in good playable History classes are most fascinating most attractive and interesting book. ited than that of the piano, especially in Boys’ Club, Theo. Presser Co., Phila. time, a complete statement, which will Art of Singing arrangements and in addition there will and easily arranged, especially if an ex¬ The special introductory price in ad¬ the earlier grades. There has been a be many novelties and desirable selections include all items sent out On Sale dur¬ By Janies Francis Cooke vance df publication is 35 cents, postpaid. great need of attractive elementary Violin Studies ing the season now closing, and the reg¬ cellent text-book, such as the Standard for alternative use. The editor and com- Here Are Real Bargains ! History of Musi-, by James Francis The final proofs of this work are now be¬ teaching pieces; these, of course, must be By Kreutzer iler is Mr. E. A. Kraft, one of our best ular monthly charges not yet paid. Introductory Polyphonic first position pieces. In our new collec¬ well; that is, the items for supplies that Cooke, is used. This work is arranged in ing read and ,the work rapidly pushed to The studies by Kreutzer occupy a most nown concert organists. Specials for June Only have been purchased outright, to be paid lesson form and everything is told in so completion. Of the score or more of the Studies for the Pianoforte tion, now almost ready, there have been important position in the literature of the Tlie special introductory price in ad¬ assembled the most melodious and enter¬ These special Cut-Prices are good only for monthly or quarterly and due at the simple a manner that any child can un¬ world’s greatest singers who have, in this This work is quite well along toward violin. Practically every student must vance of publication is 60 cents, postpaid. for the month of June. You must act present time. Directions to follow when derstand it, yet at the same time all is book, given priceless results of their vocal completion. It is intended to take the taining first position pieces that we have take them up after reaching a certain been able to find. These are chiefly by promptly before it is too late. returning music and making settlement presented in so engaging a manner as to training and experience, there are very place of the various works that are now definite degree of progress. Our new edi¬ modern and contemporary writers, pieces Double Award Plan THE ETUDE. J Both 9 Mo». of the account will be found in the en¬ hold the interest of any adult student. few who could be persuaded to give les¬ issued preparatory to the study of Bach, tion of these standard, studies has been Wins Host of Friends Modern Priscilla. (Only $2.50 velope with the statement, which should Harmony represents a form of study sons, especially since their incomes range and there are no less than five volume! which have not appeared in any previous most carefully prepared with special an¬ volume. These pieces are all in score be carefully read and followed. turned to by many in the summer months. from $1,000.00 to $20,000.00 a night. The of this kind on the market, but this vol¬ notations and directions for practice. All We are pleased with the way our THE ETUDE. j Both 9 Mos. (the violin part over the piano part), and One of the most important directions is Preston Ware Orem’s Harmony Book for compiler of this work who at one time ume takes the place of all of these. It the bowing and fingering has been indi¬ friends and subscribers received the an¬ Youth’s Companion. ] Only $3.20 that the name and address of the sender Beginners is an exceedingly fine class was a practical vocal teacher in New York in addition, there is a separate part for cated with the utmost care. The editor is nouncement of our Double Award Plan. does not confine the study simply to Bach, THE ETUDE. Both 9 Mos. must be written or stamped on the out¬ book and it explains harmony in a clear, worked for years, from time to time, ac¬ but voice playing (polyphonic). The the violin alone. Mr. Frederick Hahn. This volume will From the large cities—small towns—from I The special introductory price in ad¬ Pictorial Review. Only$2.82 side cover of every package returned. concise manner. Teachers have found this quiring this material through personal main feature of this work is that selec¬ be added to the Presser Collection and it every corner of the country come re¬ vance of publication is 35 cents, postpaid. The emphasis we place on this detail may work also a great help to pupils who wish conferences. An entire chapter is devoted tions are all of a very pleasing nature will be uniform with our editions of other quests for information about Double I Both 9 Mos. seem unnecessary to some of our patrons, to engage in self-study and no better ad¬ to each artist, and Caruso, Melba, Galli- and taken from various sources, many of well-known violin studies. Awards. If you haven’t found how to j Only $2.00 vice could be given pupils than that they Curci, Alda, Sembrich, Schumann-Heink, Twelve Melodious Studies The special introductory price in ad¬ make “Etude Subscriptions Count Dou¬ but we receive hundreds of packages dur¬ them, however, have never been published. THE ETUDE. $2 00 f Both 9 Moa. ing the year with neither name nor ad¬ take a copy of Orem’s Harmony with Evan Williams and many others talk inti¬ The volume will be a little more extensive For the Pianoforte vance of publication is 40 cents, postpaid. ble”—I letter write us to-day. There is them on their summer vacations. mately, just as though they were giving Shadowland . 3 60) Only $3.60 dress on the wrappers by which to iden¬ than anything of this kind that has yet By Albert Franz still time for you to earn a handsome re- tify the senders, and we want to do Most pupils have more time to devote lessons to an active pupil. The hook will been issues, and advance subscribers may The Earlier Duets THE ETUDE. 2 00 (Both 9 Moa. to music in the summer, and those con¬ be finely illustrated by portraits of the Etudes Faciles is the title adopted for everything possible to the end that the look forward to getting something of un¬ By John Kinross Just think of it! An Album of Music Motion Picture Classic.... 3 oo (Only $3.25 delay and dissatisfaction to all concerned tinuing their regular music study in the foremost singers. The advance of pub¬ this new set of studies. The work is now and Sousa's latest and greatest March, summer are earnest enough to welcome usual worth. This valuable work is sometimes known THE ETUDE. -2 00 I Both 9 Mos. on this account may be avoided, or at lication price is $1.00. Our special advance price is but 40 on the press and copies are nearly ready Keeping Step with the Union, for only any additional work given them. Special as the First Step. It contains some of Peoples Home Journal. 1 25) Only $2.25 least reduced to a minimum. The follow¬ cents, postpaid. for distribution. Teachers who are seek¬ one Etude subscription, or you can get a ing general rules should be carefully read technical works will be sent for examina¬ Sousa’s Latest ing something new in the line of studies the best Teacher and Pupil Duets ever library of the Classics for as few as six THE ETUDE. 2 00 j Both 9 Moa. tion to interested teachers. All that is Composition for Beginners adapted for students who are just com¬ written. The pupil plays alternately in (6) subscriptions. Write us to-day. Today's Housewife. 1 oo ) Only $1.75 and adhered to: March Success both the treble and bass clefs and the (1) Return prepaid all On Sale music necessary is the sending of a postal re¬ By Anna Heuermann Hamilton pleting second grade work will find this quest stating grades and styles desired. The March King’s latest. Keeping Step book very much to their liking. These pupil’s part is so easy that these little THE ETUDE. 2 00 1 Both 9 Moa. unused and not desired. A credit mem¬ This real “beginners’ book” fills just Christian Herald. 2 00 ) Only $2.45 orandum for the value of the returned Let the Theodore Presser Co. furnish sug¬ with the Union, has already met with a studies are sufficiently melodious and duets may he taken up to good advantage Have You Renewed Your flattering reception. Lt. Sousa himself de¬ that, place where there has been a va¬ selections will be sent at once with a gested material now and thus materially characteristic to be interesting to the after the first few lessons. There is also Etude Subscription ? THE ETUDE. 2 00 j Each 9 Moa. clares that it is a greater march than the cancy in teaching materials for the one in in this book some excellent preparatory Modem Priscilla. 2 statement showing the correct balance aid your summer class plans. student while at the same time each one Bfaadowfend . 3 bo 10nly $4.45 famous Washington Post. Fortunately, it the lower grades. has definite technical value. The student material in the shape of note reading ex¬ We can’t see you all personally—so we due us. Be sure to place the name and has been arranged for piano solo, piano The first chapters make almost a game must depend on printer’s ink—but there THE ETUDE. 2 00 I Each 9 Moa. address of the sender on every package Melodies for Teacher who has completed these satisfactorily ercises and time studies. This volume McCall s . duet, piano eight hands, etc., in such a man¬ of the chasing after melodies and mu¬ will prove a valuable supplement to any are still some who have not sent in their Modern Priscilla. 2 oo 1 Only $3.45 and Pupil (Four Hands) will be ready for regular third grade ner that it does not require the band to get sical ideas in the language of the veriest work. method or instruction book for the piaqo. renewal. Are you one who has put off THE ETUDE. 00 ( Each 9 Moa. rt> (2) In returning music, large packages By Mrs. H. B. Hudson until to-morrow? It is-so easy to forget. Hood Hou sekeeping. may be sent by freight, ordinary sized the wonderful swing of it. The band and musical youngster, whatever the age as The special introductory price in ad¬ The special introductory price in ad¬ oo (Only $6.15 the orchestra parts are now ready. No the world counts years. Running through vance of publication is 30 cents, postpaid. Why not do it to-day—NOW? Pictorial Review. packages by express or mail; the rate by The success of Mrs. Hudson’s previous vance of publication is 25 cents, postpaid. band or orchestra can be up to date this the chapters is a steady progression to mail is two ounces for one cent up to four works is a guarantee that this work will year without this splendid, dashing, elec¬ pounds, and then parcel post rates up to be something worth while. It is along her the point where the student gets the abil¬ FIFTY SELECTED STUDIES in tbe trifying march. Like the waltzes of fifty pounds, or inside the first three usual line, that is, the pupil’s part will ity to think in musical phrases and to Strauss, the piano scores of any of the accompany them with appropriate har¬ Pi • m THE ETUDE offers 35 cents toward any of the above Special zones, 70 pounds. Parcel post and ex¬ not require any notes, nor does it require FIRST POSITION for VIOLIN press rates vary according to weight and a knowledge of notation to play the best Sousa marches require a little careful monies. In fact, the one who has mas¬ By CHAS. LEVENSON PRICE, *1.00 and enthusiastic practice, but one is al¬ pr{ced Works in Advance of Publication (pages 416 and distance. It would be well to obtain and pieces. The teacher’s part is in the regu¬ tered thoroughly this little book will have * I wI111 Lilli ways repaid for the work by the exhilara¬ gained a fair command of the language In compiling these studies the editor ransacked compare both rates in order to take ad¬ lar notation, so the volume is adapted to practically all of violin literature. It is the best the very smallest beginners. The duets tion one gets from playing such a stirring of music. The intelligent adult should — 417), for each yearly subscription sent us, not your own. collection of easy first position studies ever made. vantage of the lower one. It is almost a composition. The piano copy has a hand¬ Offer rule, however, that any package weigh¬ themselves are very pleasing and similar get much from it, even without a teacher. THEO. PRESSER CO., PHILADELPHIA, PA. to the DiabelK Easy Duets. Opus 149. some allegorical cover telling the story of Special advance of publication price, ing seven pounds or more coming from the march. The price is 50 cents. the fifth, sixth, Seventh or eighth zone Our advance price, 30 cents, postpaid. 60 cents, postpaid. TEE ETUDE THE ETUDE • JUNE mi Page Jfl9 3 kl8 JUNE mi =CE=

CS S xxmmev School c Schools and CoWeg CONTINUED ON PAGES 420, 421 AND 422 SCHOOLS PAGE. 424 NE^ PENNSYLVANIA, ILLINOIS AND SOUTHERN OTHER.

Lake Forest University School of Music Interested in Piano Playing ? Courses in all branches of music, including piano, voice, violin, theory, harp, wind instruments, etc. Special Then you should know of “Public School Music” course fitting Music Center The Virgil Method, Vols. I and II young women for positions. of the Ithaca Conservatory Faculty of collegiate standing and South How When and Where to Pedal international training. Delightful dormitory for girls on col¬ For Young Women i; that develops 175 Piano Pieces and Studies (Grades I to IV) lege campus. Gainesville, Georg ... _ who look foward Lake Forest 'is situated within easy Miles North of « All by Mrs. A. M. Virgil ^ ^ ^ on „quest) access of Chicago and its advantages, Combines best feature, of School. Club and Lyceum training, the Conservatory being actively associated with a flourishing Entertain¬ such as the Art Institute, Chicago Sym¬ Home. ment Bureau and having several of its own phony Concerts, Chicago Grand Opera, companies in the Lyceum field. Ithaca Con- You should know also performances of solo artists and of BAKO .CaTdrseMurRngSp°ec[aie stolen^.n rvatcry students are holding many of tha art—household economics—secre ana INCORPORATED .of nnMfiAna available in Ar,cl’i/*a GrodiiaHo The splendid instruments for Piano Practice called musical societies. and physical culture. Public Schools without the usual State exami¬ Governed by influential Board of Trai The Virgil Tekniklavierl (Both fu„ piano size) Brenau Means Refined Gold Faculty of Noted Artists and Teachers nation. A special course for teachers of physi¬ Ernest Toy, Lionel L. Sin- cal education—unusual demand for teachers WRITE FOR CATALOG Faculty of 40 college graduates—student body Frederick Morley, Regenald Biliin, Mine. Cara Sapin, Ernest Toy, Lionel L. Sin- throughout country. Large School of Express¬ The Bergman Clavier j LAKE FOREST UNIVERSITY of 500 thirty states represented—non-seclar.an, clare, Charles J. Letzler, Helen Riddell, Arthur W. Mason, Sara McConathy, ion and Dramatic Art. SCHOOL OF MUSIC seven fraternities—Home-like atmosphere, dem¬ YV. Lawrence Cook, and others. Schools of piano and organ, violin, singing, Four and Two Octave Key boar ^111 Suitcases ocratic spirit. Student Self-Government. harmony, composition, orchestration, band, Largest and most complete Conservatory . in the South, offering small string instruments, languages, painting, private and class lessons expression, dramatic art. Beautiful, commo¬ The Child’s Pedal (A pedal and footrest for the child) ^ Modern equijmet^bar/^ with summing dious buildings, concert hall and dormitories. Pianoforte Voice Culture and Sin^ „ Resident and day students. Master courses Blue Ridge Mountains. with world-famous artists in all departments. Organ Dramatic Art Expression Languages Summer School sessions open June jth and Also the well known School Supervisors’ and Teachers’ Normal Courses July 5th. School of Piano tuning in connection addres«nVltC ° Sight Reading BRENAU Box T Gainesville, Ga. Famous for individual training and personal attention given each student. VIRGIL PIANO CONSERVATORY Especially interested in those who wish to enter the profession as teachers, fs and fall information N£W YORK CITY MADE EASY FOR PIAHISTS or through Chautauqua and concert work. There is a good position 120 West 72d St. awaiting each L. C. M. graduate, as the demand far exceeds the supply. PIANISTS can become perfect sight readers by studying Such free instruction courses as Harmony, Solfeggio, Ear Training, History, my course on “ The Art of Public and private recitals, Student Orchestras, Operatic and Dramatic JMffiUkT Piano, Pedagogy, Public Sight Reading.” Sight reading productions, Interpretation Classes, and Observational Teaching. N w School Music is not a “gift” and is within the Teachers’ courses include laboratory work in Louisville schools. University |\r m F. Sherman Leslie Hodgson reach of all pianists — beginners SCHOOL OF MUSIC J. ^ ncis Moore M. F. Burt and advanced. It tells you of the SUMMER SESSION difficulties of sight reading and k Organ, Composition how overcome — method of read¬ Private instruction in Piano, Voice. Organ. R- Huntington Woodman Violin, and Violoncello. ing and practice — faults made Class instruction in Harmony. Musical Analy¬ and how rectified — how to play sis. Ear Training, Solfeggio. St Violin, Violoncello accompaniments at sight etc. Special courses in Public School Music and Piano Founded by George Eastman Theodore Spiering Normal Methods, with demonstration classes. Nicotine Zedeler School of Music Six weeks' course beginning June 27th Gustav 0. Hornberger ALF KLINGENBERG, Director in 5 lessons by mail, $5.00 OF Address: OWED MUSIC SCH' PETER CHRISTIAN LUTKIN, Dean FESSIONAL AND ( Voice SHENANDOAH COLLEGIATE ■ TUBAL STUDY \ Serge...... »sk. INSTITUTE Evanston, Illinois 35th Season — N McCal1 Lanhi LEADING SCHOOL OF MUSIC W THE SOUTH ^ $2,000,000 DANFORD HAIL ~sr- CHICAGO October 4th, 1920 Building and Equipment Send for Circulars Isk for BookletFREE^KCn^BOXllO. °DAYT0N, VA. THE MOUNTAIN Faculty list includes for next and Catalogue The COSMOPOLITAN year: Jean Sibelius, Joseph Bonnet,T. H. YorkeTrotter,Harold KATE S. CHITTENDEN, Dean SCHOOL of MUSIC Atlanta Conservatory of Music Summer School of Music Gleason, Arthur Alexander, MAY I. DITTO, Cor. Secretary THE FOREMOST SCHOOL OF FINE ARTS IN THE SOUTH Birmingham, Pennsylvania in the foothills of the Alleghenies PI Alf Cf^CHOOL Arthur Hartmann, Pierre 212 West Fifty-ninth Street and DRAMATIC ART Augieras, Raymond Wilson, Adelin 16th Floor Kimball Building, Chicago, HI. Advantages Equal to Those Found Anywhere Carnegie IfaJL New Tori:. IJIew York City Students may enter at any time. Send for Piano, Violin, Organ, Voice, Harmony. Piano Pedagogy. Fermin. DR. CARVER WILLIAMS, President Catalog. GEO. F. LINDNER, Director Appreciation of Music, etc. COURSES FOR An eminent faculty of 60 artists offers to Peachtree and Broad Streets, Atlanta, Georgia prospective students courses of study GEORGE F. BOYLE-Piano GUSTAV STRUBE-Violin and Harmony PIANISTS based upon the best modern educational TEACHERS SKIDMORE Institute ,i Musical Art prineiples, also courses in collegiate studies Crane Normal Institute of Music GERARD DUBERTA—Voice SUMMER ACCOMPANISTS for students unable to attend university. and Assistants Training School for Supervisors of Music SCHOOL OF ARTS OF THE CITY OF NEW YORK For information, address Dept. E The SIGHT, TOUCH and HEARING System of Teaching, Write for booklet BOTH SEXES For circular, address CHARLES HENRY KEYES, Ph.D., President Frank Damrosch, Director E. L. STEPHEN, Manager Voice culture, sight-singing, ear-training, harmony, Florence Jubb, St. Agnes School, Albany, N. Y. A Women’s college offering broad genet cultural courses while providing splendid ' An endowed school of music conducted lyactice^teac'hin^^Gra^ate's'hold poai- solely in the interest ■ of higher musical /Q THE A ARY W°°D CHASE rCH°°L Os ROY DAVID BROWN Knecf wit’Spec ‘al ^Z-'UO“: J" education and providing complete and 53 MAIN ST., POTSDAM, NEW YORK GUSTAVE L. BECKER en^ae1™ Chicago College of Music Director of American Progressive Piano School Concert Pianist and Teacher comprehensive courses. ESTHER HARRIS DCA. President ©F AUSIQAL ARTS jfEdPj“onf&?aI°SriS SPECIAL PREPARATORY CENTRES in different 26th Year—Students may enter at any time CONDENSED SUMMER NORMAL 800 LYON AND HEALY BUILDING, CHICAGO, ILLINOIS bourse, with related subjects. i of New York City and Brooklyn for children Offers courses and private lessons in all bra. ' j— College of Fine Arts — suMMEifciiimE ftTrucHBrJnBlioinTK >urse leads to B. S. degree. Resi- Six Weeks. Jane 27 to Aasast 6 lodations for 300 students. For. Syracuse University SUMMER CLASSES c^?’Ktht‘ Roy David Brown, Suite 905-906 Lyon & EealyBldg,, Chicago, Ill Unexcelled advantages for the stuc toTlacheris 3Cert°ftrcat°randDiSomah * w York 34 KI9HALL BLDG. ty of 20 specialists. Regular fou to the degree of Mus. B. Special Special students may enter at i For catalogueue and full information, address, rracuse University, Syracuse, N. Y. The Courtright System of Musical Kindergarten Bradley Conservatory of Music THOSE MANY POINTS jj Oldest and most practical system^Writefor Franklin Stead, Director SUMMER TEACHER’S COURSES f| REGARDING WHICH [ tspring’cui! tS°be“Jdd taVora*0w6Ulia. All Branches of Music -HaTn Philadelphia AT THE MUSICIANS DISAGREE jj Musical Academy Are thoroughly discussed and presented ' p NEW YORK SCHOOL of MUSIC AND ARTS n’t artis ohrchL in Louis C. Elson’s Book . | 150 RIVERSIDE DRIVE (CORNER 87th STREET) MISTAKES AND DISPUTED POINTS IN | fYFFERS Teaching Positions, Col- IARLTON LEWIS3 MURPHY Rates $180 and $250 (according to teacher for :h include board and roi lasses, concerts, etc. MUSIC AND MUSIC TEACHING ” faculty,*including ' ” Ralfe Leech Sterner, Arthur Friedheim, Paul Stoevin ie Salvatore, Aloys [ leges. Conservatories, Schools. Private Teachers SixWeeks Courses from May 15th to September Ist :ander Pero and many others. SEND FOR OUTLINE. „ CLOTH BOUND, PRICE, $150 p b^rship in the Western Conservatory^ may provide regula- | Theo. Presser Co., Philadelphia, Pa. j SCHOOLS AND COLLEGES CARNEGIE HALL, E. H. SCOTT, Kimball Hall, Chicago. See Also Page 424 Please mention THE ETUDE when addressing our advertisers. THE ETUDE JUNE 1921 Page 421 Page 120 JUNE 1921 * the ETUDE Summer Master School SUMMER MASTER COURSES June 27th—July 30th, 1921 June 27 to August 6 [Six Weeks] JOSEF DAVID PROF. LEOPOLD AUER LHEVINNE BISPHAM Master Violin Instructor of the World The American Conservatory announces the return engagement of HERBERT WITHERSPOON these artists to conduct OSCAR SAENGER Famous Singer and Teacher Celebrated Vocal Instructor MASTER CLASSES RICHARD HAGEMAN specially designed for professional pianists, singers, teachers and ad¬ Conductor Metropolitan Opera vanced students, for a term of five weeks, from June 27th to July 30th. Noted Coach and Accompanist REPERTORY CLASSES AUDITOR CLASSES CLARENCE EDDY PRIVATE INSTRUCTION FLORENCE HINKLE Dean of American Organists David Bispham will also instruct in Recitation to Music America’s Foremost Soprano MME. DELIA VALERI Special Prospectus Mailed on Application RUDOLPH GANZ Vocal Teacher Renowned Pianist SUMMER NORMAL SESSION FACULTY OF 100 ARTISTS of Six Weeks, June 27ih to August 6th, 1921. Lecture Courses by eminent educators. Recitals. Ninety-five Artist-Instructors. FREE SCHOLARSHIPS^ SPECIAL COURSE IN PUBLIC SCHOOL MUSIC U. u_ TV/r_UlnU. Mr flan*. Mme. Valeri and Mr. Eddy In designed for Post Graduates, and also regular courses. Special engagement of Anne Shaw Faulkner-Oberndorfer, and other educators of distinction. Moderate tuition rates and excellent dormitory accommodations. Summer Prospectus mailed on request.

, , FREE SC Private and Class Lessons are given by all teachers. DORM.TORy7cCOMMODAT,ONS__FALLONS FALL SESSION OPENS SEPTEMBER 12thUth ^COMPLETECATALOG^ONREQUESTCOMPLETE CATALOG ON REQUEST AMERICAN CONSERVATORY FELIX BOROWSKI, President “ “ Karleton Hackett, Adolf Weidig, Heniot Lew, Associate Directors DR. F. ZIEGFELD, President Emeritus JOHN J. HATTSTAEDT, President Chicago Musical College CHICAGO’S FOREMOST SCHOOL of MUSIC 571 Kimball Hall, Chicago 35 th Year 620 SO. MICHIGAN AVE^hicagO, Ill. (^SSJSSJ^Sm) CARL D. KINSEY, Vice-President and Manager

Salvini School of Singing SDMBJ Bush Conservatory EDGAR. A. NELSON, Vice Pres. KENNETH M. BRADLEY, Pres. CHICAGO ninth Mario Salvini, Director xme j* CONSEK^TORryfiuSIC 206 West 71st St., New York City Telephone: Columbus 2202 « PHILADELPHIA An Institution of National Prominence NSURPASSED FACULTY of over 75 teachers, including many A singing school living up to highest standards of art. The direct way to the ja 31th YEAR OPENS SEPTEMBER 19th Accredited Courses in U of international reputation. manager, producer and impresario. Opera, concert, church, ^ Because of its distinguished faculty, original and scientific methods, individual instruc¬ £ oratorio, musical comedy and teachers' courses. £ tion, high ideals, breadth of culture and moderate cost, combined with efficient Opera Boza Oumiroff Jan Chiapusso Edgar A.* Nelson management, the COMBS CONSERVATORY, affords opportunities Expression Charles W. Clark Mme. Julie Rive-King Cecile de Horvath ® PUBLIC APPEARANCES *3 not obtainable elsewhere for a complete musical education. Mme. Louise Dotti Edgar A. Brazelton Richard Czerwonky All Branches. Normal Training Course For Teachers. Public Per¬ Languages Dancing Gustaf Holmquist Bruno Esbjorn Herbert Miller Courses for beginners, advanced students and courses of perfection for artists. ® Mme. Ella Spravka Rowland Leach Moses Boguslawski formance. (Four Pupils’ Recitals a week.) Orchestra and Band MUSIC « Opera department endorsed by Gatti Casazza, Director General of Metro- "2 A11 of the artists mentioned in this adoertisemenl teach exclusively at fflush Conservatory Departments. Two Complete Pupils’ Symphony Orchestras. B politan Opera House, Arturo Toscanini, Giorgio Polacco, Gennaro Papi a I Leading to Certificates, Diplomas and Degrees Conductor’s Course. begin June 27tH ® and others prominent in the musical world. J§. c/s The method used by Mr. Salvini and assistants is of the Italian School la Reciprocal relations with University of Pennsylvania. EDGAR A. BRAZELTON, _ of Bel Canto, comprising: breathing and vocal gymnastics, voice place- J, SCHOOL OF INDIVIDUAL INSTRUCTION NORMAL COURSES (Theoretical and Applied Branches Taught Privately and in Classes) .2 ment, solfeggio, development, diction, phrasing, analysis of the voice, O SUMMER SESSION Faculty: Gilbert Reynolds Combs, Piano: Hugh A. Clarke, Mus. Doc., Theory; Nelson A. Piano, Voice, Violin, Public School Music « its scope, functions and possibilities, development of the vocal, rhythmi- cj Three Terms Chesnutt, Voice; Russell King Miller, Organ; William Geiger, Mus.Bac., Violin. ^“Th^ls b^&Jr'TrtW^ ) Summer Normal Course £ cal, and musical faculties. Songs, ballads, arias, operas in the different and 75 assistant teachers. Five WeeKs, June 27tH to July 30th Dinging, • original languages. Address correspondence ^..y. Pedagogy, Ron SUMMER SCHOOL EigHt WeeKs, June 6tH to July 30tH Teaching in all branches will be continued during the Summer under the personal instruction and super¬ k. Weekly Arti * " | $25.00 Ten WeeKs, May 23rd to July 30tH -y for Teacher’ MARIO SALVINI 206 Weat ?ut street New York City vision of Department Directors. Work taken during the Summer will be credited on regular courses. DORMITORIES FOR WOMEN to Qualified Advanced Students In addition to delightful, homelike surroundings in a musical and inspirational atmosphere, the Oormi- a_e tory pupils have advantages not afforded in any other school of Music. Daily Supervised Practice. Daily of Bush Conservatory Classes in Technic, Musical Science, Theory, Concentration and Memory Training, Vocal and Instru¬ EDGAR A. NELSON.Dean mental Ensemble. Master Classes Free SIX SPACIOUS BUILDINGS The only Conservatory in the State with Dormitories for Women Piano: Vocal: cS££m%L* Violin: SS^'iSsr'’*' Detroit Conservatory of Music A School of Inspiration, Enthusiasm, Loyalty and Success. Application for membership must be made before June 20th___ 47th Year Illustrated Year Book Free , M. A., Pres. Elizabeth Johnson, Vice-Pres. The Only Conservatory in Chicago maintainin' extensive Dormitories tor Women ami Me. Students directly^ connected with the Mato Buildings Finest Conservatory in the West GILBERT RAYNOLDS COMBS, Doctor 0fficS-csaffl^KI?,rle8 me umy conservatory Attractive environment and valuable saving of money and t.me for the summer student. Piano, Voice,Violin, Cello, Organ, Theory, Public School Music and Administration Building, 1331 So. Broad Street DORMITORY RATES FOR ROOM AND BOARD REDUCED FOR SUMMER TERM JL/lUIVl , study their works, for the music of this music; a young student of great promise to me, and I know not one note from an¬ period and the.improvement in the way of who hoped to be famous some day herself, Public School Music Methods other. I would really like to get the en¬ making pianos made great changes in and a middle-aged teacher who had joyment out of it as you all do, but I’m 862 CARNEGIE HALL - NEW YORK CITY piano technic. Copy this list in your note listened to the scales of all the children in too stupid and too old now to learn any¬ books with the others. the town. thing about it.” Resident Faculty of 60 eminent Musicians, many of 1784- 1840. Nicolo Paganini, Italian. All were listening now to the orchestra “I had a friend,” said the music teacher, Oh have you heard the cuckoo clock A famous violin virtuoso, who was the whom are known throughout the musical world for the and enjoying it according to their various “who, as a child, could not sing the sim¬ Sing the time of day ? FALL TERM OPENS SEPT. 6™ first to develop a complete harmonic scale capacities, and all were more or less in a plest air and she hated to practice, but It says, “Cuckoo" in quarter notes, One and Two year Courses in Piano, Voice, Violin, Organ, Public brilliancy of their attainments as artists and teachers. for the violin. Composed music for the state of rapture for the sheer beauty of her parents insisted; and she is so grateful In such a pretty way. School Music, leading to diplomas recognized by the state. the music—that is, all but the society now because she can enjoy so much that 1785- 1873. Frederic., Wieck, German. lady. would have been otherwise barred to her.” “The ability to hear the hidden thoughts RECITALS AND LECTURES FREE MINNEAPOLIS, One of the best teachers of piano, voice Finally it was over. “How superb!” ex¬ and theory. His daughter, Clara, was the in music is God’s greatest gift,” said the claimed the artistic one. “It seems to be MINN. . .. wife of Robert Schumann. artistic one. MacPHAIL school a great success,” said the society one who ONE OF THE THREE LARGEST IN AMERICA This sincerely spoken word caused 1786- 1826. Carl Maria von Weber, knows nothing whatever about music, Theory German. Composer of operas which were thoughtful silence among them all; and N or mal T raining Piano “and what a very smart audience!” she they went their ways resolved to learn For teachers and those preparing Classes for Artist Harmony — Ele- the beginning of German Opera as a na¬ added. tional institution, more and understand more of music— Students YCEU/n her World-renowned Method—perr “Oh, really you are distressingly r teachers to give her Normal Cou God’s greatest gift. Full Course Interpretation Advanced 1791-1864. Giacomo Meyerbeer, Ger¬ Repertoire WTS 5 Normal Lectures Melodic Construc- sweep awayh'cr cheap im-fators'a'nd 7od man. Played in public at the age of seven ft 10 lessons Interpretation Accompanying £pNSER.VATOR.Y her purse. However being a true Artist; and was classed among the best of Ber¬ Puzzle 10 lessons Keyboard Harmony Teaching Material cere Educator she prefers to protect the Public and children and to continue to deserve the RESPECT lin pianists at the age of nine. Composer TARE IT UP And then the little gilded clock, and Improvisation History and Ap¬ Analysis of opera. 5 lessons Dalcroze Euryth- preciation tSfelpidfr wL t^k Standing on the shelf; Demonstrations — Composition 1791- 1857. Karl Czerny, Austrian. It seems to tick in dotted eights— mics ap^Educatonfthe world over'havc gratefully tea' 1. Curtail a vocal composition and get 4 Demonstrations—children’s children’s class Keyboard Har¬ Pupil of Beethoven and teacher of Liszt. a relative. It’s talking to itself. class work work mony Composed over 1,000 works, which were 2. Doubly behead a part of the violin Recitals and Lec- and net a rirnlo 5 lessons Normal Training. chiefly studies. 8. Behead one i: Recitals and Lectures Improvisation strument and get an- 1792- 1868. Gioacchino Antonio Ros¬ •ntation of Miss Fletc I. Curtail what i any birds do and get the Musicianship of tl sini, Italian. Three greatest works: The le grateful recognition. Violin Public School Music Barber of Seville, a comic opera; William band and get a large box. f Voice Tell, a serious opera, and a Stabat Mater. Coaching Advanced w o r Methods a eonTinct’7 lfehea0"h(,|'V hebead an introductory com- Second Sess Dear Junior Etude: Summer School Booklet FREE, Address course, if they are very old and very „-5°'„„?oably hehead^part of violin playing Third Sessit yellow, they may not come white; but or¬ and get a part of a Ever since my mother has been taking SAINT LOUIS, MO. An Acrostic dinarily, rubing the ivory with a .soft The Etude I have enjoyed reading the k Send for ful Junior department. My mother is a music SUMMER NORMAL COU RSI clofli dampened in alcohol will greatly im¬ Letter Box Effa Ellis Perfield Music School, Inc. teacher, and' she gives lessons to me. I 218 SootSouth Wabash Are.. Chicago; or By Evangeline Close prove them. Then move the piano to a Dear Junior Etude: Columbia ■41%4154 WeWest 45th Street, Ne» York City ERNEST R* KROEGEF position where the sun will shine on the ant eleven years old, and in the fifth grade I am taking The Etude and do not Three Weeks—June 20th to July 10th Brqve to meet the call of fate. keyboard and leave it there a few days. in music. Very often I am asked to play, JULY" in'd “aDGUST11 *“ Ohi&g0 Class lessons every morning except Saturday an Ever loyal to the best, know how I could get along without it. and if I have not practiced sufficiently it Sunday. Terms £60.00 for the entire course. And speaking of pianos, have it kept Ever working, early, late, I also find it is a great help to me in my is very embarrassing. I advise every little Address, A. E. KROEGER, Bus. Mgr. always in tune and dusted, and do not music. I have been taking music lessons School of Music MR. and MRS. CROSBY ADAMS KROEGER SCHOOL of MUSI] ■Turning into note and rest place sheet music or music books on top! Etude friend to keep the motto, “Practice about two years. I played at a recital Musical Art Building :: Saint 1 Heaven’s message to his soul. This ruins the appearance of any room. makes perfect,” in mind. Anrual Summer Classes for Teachers of Piano which my teacher had. I am also teaching Box 480 for the Study of Teachi Opened, where his inner ears, Keep your music in the music cabinet or I should like to hear from any Etude Valiantly he made his goal; a class of six scholars, which I think is friend who cares to write me. in the bench; and, if you have too much great fun. Even when assailed with fears, for the cabinet, put it in some other suit¬ From your friend, Okrena Buchner (Age 12), 509 South Wabash Ave., Chicago Never less was he than great. able place, but not on top of the piano. Carolyn Nash (age 11), MONTREAT, NORTH CAROLINA Ontario. Winston-Salem, N. C. Please mention THE ETUDE when addressing our advertisers. THE ETUDE Page J&j. JUNE 1921 Junior Etude Competition Honorable Mention for THE .JUNIOR ftXUUB wui Compositions Schools and Colleges prizes each month tor the L-"-'1’ Lillian Albert, Elsa L. Collins, Leonore original essays or stories and s puzzles. E Erhlick, Frances R. Freeman, Sara middle west Subject for s Dixon, Thelma A. Peterson, Madeline Voice.•’Voice!” It°It mimust contain not over one hun¬ dred and fifty words. Any boy or girl under Tolorico, Beona Sluey, Anna Earle Cren¬ niteenfifteen years ulof a«cage may compel . shaw, Cleo Rockhill, Henrietta Vogel, All contributions must bear name, age and Helen O’Neil, Ward C. Miller, Beatrice 52ND YEAR CLARA BAUR, Foundry Vogler, Janies Carlin (who would have Etude Competition ill-' Conducted according to n,eai^fat°,rl“08t Philadelphia, Pa., before the twentieth oi been a prize winner if he had sent com¬ plete address), Lucile Spencer, Mary JUThe names of the prize winners and their ontributions will be published in the Sep- Murphy, Elsa Steinbach, Nora A. Gustaf¬ Elocution— MUSIC—Languages son, Agnes Dunne, Vivian Hagarty, Faculty of International Reputation piy witn an or advantagesiDtages for post-grauuawjpost-graduate auuand repertoire ie typewriters. Pauline Dunlavy, Emma Lou Ward, W^DeianS^OveraLOUtgca_V Ideal locationlnrntinn and residence Katherine Bancroft. department \toith superior equipment. Master das. for virtuoso violini.t. und< THE VIOLIN EUGENE YSAYE Season 1920-21 (Prize Winner) Puzzle Corner Answer to April Puzzle The violin is a very peculiar stringed lne Violin IS d VC1J ptLUuai - Oboe, Tuba, Piccolo, French Hoi_, instrument.:___Tf It consistsciefe ofnf four strings,StrinfifS. E,E. phone, Cornet, Violin. A, D and G. The strings are made of gut. PRIZE WINNERS FOR PUZZLE VALPARAISO UNIVERSITY The tones of a violin are very soothing Dorothv Aiken (Age 11), Kansas; John and sweet, and when using the mute it P. Filsom Jr. (Age 7>- Ncw Vork; Agnes Bisset (Age 12), Rhode Island. (Accredited) INDIANA makes the tones very dim. When playing Honorable Mention for Puzzles VALPARAISO double notes and chords on the violin, This was a very easy puzzle and a .very IS in Piano, Voice, Violin, Organ, Theory and Public School certain accents and movements of the bow big basketful of correct answers receiveo, have to be made in order to get clear rotm^that^ur answer" were wrong, but THE EXPENSES ARE THE LOWEST tbit others were neater and better arranged lasting tones. Some of the papers were not neat enougn Many violins are marked ^Stradavarius, to even expect to win a prize. And then, Gunerius, Amati, and are dated as far back some did not follow all of the rules ana 47TH YEAR-STUDENTS ACCEPTED AT ANY TIME [ as 1700. Many people have these violins Germaine1 h^mplftf adless and believe them to be real models, but 8^ IToiiorab 1 e"Toent!on‘ A* : Marie Ger- they are not. These names and dates are maine Mftet, Violette Fleishman, Mary C. Blatt, Beatrice Vogler Myla lierrmami used by makers to increase sales. Great Margaret Metz, Precilla Curtis, Edward DANA’S MUSICAL INSTITUTE violinists and also museums are the pos¬ Gottsman. Lena Rasner, Helen Sckey^Vlola WARREN, OHIO sessors ,of the real models of the violins Ritte”* Dorothy L Mt, Kenneth JTheiss Donald Gunther, Eleanor Holt,hou, Francesm mentioned above. Holden, Eileen Mae Fitzgerald, Helen Brc=™, THE SCHOOL OF DAILY INSTRUCTION IN ALL More practice on a violin makes the Eva French, rnyilisPhyllis OTer,Phyler, xumiuuMarion Embery, Evelyn Bachman, Lillian Albert. Bernice BRANCHES OF MUSIC tones more beautiful and expressive. Ludlow, Thomas White, Victor Travlsano, ... „ .. . Desk E, WARREN, OHIO Joe Saracini (Age 14), Arthur Fetzner, Werner December, Sylvia Address LYNN B. DANA, President Rivlin, W. Meridith Thompson, Esther M. Mo. Jolley, Mildred Bontelle Doris E. Wells, Bernice Masehka, Ruth Weir, Lillian Lay, Robert E. Smith, Lucile Bell, Mary Murphy, THE VIOLIN Mary Ryan, Gordon Beemer, Margaret Shel¬ ton, Helen Wiedenheft. (Prize Winner) BURRO WES COURSE 5™ study Elsie sat down one morning to play the Kindergarten and Primary—Correspondence or Personal Instruction Young People’s Muscial 3 _ . ....h. .... of this method piano. A fairy came and sat on the keys. Composition Prize Contest Parent*—Proap _doubled b, uae of thii ”Who are you?” said Elsie. ‘‘I am Goco, Enthusiastic, letter, from teacher, of^the Cour.e KATHARINE BURROWES the fairy of the King of all instruments, of material, much of which was surprisingly DETROIT, MICH. the violin.” He produced a tiny violin good and all of which showed promise. The 3209 NORTHWESTERN AVE. initiative, the benefit of making the attempt and played the most beautiful music Elsie hoinpfl hundreds of young folks who must had ever heard. “Now,” he said, “I will not be disappointed now if the judges have < tell you about this wonderful instrument. cided that the prize is to go elsewhere. Th« were only six prizes and so only a few of W DETROIT INSTITUTE OF MUSICAL ART £ It is called the soprano of the orchestra. great number of contestants could wm. Here -GUY BEVIER WILLIAMS, President---— This is the lowest note on the violin, 4“ * decision ■; AScho playing G below middle C, “and this is Young People Under 12 Years “of th? Detroit Symphony Orel In’Detroit with its own Dormitory tor women the highest,” playing just below where the First Prize: Indian Dance, by Fran¬ The only school m For Catalogue, Address H. B. MANVILLE, Bus. Mgr. bow goes. “Put your fourth finger lightly ces Brooks, Washington, D C. Eight Students May Registerister at stnyAny limetime ” 5405 to 5415 Woodward Avenue, DETROIT, MICH. on the string, press hard with the bow near Years Old. the bridge and you have a flagolet tone Second Prize; Tarantella, by Flor¬ which is called a harmonic.” “This is ence Clark, Toledo, Ohio. Twelve called vibrato,” he said, moving his finger HUNTINGTON COLLEGE CONSERVATORY Years of Age. - o' Huntington College. Endowed, with absolutely™.expense.5SK iapidly back and forth. And when he Third Prize: Raindrop Valse, by or advantage at y VIOLIN PIANO VOICE, HARMONY. HISTORY OF MUSIC, PUBLIC left, Elsie felt sure that the violin was Roma Faith Arnett, Pawnee, Okla¬ Courses Offered: school music, languages, expression and qramatic art . the King of all instruments. homa. Eight Years of Age. ■ Special Courses Giving Teachers Practical Work Applicable to Their Needs Edna Schroler (Age 13), Young Folks Between Twelve and Sixteen BOARDING FACILITIES EXCELLENT—NO BETTER ANYWHERE Calif. First Prize: Straight Ahead March, ^tmandBUOTiyMyi^u^uS?d^hed. Address, Box 512 - - - HUNTINGTON, INDIANA by Marjorie Lieberman, Rochester, THE VIOLIN Pa. Fifteen Years of Age. (Prize Winner) Second Prize: American Banner Michigan State Normal College Conservatory of Music March, by Winthrop K. Howe, Ro¬ S YPSILANTI, MICHIGAN The viol’s music swelling chester, N. Y. Fifteen Years of Age. What is this it’s telling? Third Prize: Thoughts, by Leola Of what enchanted land does it speak Graduation leaas to a me vtnitn q and fees exceptionally lc Gertrude McMullen, Kinzua, Pa. Fif¬ Total living expenses need not exceed six^doHM What mysteries ’tis singing teen Years of Age. CONSERVATORY OF MUSIC, BOX 9, YPSILANTI, MICHIGAN The remaining manuscripts will be re¬ What memories it’s bringing turned to all those who sent stamps for re¬ Of olden days and merry minstreley. turn. Some, however, are so excellent that we are holding them tor a little while to consider whether it might not be possible to Minneapolis School of Music, PERCY FULUNWIDER, Violinist It says the day is fading, ORATORY AND DRAMATIC ART 1 he master’s ceased his trading, WILLIAM H. PONTIUS CHARLES M. HOLT Director, Dept, of Music Director, Dramatic Ai The hall is full, the fiddler tells his tale; Letter Box 60-62 Eleventh St., So. MINNEAPOLIS, MINN. It says the sun is sinking, LAWRENCE CONSERVATORY Dear Junior Etude: LARGEST SCHOOL OF I* The merry men are drinking, LL BRANCHES OF MUSIC AND DRAMATIC ART Appleton, Wi*. I enjoy very much the little musical It says the warrior lays aside his mail. 0 Artist Teachers history class my teacher organized last A MASTER TEACHER year. We meet every two weeks and study Unusual opportunity lor the serious student ofviolln The minstrel speaks of hunting, about the great musicians, both living and Of fighting for the bunting, dead. We like to hear all the good music Cottey College for Women CARL J. WATERMAN, Dean Of men who brave the dangers of the we can; and sometimes we go to Kansas Is a ’fully accredited Junior College and maintains an excellent Conservatory of City, which is not far from here, to hear Perchance he speaks of courting, Music. Work in Theory, Chorus and an opera or concert.- History of Music receives College credit. SCHOOLS AND COLLEGES Or else of Vikings sporting, From your friend, But all of these my violin tells to me. Send for catalogue and View Book. J. C. SEE ALSO PAGE 418 Jeanette Bayne (Age 14), John L. Bonn (Age 14), Harmon, President, Nevada, Mo. ) Missouri. Conn. Please mention THE ETUDE v