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

7-1-1927 Volume 45, Number 07 (July 1927) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 45, Number 07 (July 1927)." , (1927). https://digitalcommons.gardner-webb.edu/etude/747

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. **I Practiced Eight Years on Nothing but Exercises” — Tito Schipa jz? ‘‘How I Turned the Corners”—Sir Frederic Cowen ^ Developing Musical Taste Early—Ernest R. Kroeger JULY 1927 Page -Jfid •/ THE ETUDE

Worthwhile Suggestions to Teachers for Fall Classes

• ’ Piano Teachers Who Prepare Now for the Our “Guide^ to New tQeany Any required teaching material may be lnd tor examination through 1HE OJs Start of Next Teaching Season Are ’teacher SALE” PLAN. Enjoy the convenience of IdviceWupon How to Begin Teaching, How this plan. Teachers^ may^ select^ numbers Doing Much to Insure Their Success. ?“zZnri Pubils What to do as the Puptls AivanJe, What to Use and How to Grade SSTch?eyrfSlly° make up^packages covering Teachers May Have Any of These desired classifications and grades. Numbers Pupils, etc. Dependable Teaching Helps for Examination. For Use in Second GradeW ork For Youngest Beginners Fine First Instruction Books STANDARD GRADED COURSE BILBRO’S KINDERGARTEN BOOK FIRST YEAR AT THE PIANO OF STUDIES By John M. Williams Price, $1.00 By Mathilde Bilbro Price, 75 cents ■ROTH clefs are used from the start in p^e”t°eriai By W S. B. Mathews Grade 2 Price, $1.00 A FINE instruction book for use with the youngest be- YOU can secure that coveted Diploma or Degree right in your own home, as many other ginners. As the lessons progress, new notes are giverT i’j asS attractive asTolsibU rh^hmiSly and melodic- ™.urdingly introduced with Atle studies and attractive pieces, untl ally. As technic is developed it also is a feature of the s Second uraae takesmove _ a morefiner established teachers and musicians have done by taking our Extension Courses. The o g the child is thoroughly ^familiar ^ with every 'spaced material that phrasing and expression arc well handled. ell selected, each being included An admirable work for class use and one which 1 8 y y suggestions are given as the below Mid’dkc! 'Then th" bass clefts introduced in the valued by leading schools and colleges of music having ior a ] are but a few of many thousands of similar ones in our files: same ideal manner This is a very practical book and normal courses in public school classes. work p there is text setting forth teaching procedure with BILBRO’S FIRST GRADE BOOK SECOND YEAR STUDY BOOK By Mathilde Bilbro Price, $1.00 TUNES FOR TINY TOTS THIS is a modem work, embracing features that lead- By A. Sartorio Price, 75 cents THE PROOF OF THE PUDDING! 1 ing educators agree to be the best for beginners m A WORTH-WHILE book of studies>"!J“neh-.falwTvs By John M. Williams Price, 75 cents piano playing. It uses both clefs from the start and makes A chanism. These studies are just the type that always Gives Her Pupils High School Credits It Is Different Now . . T N this little work the young student is taught the very the acquisition of the knowledge of notation as rapid as appeal to students because of their melodic charm which For the past 28 years I have written marches and other compositions. They possible by using blank staves for some novel writing ex- makes them pleasing to practice. Thank you for the Diploma in Harmony. Let me say that during the ti taking"your "Course, I took three examinations, offered here by the Minnesota Music been played by the best professional musicians and I have had the pleasure o^ g i;m“taneousb"d $SfSorf^onip^ngeaA^Wp Teachers’______Association, in..._, Piano, History__ of_ Music and Harmony.ony. I passed auall tnreethree *«---them over thea- radio, wDut witn tnattW uncertain feeline—icemig I wonder, ,what T ,a ,„:iinrst masst j the student in the time and phrasing and hold his m- STANDARD GRADED COURSE STANDARD GRADED and received a certificate. This means that pupils of mine can pass and get high arranger thinks of the arrangement.” Now I can arrange a me o y thorough school. . credits... for. work.... donej— with . Thistl:. is:. -e of1 .uthe results of takingHt™. „miryour —( Your Harmony and Composition Course has given me that thorougn OF STUDIES COMPOSITIONS course in Harmony. u i recommend yours as an outstanding school of music. By W. S. B. Mathews Grade 1 Price, $1.00 Compiled by W. S. B. Mathews Grade 2 Price, 75 cent Mrs. Alpha H. Lienhard, 1937 Aldrich Ave., S., Minneapolis, Minn. Charles Fremling, Band and Orchestra Director, Buhl, Minn. THIS course has long been the “backbone” of thousands MIDDLE C AND THE NOTES of music teachers’ curricula. Although it is wise to VALUABLE second grade teaching pieces to be used it start the child student with an elementary instructor be¬ v conjunction with the “Standard Graded Course. Increases Her Class From 40 to 63 Pupils Teacher in Convent Praises Courses ABOVE AND NOTES BELOW fore taking up these more serious studies, this^first grade The numbers included are in all styles and have beei I find that the satisfied pupil is the best advertisement I have. I am giving better selected for their educational value and tunefulness. As a graduate of your Harmony, History and Advanced Composition Courses, I By Lidie Avirit Simmons Price, 75 cents book may be used to s service to my pupils and that always brings a financial increase. The fact that I have want to say that I think they cannot be improved upon. While they are not in anv THE beginning if piano playing is brought to the juve- taken the Sherwood Normal Course after all my years of experience, tells better than 11C1J olc __ I trust that this year will nile so direct and so interestingly ill this book that it way a short road to success, they surely are a safe c~ T *”"* taught, **■- anything else my opinion of your Extension Courses for an established teacher. , students and that they will enjoy the work as Jessie E. H. Pettersone, 28 So. Wellington St., Dundas, Ontario. bring you a large class of eager n much as I did. SlsTER M. Agnita, 60 Broad Street, Providence, R. I. Credits Accepted in States It would require much time and space to say all the good things concerning the Public School Music Course by Francis E. Clark. I find this Course very thorough From the Chairman of Education, Oklahoma Federation of Music Clubs. and beneficial. None of the essentials have been omitted in the preparation of this I have enjoyed the Teachers’ Normal Course very much and feel that it is not only work. The credits received from the University Extension Conservatory have been a great opportunity to study Mr. Sherwood’s Methods, but an honor I have taught readily accepted in the States in which I have taught. At present I am holding a music for more than 15 years and consider the Sherwood Normal Piano Course an position as Music Supervisor, all due to the training received from you. Alice Tombleson, Loup City, Nebraska. ideal one for teachers. Mrs. Ida Rockett, Wilburton, Oklahoma.

Makes a World of Difference in His Playing Doubles Classes in a Year The knowledge I have gained from your Harmony Course as far as I have gone The Sherwood Normal Piano Course has fought me many points that I had not has not only improved my playing immensely, but has made me a ‘‘top man.” Every¬ learned before—things that my private teachers had never thought of mentioning body wonders how I make an organ sound different from other organists. I apply Martha Dahl, Pekin, N. D. the rules of Harmony, Instrumentation, etc., to my music and have found they make a world of difference. A. A. Lachance, Hotel Sheridan, South Manchester, Conn. These teachers and musicians are but a few of the thousands who endorse and recommend our courses. The training and increased musical knowledge they have Superintendent of Schools Marvels at Pupils’ Progress Study Books of Merit for the Third Grade received from the University Extension Conservatory has meant higher standing m The lessons of your Public School Music Course are of more value than I can state. their profession, greater efficiency, and increased earning power. Your experience The Superintendent of Schools marvels at the progress of the children. Special points STANDARD GRADED COURSE PLAYER’S BOOK RECREATIVE ETUDES FOR should be the same. . . , , , , School of the Pianoforte—Vol. 3 of great value are Ear Training, Enunciation and Tone Development. OF STUDIES EQUALIZING BOTH HANDS Gladys Maxwell, Mantin, Michigan. Do not merely WISH for larger classes and greater financial gain—resolve today that you will achieve these worthy ambitions. For 25 years this great school has By W. S. B. A Has Diploma Indorsed by Secretary of State been helping ambitious teachers and professional and amateur musicians to greater Thank you for my Diploma. It was immediately endorsed by the Secretary of State success. You can safely follow the sure way that has been so well guideposted by of Illinois. I had taught for six years before studying with your school, but had not found a good systematic course to follow. Your course has solved my problem. thChe^hth?coeupo^desLidff1!back tous at once. We will immediately send you Bertha Guerrero de Raudales, No. 1438, 38 South ~ * " full details of our Courses and Methods, together with a number of sample lessons from the Course which interests you most. There will be no obligation. Write us Violin Course Greatly Improved Playing I enclose the last examinations on the Violin Course ai it most interesting throughout. It has improved my months than if I had taken lessons from a private teachi Raymond Berod,-iSSETtc-x Nothing Better Than The Sherwood Normal Course For problems such as Melody, Harmony, Rhythm, Er Training, and the knowledge of technic alone, the f invaluable. I had 9 pupils when I started the course and3595 *“ Mrs. Fred Barlow, 301 Greenwood Ave., jt Now Feels Sure of Herself The Normal Piano and Harmony Courses which I have taker that could be procured. They are making me an authority, as bi half sure of myself. You should use lists of teachers in the v them what your courses are. Every teacher needs them. Mrs. Claude C. Brant, 198 Butler Court, Akron, Ohio. Mail the Coupon Today University Extension Conservatory LANGLEY AVENUE and 41st STREET DEPT. A-24 CHICAGO, ILL. THE ETUDE JULY 1927 Page 1,87 THE ETUDE Page 1,86 JULY 1927 SPECIAL NOTICES Professional AND Our Most Recent Music Publications THE ETUDE MUSIC MAGAZINE Directory announcements SHEET MUSIC, OCTAVO and BOOK FORM “Music for Everybody” PERSONAL FOR SALE TEACHERS WILL FIND MUCH EXCELLENT MATERIAL IN MUSIC LOVERS WILL FIND MANY VALUABLE SUGGESTIONS or WANTED IXSTKLCTIOK THESE LISTS FOR THEIR SUMMER OR FALL CLASSES FOR MUSICAL DIVERSION IN THE VACATION SEASON ALBERT -S FOR SALE—Estey two-manunl Pipe Or¬ gan in excellent condition; with electric VOCAL BECKER' hinwer Fine for private home, church or PIANO SOLOS PIANO SOLOS PIANO DUETS Sunday School. Reasonable. Apply 3823 N. Cat. No. Cat.No. Contents for July, 1927 19th St., Phila., Pa. KOHLMANN, CLARENCE 23633 In the Starlight. (b-E flat)... WANTED*—To locate in a city or county i Cortege de Pulcinella, Petite Marche SMITH, CLAY combs World of Music. seat where they need an experienced and SIX LYRIC SKETCHES THE RECREATION HOUR 23550 Smile, Smile, Smile. (d-E)... Editorials . For the Pianoforte Ten Lighter Pieces for Piano-Four Hands STULTS, R. M. By LEOPOLD J. BEER 23656 God's Will, (d-g). DUNNING; Exercises for Six and One-Half Years .T. Schipa 493 Michigan. Correspond with M. L. Mch., 804 BY MAURICE ARNOLD MArWn, GEORGE DUDLEY TALBERT, SARAH Dorr St., Toledo, Ohio. 23672 Carnival Procession, March. 4 .50 23570 Maytime. 23717 Pickaninny Sandman. (c-E).. Perfection before Pedal. B. I). Pickering 494 McDonald, harl 23571 Forward. GUICHARD “sS. Why Stop When Lessons Stop?.. II. T. Cope 494 A MUSIC ARRANGER WANTED to 23641 The River, Prelude. 5 .35 23572 Little Serenade. MUSICOLOGIST, LECTURER, 176 Huntington Ave., l\o>l arrange twenty songs for a great revue. Ap- McGrath, Joseph j. 23573 little Gipsy Song. A New Compilation of Studies “Breaking In” the New Lesson.. S. W. Holmes 494 letter only to Edward M. Uerity, 2848 23629 Marche Piquante...... 2'2 .40 23574 In Happy Play.... The Second Piano.. J. A. Binyon 494 So. Sinedlcy s MORRISON, C. S. MASTER VOCAL EXERCISES 23659 Dreaming, Rererie, Op. 206 . 3 .50 lo^we" r Sgjsjs'”' *™" Practicing Studies.. R. Ganong 494 ~PIANO TEAt Ili:i«S AVWTI 23682 King of the Road, March, Op. 208.... 3 .50 By HORATIO CONNELL How The Etude Helps. are dissatisfied where you are; if you nr.* plan- .L. Clark 494 nj>ifr to co to other fields ; if you are coming to PESSE, MAURICE Studies for the development of the voice Developing Good Taste Early. 23580 In Leafy Bower. 5 .60 ected and arranged from the w moulton :: .E. R. Kroeger 495 California write to Pokrovsky Institute. Inc., 23581 Into the Pale Night. 5 .50 ecognized authorities by this yell-know Weight Playing.. J. Clark 496 845 So. Broadway. Los Angeles, Calif., and we Lmerican baritone and teacher. may have a position for you. NEW YORK' The Student and Studio.. 31. C. Kaiser 496 FROM A TOY-BOX Price $1.00 Rhythmic Motions. PIANIST—Young man. 30 yours. isites FROM DAY TO DAY .31. H. Helm 496 teaching position ; very successful with be¬ Six Recreation Pieces Six Characteristic Pieces 23654 Playing Soldiers. 4 It Pays to Advertise.. F. B. SouK 496 ginners. First five grades ohly. Address By MONTAGUE EWING ANTHEMS Pianist, care of Etude. By RICHARD J. PITCHER Finger Gymnastics.. E. C. Jones 496 Grade 2 'A Grade 2-3 An Easy Duet Collection How to Keep Pupils. KOKOMO. IND_.Thanks for the n mu- 23595 The Box o{ Soldiers. Mixed Voices .IF. E. Despard 496 23596 The Clockwork Doll... 23620 Song of the Swing. Hints on Violin Playing. script of "Why Adam Sinned.” B. It. 23621 Boating on the River. PLAYING TOGETHER ATTWOOD, THOMAS RIESBERG .E. Brown 497 23597 Jack-in-the-Box. 23622 A Little Flower, Waltz. . 0702 Come, Holy Ghost. “Flowers of Lost Romance”.. 23598 In a Fairy Swing. .E. L. Selwyn 498 23599 The Stuffed Elephant.. 23623 Expressive Waltz. Improving the Diatonic Scale.. ANNOUNCEMENTS BAINES, WILLIAM .R. K. Bnckland 498 23600 Dancing Columbine. . . 20712 Lord Shall Reign, The. Melody Writing for Little Folk UPON Correspondence Instruction, .L. 8. Ashton 498 CORRESPONDENCE HARMONY Sim¬ DAY, ELLA E. The Bulletin Board. .V. 31. 3Ioncrieff 498 ple practical. Music composed, send .. 20723 By Cool Siloam'a Shady Hill. Dr. Wooler, 171 Cleveland Ave., BulTnl ■ N Y. HOPKINS, J. L. advance—-8TAT$ HOMUJ. SOTOOt^'oaU^Sa'“ Ptom1' ‘n Asparagus with Brahms. .31. R. Coni 498 20677 To Deum Laudamua in G.. “Such Hard Times”. .8. A. Hanson 498 MUSIC COMPOSED to your words M. to¬ MARKS, EUGENE F. dies Harmonized—Manuscripts corrected and FOUR LITTLE LYRICS FOUR LITTLE SKETCHES IN 20717 I Think of Thee, My Cod.. VIRGIL 1 Putting Life Into Playing. .C. B. Macklin 499 prepared for publication. K. M. Stulls. By GEORGE F. HAMER SIX HANDS MARKS, J. CHRISTOPHER What the Cowboy Liked Best.. .C. II. Tilson 500 poscr "Sweetest Story Ever Told" uud tWO Grade 2 'A CHARACTERISTIC STYLE 20734I Communion Service in C. . . . other works, Ridley Park. Pa. For the Pianoforte NEV1N, GORDON BALCH The Jekyll and Hyde Game... .C. IF. Berryman 500 3642 Hop Waltz.35 20730 Gentle Jesus. VIRGIL: Mental Attitude Toward Work. MUSIC WRITTEN to your words, modern 3643 Rocking So Gently.25 By LOUIS REE NOBLE, T. TERTIUS .J. P. Kursteiner 500 arranging, copying, transposing, manuscripts “Can You Tell?” (Answers on Op. 40 Grade 2 20679 0, Wu ‘ * page 545). 500 corrected. Art Melody Co., Art Theatre iildg., 23645 Graze and Gay. 23616 Old Round Dance. .25 VIOLIN AND PIANO ROCKV Music and Serenity. ■ .3f. C. Brackin 500 Kansas City, Kansas. 23617 The Goblin.25 20725 23618 Rondoletto.35 DEMARET, RENE SIMPER^'CALEB-' How I Turned the Corners..., .F. Cowen 501 PAPERS on musical subjects prepared 23657 Valae Serenade!. J) 20689 I CONVERSE COLLEGES Children Check Their Practice for club use. Programs arranged. George A. 23619 Burlesque.35 SUTER, R. 0. .If. Dovel 502 Brown, Lansdowne. Pa. 23615 Little Laddie, Little Lassie. 2 20693 i Beethoven’s Deafness. .C. S. Smith 502 FOLLOW VICTOR HERBERT'S AD¬ ROLFE, WALTER Using a Model. ... .II. Mynning 502 VICE! LEARN HARMONY AND COUN¬ 23614 Animation, Scherzc New Way for Broken Octaves. TERPOINT—Harold Sanford, associated for 23675 Enticement. PIPE ORGAN STANFORD. C. VILLIERS ■ L. D. Hopkins 502 18 years with the late Victor Herbert, is now 23613 Flight of Springtime . i Te Deum Laudamu, in B Flat . Nobody Knows What Music Really Is .II. C. Toms 502 conducting a mail course in Harmony and 23676 Love Triumphant, Concert March TYLER, ABRAM RAY Counterpoint, using the Goetschius System. _ Caprice. , y - or Walk With God. SHENiDOAHJOLLEGE Keyboard Cruises. .B. Bushell 502 Send for descriptive circular to Harold San¬ Theory and Pedaling for Beginners...... E. Lindberg 502 ford, 172 West 77th Street. New York. N. Y. Treble Voices How to Use the Wrist in Playing.... PLAY AN INSTRUMENT? Like to laugh? ....£?. F. 3Iarks 503 Send ten cents for sample copy of The Music A Reasonably Priced Album REED, WILLIAM Bach Study Hints. .A. J. Tull 504 Blessed are the Merciful (Three Part). Jester. The Music Jester Co., Dept. K, 246 THREE EASY PIECES IN WARHURST. JAMES C. Gleanings from Practice Hours_ .8. II. Bliss 504 Fifth Ave., New York, N. Y. ORGAN MISCELLANY Guide Me, O Thou Greet Jehovah ( Don’t Forget the Old Songs. .L. Collins 504 SONG TITLE COVERS DESIGN! D - DIFFICULT MINOR SCALES Part). AMERICANS^ Public School Music Department. Two colors, $15.00. Write Castle Studios, In¬ For the Pianoforte • • G. L. Lindsay 505 dependence, Missouri. Band and Orchestra Department.... .'. 506 By STURKOW-RYDER tg both original compositions PART SONGS Teachers’ Round Table. ■ C. G. Hamilton 507 4'I'E CHARMING NEW ENCORE Grade3 tents. This book contains r-riuch of interest BROWN” 05-906 Iron & Hcalj Bldg., Chicago. Musical Scrap Book. SONGS Each one distinctive .r > church, recital and mol ■ A. S. Garbett 508 A 8erm°n—Green Leaves—What’s the mills? 23587 A Dream Waltz.3 Treble Voices Educational Study Notes. ■ ■ E. A. Barrell 533 Cradle Song—The Message. Attractively 23588 Cradle Song.3 Singers’ Etude. 23589 Minuet.3 Price 75 Cents TWO PART BOYDS_i-aara* .L. Rimmer 534 • r,rkJj 11.00. Wm. II. Wise & Co„ Organists’ Etude.. oO IV. 47th St.. New York. X. Y. BAINES, WILLIAM August 1. 500 Iron it Healy^BM^g.^ChTcagoV'lli’. Juue4!0 t0 . .N. L. Norden 536 TERRY, FRANCES BAND ) Hey, Hilly, Ho!. Organ Questions and Answers.. .H. 8. Fry 538 „!JvJ ULTRA-MODERN HAR- 1 Valse Chromatique_ . 4M .35 MENDELSSOHN, F. Pointers for Musical Parents_ !f®25? r.Frr‘te *or particulars. Edmund C. WILLIAMS, T. D. ENGELMANN, H. I Maybel Is and the Flowers, The.... Violinists’ Etude." --V. W. Ross '539 Barton, 53 Chestnut St.. Claremont. N. II. .3 M -35 CHICAGO SjllpiK .R. Braine 540 1513 In the Arena, March. .50 THREE PART Violin Questions and Answers. NEW DISTINCTIVE SONG—Easy to sing RISHER, ANNA PRISCILLA .R. Braine 540 Answers to “Can You Tell?” Quiz. .. . effecttvely. "An Old Fashioned Girl." Quaint A Work of Interest to ’Cellists ! MyArcady. . 545 \VmdSir ®PpeaiJnff melody. Price, 40 cents. Piano Pedal Studies for Juveniles Letters from Etude Friends. Wnu H. Wise & Co., 50 W. 47th St.. New York, Men’s Voices iCIBCIHlufi&^J&a Questions and Answers. . 547 BEGINNING WITH THE PEDALS FUNDAMENTAL STUDIES IN ■ A. de Guichard 549 GRIEG, EDVARD New Books Reviewed. VIOLONCELLO TECHNIC 1 Land-Sighting.. DETROIT OF THE PIANO KOUNTZ, RICHARD Junior Etude. By HELEN L. CRAMM [By GEORGE F. SCHWARTZ for SEVENTY-FIVE There is a fascination in the use of the Practical study material especially valuable LLIVAN, ARTHUR KNOX 0",T.S'3",gM:'s;„„ MUSIC Rondoletto. CENTS YOU CAN ADD Beautiful Isle.. " SCHOOL CHORUSES Gollywog’s First Waltz...... TO YOUR MUSIC LIBRARY nKNOWN THE WORLD OVER Into the Pale Night.. Marquis et Marquises.... ANY ONE OF THESE ALBUMS Silvery Chimes (Four Hands). YOUNG PLAYER’S ALBUM MUSIC, AN EDUCATIONAL AND msgigwss Little Festival March (Four Hands 1 • -N. L. Wright Rose Blanche. POPULAR HOME COLLECTION Prize Cantata for Treble Voices The Jolly Cowboy and the Indian.. POPULAR RECITAL PLAYER Oh Susanna. 1 SONGS OF THE Lullaby (Violin and Piano) STANDARD BRILLIANT ALBUM The Magic Horse (Violin and Piano) EXHIBITION PIECES THE VERY FIRST PIECES PLAYED ALBUM OF THIRDS AND SIXTHS Grand Choeur in C (Ore an)..‘ ’ OPERATIC FOUR-HAND ALBUM ON THE KEYBOARD Study Pieces for Special Purposes A Quick Retort. THE STANDARD ORGANIST Marche Piquant. The Bobolink. VIOLINIST’S POPULAR REPERTOIRE In the Starlight (Vocai) STANDARD SONG TREASURY Nina Nanna (Vocal).... Forever (Vocal). .T. Schipa ■ C. 3Iarks A’kcZ?£fUttt\calal°*th°t «*» th* albums that ae/T THEODORE PRESSER CO. 1712-1714 CHESTNUT STREET 1712-14 Chestnut St., Philadelphia, Pa. THEODORE PRESSER CO. PHILADELPHIA, PA. THEODORE PRESSER CO. 1712-1714 CHESTNUT ST. PHILA., PA. THE ETUDE PRESSER’S MUSICAL MAGAZINE RENEWAL.-NO receipt is sent for renewals. un Page 488 JULY 1927 ■ - # SUBSCRIPTION PRICE, 5 re wrapper of the next issue sent you will be printed United States and Possession he date on which your subscription is paid up, which ~ til. Color ' ' ~ srves as a receipt for your subscription. public, Ecuador,’ El Salvador, Guatemala, Mexico, Nicaragua, Paraguay, Republic of Honduras, Spam Presenting Four More Outstanding Composers^f_Piano—usic including Balearic Islands, CanaryUlands and Pos- im gier) Peru and Uruguay. All other countries, $2.72 THE ETUDE. Write on one side ot the sneer ow- Single copy. Price 25 ce tributions on music-teaching and music-study are solicited. WILLIAM BERWALD - L. A. BUGBEE - ARCHIE MUMMA - AUGUST NOELCK REMITTANCES should Although ev^ry possible care is taken the ^ either3wh^ile"fn V MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. ADVERTISING RATES will be s< It will be to the advantage of the Music Teacher, Student and Music over is DISCONTINUANCES.—Owing to the educational Edited by James Francis Cooke iracter of THE ETUDE a majority of its readers Assistant Editor, Edward Ellsworth Hipsher do not wish to miss an issue. jrh«efj>re,gthe pub- ,Y, 1927 Page Each Month for the Lists of Piano Numbers of Leading Composers w are pleased to e> Vol. XLV. No. 7 liration of the paid- Entered as second-class Jan. 16, 1884. at the P. 0. at Works are Suitable for Teaching, Recital or Diversion iod. Those of o' Philadelphia, Pa., the Act of March 3, 1879. Copyright. 1927, by Theodo. erCo., fprU. S. A. and Great Brit WILLIAM BERWALD was IT is rather more than a coinci- .j. August noelck was bom born in Schwerin, Mecklen¬ dence that the THEODORE f in 1862 at Lubeck, Germany. burg, in 1864. His musical PRESSER CO. has so fre¬ He was trained in music at education was received mainly under quently been the first to discern the Hamburg Conservatory, which Bussmeyer and Josef Rheinbergcr. signs of talent in young composers. is another way of saying that he From 1889 to 1891 he conducted the The World of Music A long list of noted musicians had a solid grounding in his art. Philharmonic Society in Libau could be mentioned whose first Since 1913 he has lived in Dresden. Russia, and in 1892 he was called compositions were published by this The Fiftieth Anniver¬ Herr Noelck has composed in all to Syracuse University—at Syra¬ "Jf the Municipal Musi sary of the New York Sym¬ company. ARCHIE MUMMA, purL'd, lias been lvcenty completed at works on tne programs ul the musical forms, but he is noted cuse, New York—where he now fifty tnousaua mamsps uvea . Festival of Bournemouth. _,....11 oi,,.. phony Orchestra will he whose Bird Music Interpreted for the particularly for his pedagogic piano created by the city council Croydon, England, foundry. It is to be place* "I hose represented were Dame Ethel Smythe, celebrated early In the com¬ Piano has become famous, was one most ablv heads the department of of Leipzig, the Income to be in the tower of the Parliament Buildings o Susan Spnin-Dunk, Dorothy Howell, Vivien ing fall. The society was or¬ material. His writing is character¬ music. From this university he received, in 1912, used for the encouragement Ottawa, Canada. ganized by Dr. Leopold Dam- of these “discoveries"; in 1914 his first piece ap¬ ized by thorough musicianship and a sure-h of fifty-three bells, tuned Lafhblet, Dora Bright and Edith Swepstone. the degree of Doctor of Music. of orchestral music. Pre¬ roseh, father of Walter and peared in the PRESSER catalog. treatment of interesting thematic material. sumably the famous Gewand- ocess said to have been lost Henry Gallant!, aged ninety-two, still Frank, and the first concert Mr. Mumma was born near Dayton, Ohio. He His compositions, in all forms, are in - nivernU haus Orchestra, which In re¬ red years ago and but recently efficiently leads the choir of Bethanien Church was-held : in the old Steinway studied (officially) with leading teachers here and demand, and a new opus by this writer i- an event cent seasons has been ham¬ of Roxborough (Philadelphia), Pennsylvania. Hall...... on Fourteenth Street, j Superb Numbers by August Noelck to be hailed with rejoicing and delight. Many of pered by lack of funds, will What other family has con- L abroad, including J. Joaquin Nin of the Schola benefit by this movement. To A Melbourne Symphony Orchestra is TJie Two Beethoven Prizes of five thou¬ tributed so much to musical Cantorum in Paris; but his unofficial instruction, Mr. Berwald’s pupils have in their turn become allow an orchestra with such to be given permanency by an endowment sand marks each to be nwarded annually for culture in America as has the “ , . received from birds and their songs, is quite as 23005 Valse Etincelante . IV}4 $ •« composers of importance, and prominent among an illustrious past to lan- fund which has lately been started by a distinguished contributions to the advance¬ one which furnished this trio of eminent lead¬ guish for of support would be an immeas- gift of fifty thousand dollars from James ment of German musical art, have this year ers in their particular fields of work? important. _ Mr. Mamma's compositions, and his 18121 Valse in A flat. V .40 these may be mentioned Charles Him ter and the world's musical art. No Dyer, president of the Melbourne branch of urable loos , the British Music Society. Mrs. Dyer Is an been given to Kurt Thomas of Leipzig and lecture-recitals on Bird Music, have brought him 6899 In May Night’s Fragrance. IV .30 John Barnes Wells. more significant• - resun-’* could come from the Gerhard von Keussler of Hamburg. The Site Where the “Marseillaise” a merited renown. Beethoven Centennary tnnn me ussureiassured per- enthusiastic worker tor music, the founder was first sung in Strasbourg has lately been 17520 The Swallows, Valse Impromptu. . V .40 and director of the British Music Society In 13719 Dance of Gnomes.Ill .40 petuity of this great organization, which fnr tho erection of u bank building. A Few of William Berwald’s Outstanding Successes

VALSE ETINCELANTE AUGUGSr^°iEV^K P m n h m Tr sm TEE E‘. Page 490 JULY 1927

TALENTED Oh Qat&way TEACHING POSITIONS THF. F.TIJDE STUDENTS to a successful JULY 1927 Single Copies 25 Cents VOL. XLV, No. 7_ For those qualified to teach, and 'THE Sherwood Music School offers future. nshing to pursue advanced How Long Should a Piano Last? 1 you unusual facilities for converting Vanishing Dances studies at the same time your talent into professional ability; and In our Department of Educational Service we frequently further, for converting your ability into Ho! FOR the dances of yesteryear! receive the inquiry: income. Outstanding among the advan¬ - - - . Where is the redowa, the schottische, the varsovienne, the “How long should a piano last?” tages enjoyed by Sherwood students are: borhood Branches of the Sherwood york, the various and multifold toe-tickling melodies that sent It reminds one of the old minstrel gag: “How long is a A faculty of one hundred fifty teachers, Music School in Chicago and suburbs, our grand-daddies spinning in all proper decorum around including many artists of national and with others in process of establishment. the gas-lit ball rooms of the sixties and the seventies. The piece of string?” international reputation, providing in¬ More than five thousand Junior pupils waltz has survived, and we still have in the classical repertoire It all depends upon three things: struction which is thorough, modern, and are taught in these Branches. About the loure, the gavotte, the gigue, the saraband and the The original value in the piano itself. imbued with thespiritof artistry. (A few three hundred new pupils are added to The use given the piano. of the artist instructors of the Sher¬ minuet. , . , , these Branches, every month. The old dances, like Victorian ghosts, have faded away The abuse given the piano. wood Music School are pictured below.) These additions give rise to an abun¬ before the two-step, the one-step, the turkey trot, the shimmie, Your editor knows of a piano of one of the finest makes in Frequent public appearances for all dance of positions for advanced students the clattering Charleston. Somehow we feel that a very lovely, America, a piano in which only the best materials and the best students. Advanced students of the and teachers who wish to teach, and at Sherwood Music School annually give a very quaint collection of dance forms has been slaughtered for workmanship entered. This piano had only moderate use. At one hundred fifty recitals in the Sher¬ the same time study with our artist a litter of descendants of the can-can. the end of ten years it was a wreck. The sound-board was wood Recital Hall. In addition, many teachers. More than one hundred are Yet these old dances were thought very frisky in their day. cracked, the wires badly rusted, and the whole instrument was now holding such positions. concerts are given each year by Sher¬ The waltz and the polka were faced by unlimited anathemas in really very bad shape. wood orchestral and choral organiza¬ Upon receipt of a letter stating your from those who saw them as symbols of iniquity. The schot¬ Who was responsible for this abuse? A musician of high tions, in the largest concert auditoriums previous training and experience, Mrs. tische, when it first stepped on English shores in 1848, was standing, who simply could not help himself. His house was of Chicago, soloists for these programs be¬ E. S. Fram, Assistant Secretary of the considered a libel upon Scotland. The schottische was nothing damp in summer, often very cold in winter, and the piano jvas ing chosen from the advanced students. Sherwood Music School, will gladly more than a form of polka. It must not be confounded with so located that it could not avoid drafts. It may be said that Access to the concerts which may be heard correspond with you, telling you defi¬ the ecossaise, which was a country dance of Scotch origin and the piano caught cold at the tender age of six and one-half only in a large musical center. The pro¬ nitely just how you can secure an which has been preserved in classical form by many great com¬ years and died of galloping consumption. The finer the instru¬ cession of concert celebrities appear- — appointment to our Junior Depart¬ ing in recital in Chicago is endless. posers including Beethoven. Here is the first schottische intro¬ ment, the more susceptible it is to atmospheric changes. ment Faculty. The Chicago Symphony Orchestra gives duced into England. Witness this musical criminal in all its Little can be done under such circumstances. The action line hundred thirty-one Chicago con¬ PUBLIC SCHOOL MUSIC dastardly wickedness! in the finest pianos will stand far more abuse than that in the certs, and the Chicago Civic Opera, one poor ones. But no piano is made to resist “impossible” weather hundred operatic performances, each year. Fully accredited courses are offered under conditions or lack of ordinary care such as regular tunings Assurance of an opening, as soon as quali¬ artist instructors, leading to the Public fied. It is a part of the service of the Sher¬ School Music Teacher's Certificate, Super¬ and occasional regulating. wood Music School to provide visor s Diploma, and the degree, Bachelor It is far easier to kill a piano with abuse than it is with openings for those it trains for of Music Education. All use. A piano of fine make is made to withstand terrific blows the various music-professional courses are outlined to meet delivered at the keyboard. A player who knows how to elicit fields: concertizing, teach¬ the latest State Board require¬ tone without sledge-hammer blows will get more out of the ing, Public School Music ments, and include academic, instrument than the musical blacksmith, and the piano will last super vising, theater and church college credit subjects. Our organ playing, orchestra con¬ longer. ducting and playing, and paid Public School Music students Of course, the cheap, marked-down, special bargain piano, radio engagements. have the advantage of the made expressly to catch “suckers,” will go to pieces in a few musical atmosphere which may THEATER ORGAN years, or perhaps a few months. Strange that so many people be found only in a large con¬ are not smart enough to find out that a cheap thing is often ten The Theater Organ Instructor servatory. They qualify for of the Sherwood Music School Friendship and Musical Success times as costly as a good thing. the most responsible positions, We have seen a fine piano of a fine make which, after is Mildred Fitzpatrick, known In no profession is friendship of such importance as in as one of the most successful because of the superior musical twenty-five years’ use, was reconditioned by a competent piano training which they receive. music. Music is a social art. It depends upon its noble minis¬ and highly paid theater organ¬ man and was worth as much as a piano selling new at $350. It try in consoling, delighting and inspiring. “Music Study ists in the country. Equipment would then give as much service per year. The best investment of the Theater Organ Depart¬ ORCHESTRA CONDUCT¬ Exalts Life” is the slogan The Etude Music Magazine has is always a new piano. The second-hand piano and the second¬ ment includes four-manual ING AND PLAYING thrown into currency by the million during the past year. hand automobile may prove liabilities rather than assets. Much theater organs with a tremen¬ To exalt life we must reach those who make up the great fabric High-salaried positions are depends on the original piano and the fundamental construc¬ dous range of stops and , , constantly open for conduc- of existence; and it is vastly to our interest to make as many effects; and screen, with /rii tion of the piano. With thorough repairs the finest piano might as possible our friends. projecting machine and CnaareSS Tadin i’nTd P tyerS in' theater’ ba»-room. last another twenty-five years. radio and symphony orchestras. Besides the Thousands of people have written to us and visited us, films. The Sherwood your request for a For the benefit of its patrons, The Etude Music Maga¬ best training, experience in both phases of asking advice about their careers. Once in a while an obviously MusicSchool has trained ^^°0GNfN®ELT°HWE zine has responded to the immense demand and has established, and placed a large num- etude, and telling unsuccessful person appears. Almost inevitably this individual wTthSthae 5* " aTa

• hpdde some of the business managers 1848 La Vie Boheme 1926 prima donna is a novice a|)0Ut merciless contests and executives we baVe0u"°experiencc in music and in business When Henri Murger wrote his “Scenes de la Vie Boheme,” for private interests. P . *. Jlas a far broader in 1848, he had little idea that in this distant future a great has shown us that the average*bus^ss men. One Italian master would use a libretto taken from his romance and that “La Boheme” would be heard for decades in the leading °.f ,hc V'rj' d t0 point out to business men that opera houses of the world. Murger died in 1861. La Boheme % was first produced in 1896. S m/h »l!.js a brl upl the career of a fir,,, and of Murger drew an unforgettable pastel of the easy-going suf.individual. The jealous man to . rope .round !,,, nech life of the artists of his day. Presented with Puccini’s music, He can go only as far as that rope will let h m,. and that often it becomes o.ne of the most gripping tragedies in the literature is not very far. He can not be free until he throws off tins of the drama and the opera. “La Boheme” had nothing what¬ horrible brake upon his progress, his happiness, Ins success. ever to do with Bohemia, the land of a most industrious and Rubin Goldmark, at the magnificent dinner given to the responsible people who were literally obliged to abandon their pianists, Harold Bauer and Ossip Gabrilowitsch, commemorating national name for that of Czecho-Slovakia. their twenty-fifth year of devotion to music in America, wit So fixed in the public mind was the idea that “Bohemians” tily said, “I have a musician friend who says that he does not TITO SCHIPA IN “MANON” were more or less loose or dissolute vagrants who lived in attics know what gives him the most pleasure—the newspaper clip¬ in near-poverty, leading free and easy lives, that the real pings praising his performances or the clipping tearing hi.-, TITO SCHIPA natives of Bohemia were extremely sensitive over the false rivals to pieces.” ing, but also an exceptionally fine musician in every way; Tit0 SchiPa was born in Lecce, southern Italy. In his childhood, he application of the name. Czecho-Slovakia removed the curse hS student piano, counterpoint and composition, as well ™ die The main thing for musicians to realize is that the suc¬ had JZ'Z wZani open sang solos The Bishop of Ihe lntnt heo^i from the proud land of John Huss. was a hard master and a strict disciplinarian. To him Schtpa « cesses of the rival means the extension of musical appreciation, him and immediately realised that he had extraordinary musical gifts. He credit for laying a very strong foundation. His own relation of his exp On December 19, last, the Bohemians of New York City, and that it is infinitely more to one’s advantage on the whole nZTjZZ sJ, a, the Seminary .here for fear years ricnces with his teacher arc most interesting. ,, . a club composed of representative musicians of the great metrop¬ his musical work being under the direction of Signor G Alban»• ^ Schipa’s fine stage appearance, his handsome bearing {he is c olis, celebrated its twentieth anniversary with a dinner to Mr. Pronounced teas his talent that he was continually brought to the platform tinually likened in the public press to Rudolph Valentino), and his con¬ Harold Bauer and Mr. Ossip Gabrilowitsch, who at the same TTfil of toe lass to lead the other hoys in summate art, have made him unusually popular upon ^ time were celebrating their twenty-fifth year in America, to A Pair of Virginals twenty-five years ago, when he was ten years old. Since then, he has while, for opera, these same qualities have placed hmiatthe farefirortj* which land these great artists have so richly contributed lyric tenors. A beautiful “Lullaby” by Mr. Schtpa appears m the music beC01Af°e7hiving Ae^emilaryjie became the pupil of an Dalian. master through their musical ability and fine attitude. The geeat fire of London in 1666 was far more devastat¬ section of The Etude this month. of the old school, A. Gcrunda. Gerunda was not merely a teacher of sing¬ Mr. Rubin Goldmark, the well-known American composer ing in its effect than a Florida hurricane. It wiped out prnc- minutes. I also have a small rubber ice tically the entire metropolis. Very little was left standing in They treat the tenor like a bass drum and (nephew of Carl Goldmark), was the toastmaster of the occa¬ the first thing I knew he cuffed me vio¬ bag that I tie around my throat and per¬ vast districts. It demolished not merely the priceless accumu¬ \ FINE FOUNDATION in stud- want to make him growl. There are hu¬ sion. It would be difficult to imagine a more eloquent or diplo¬ lently over the cheek in a manner I never mit it to remain there until the ice is /\ ying the art of singing is liter¬ man limitations and, as far as I am con¬ matic toastmaster. Addressing the great gathering of one lation of property, art and education, but destroyed as well forgot, saying, ‘I know that you sang. I melted. This hardens me against changes ally everything. The great cerned, I have never seen the art in mak¬ the more important human agents. Music was hard hit, par¬ told you not to sing until I gave my per¬ of temperature. My old teacher taught me thousand musicians assembled in the magnificent ballroom of difficulty with thousands of pupils at pres¬ ing a nightingale bark like a dog. mission and you have disobeyed me. Never this first; and I have done it for years I the Hotel Commodore of New York City, he very properly ticularly because of th.e destruction of musical instruments. ent is that they are so impatient and often “Massenet, Verdi and Rossini knew how do it again.’ It seemed almost cruel to me would, however, caution others against do¬ so conceited that they attempt to launch to write for the voice, possibly better than drew a comparison between the Bohemians of yester-year and The previous century had been one of great culture in then, but every day at every concert and ing this too enthusiastically at first. It themselves upon a long-suffering world almost any other of the operatic composers. “The Bohemians” of today. The contrast with what the dic¬ England. The towering Shakespeare, the exalted Milton, to every opera, I realize the enormous benefit may not be a good remedy for others, years before they have taken time to make Massenet’s music is thoroughly dramatic tionaries defined as “adventurers,” “vagabonds,” “people of that came from this exhaustive training but for me it is invaluable. say nothing of the royal personages upon the thrones of a sufficient preparation. That I am able and forceful, but he never asks the singer from vocalises and vocal exercises. Some¬ “Operatic life is not without humor. irregular and dissipated habits” and the notable gathering of England, Henry the Eighth, Queen Elizabeth and, in to sing such a very great number of en¬ to do anything impossible. It seems to me times, when my general physical condition Amid all the seriousness there is ever the many of the foremost musicians of the world, was startling. Scotland, the tragic Mary—all worshiped at the shrine of gagements, year after year, in opera and that this is an art in itself. is not good, I find that my early training lighter vein, which often proves very Several of the musicians present could have written their checks in concert, without any breakdown, I “My early training in the works of 1 al- music. The interest taken in music by the rulers was not that keeps my vocal organs in such shape that amusing indeed. I remember once when attribute very largely to the exhaustive cstrina and Bach, as a child, was unques¬ for at least $100,000. Practically all earned very substantial of passive patronage. They all played, believed in the joy of I am able to go on with the concert. Mascagni was rehearsing ‘L’Amico Fritz, drill of my maestro, Gerunda. When I tionably a great benefit to me. I am a incomes. “He gave me numerous exercises of his playing and, according to report, played exceedingly well. first went to him, like all boys, I was wast- strong believer in the need for having the at the San Carlo in Naples, there was a own. He gave me exercises and vocalises baritone who was unsuccessful in singing This is due in large measure to the world-wide recognition Their favorite instrument was the virginal, or, as it was then ing my voice by shouting. He taught me singer well trained in music. My great in¬ of Concone and Quercia. He gave me in the simplest and most natural manner terest is in composition, and I have writ¬ a phrase. Every time he sang the phrase of the real importance of music in life. After all, music means called, a “pair of'virginals,” after the manner in which we numerous scales, but he was most per¬ possible, how to place my voice. Then he was supposed to take a drink from an just as much to a people as the public is willing to sacrifice for speak of a pair of stairs. sistent upon a beautiful sustained tone, ten a number of works which have met he commenced a series of drills which old oaken bucket, coming from a stage or, as they say in Italian, nota tenuta. In with popular favor, including an ‘Ave it. The currency need not be gold, but there must be The musical beginnings of England were great and lasted six and one-half years. Six and well. Mascagni had him repeat the phrase addition to this, I was obliged to practice Maria,’ a ‘Capriccietto’ for piano, and some a reward if musicians are to prosper. That musicians here are one-half years, with nothing but exercises! at least fifty times, until someone remarked, glorious. From “Sumer Is Icumen in” down to Purcell no with the very greatest perseverance, sus¬ works in larger form. They have been more prosperous today than in any,other country of the world He would not permit me under any cir¬ ‘If he has drunk all the water he is sup¬ country m Europe had done more distinctive or important tained notes, singing them crescendo and published abroad, as well as here. The cumstances to sing a song. Students at posed to have drunk from that bucket, is high testimony to the value that Americans place upon music diminuendo. Gerunda would make me do arrangement of the Liszt ‘Love Song for work The Elizabethan heyday of cultural activity was fol¬ the present day want to launch themselves he has drowned long ago.’ and music study. this with agonizing care. That is, I would voice was also my personal work. lowed by the grim Puritan restrictions, and the great fire was in ‘Parsifal’ or ‘Turandot’ after one start, for instance, upon C upon the third year’s study. Somefof them, in American Another “Sorrow” of Werther space of the treble clef, the note becoming Learning a New Role .Iea8t f“torswh,ich “H*! the artistic, musical parlance, may “get away with it,” but only and cultural advance of music for years. gradually fuller and fuller for three and 4 4T N STUDYING a new opera, I al- 66 A NOTHER TIME, I was singing Professional Jealousy for a little while. After a few years, the one-half measures and then diminishing in 1 ways read the story first, then I study AX Massenet’s “Werther” in Lisbon. Pepys, in his diary, says that during the Great Fire “I voice begins to go. They wonder why. value for another three and one-half the music alone, usually whistling the mel¬ In the third act, in Charlotte’s house, at Once upon a time, according to popular belief, all musi¬ observed hardly one lighter or boat in three that had the Well, one cannot put a great skyscraper measures, until it finally faded away. The ody. If I did not know the musical struc¬ the point where there is an impassioned cians looked at their fellow-musicians as “hated enemies.” upon quicksand and expect it to stay there. importance of the crescendo and dimin¬ ture of the work, I would feel as though love scene, I made my entrance through Thus8 dMathe° LoS * f Wa8 a Pairc of virginals in it.” Foundation is everything. Friendship and cooperation were little known qualities in Ihus did the London refugees regard their musical chattel. uendo controlled at the will of the singer I were struggling along with crutches. So a door; but j ust before I went on the stage “Of course, in these days, when there musiedom. Really, is there any more professional jealousy is so enormous that I am amazed that more far as music is concerned, the singer should I realized the scene was not very safely Countless instruments, however, were destroved- 1 • i is so much demand upon young people, the attention is not paid to it regularly. After be, in most instances, his own coach. In secured. As I was obliged to lean back among musicians than there is among people in other walks art in England as well as the world It wi 7 • ",US1Cttl very thought of spending six and one-half all, through diminuendo and crescendo, one fact, the study of the music is practically against the scene, after my entrance, I of life? We should say that there is not. tous set-back. Doubtless if maTlv f 8 received a momen- years in learning technic of an art, with¬ has one of the most significant elements in the only practice I do. It may astonish told the stage hand to hold the door with were burned inst at tl-,; ’ °f lnstruments that out ever studying a song, is terrifying to Many years ago we, the editor, were, or was (as you expression. How rarely does one hear a some singers to learn that I never practice. all his might, so I would not knock down youth and, alas, to the teachers who have the scene. I made my entrance, closed choose) an organist. We played in many different churches. America had been saved, They^ould haT f” ^ SC“lcment of good crescendo and a good diminuendo on Why should I ? I do an enormous amount to contend with impatient youth. the door, and leaned back. To my horror One of the pastors had a “hated enemy” in a neighboring our country, and our slmewhalTelL* ^ !hfir ^ t0 a sustained tone. of singing throughout the year and practice would only be additional use of my voice. I realized my wig was caught in the door. pulpit. In a pure spirit of professional fellowship he would would then have been distinctly quicketedSlC beginninSs The Watchful Master Due to the foundation I received when I As I was singing with full force it was regularly lambaste his colleague in language so subtle, yet so My First Song ET ME RELATE this incident. was a youth, it is possible for me to go impossible for me to communicate with < 4 \ FTER SIX AND ONE-HALF cutting, that his own ineligibility for the high post that he j One night I went out with a group directly on the stage, without^ any previous the stage hand so that I might tell him JL /x years of hard work I was permit¬ held became all too obvious. No Sicilian Vendetta was any practice, and sing such a role as in the to open the door. of friends. They knew I had been singing ted to sing A Furtive Tear from ‘Elisir ‘Barber of Seville.’ If my vocal organs “Charlotte, down stage, was imploring more intense. .Whispered, razor-edged adjectives took the for a long time. They had heard me sing d’Amore,’ the Flower Song from ‘Carmen,’ interns of tens thousands of *he "mska and my body are in good condition, that me to come to her and I was singing my place of stilettos. We have never known any musician to be as a child, and they forced me to sing a and Gounod’s famous Serenade. After ^six the summer months Thnu a S P°SS durin song for them. Of course I knew the is practice enough. impassioned desire to rush to her, but guilty of jealousy in greater degree. months, I mastered the opera, ‘Lucia.’ I melody and words of the popular old Nea¬ could not leave the door. Finally, by upon aU their "pupiis hZT.L^uT” ** know now at least forty operas. Professional jealousy in business? Surely the hard-headed politan song, ‘O Sole Mio,’ and I could Care of the Voice means of pantomime, I got someone to tell and August. g the Etude *n Jul “Operas vary enormously in their diffi¬ not resist their persistent requests. The the stage hand and I was released from men of commerce have no time for jealousy? Gee whiz! The culty. One of the most difficult operas 4 4 T TAKE very great care of my throat. next day, I went to the Maestro. I re¬ a very ludicrous position. for a tenor is the ‘Barber of Seville.’ 1 To one thing I attribute the fact member he was smoking a big pipe. “Another amusing situation occurred Rossini thought the tenor to be a colora¬ that I rarely have a cold, and that is that Somehow, he had heard of the episode of when, as I was singing at Madrid, the tura soprano. The moderns do not seem I daily and without fail massage my face the night before. He said, ‘Where did you and throat with ice, for ten or twenty Serenade of the tenor in the ‘Barher of go last night?’ I hesitated to reply and to have any regard for voices whatever, JULY 1927 Page 495 THE ETUDE Page 494 JULY 1927 Letters From Etude Friends Seville,’ a Serenade in which I actually the piece. Of course, if the piece is ui ^Get together, study the operas On Developing Good Taste Early accompanied myself on the guitar, play- usually long, part of it must be assigned at is no time, uet ""Ingrams for The Second Piano ing the music demanded by Rossini, I a time. By using the above system, pupils and musical history, prep must To The Etude : was very much surprised to see dangling will not learn as many pieces as they which practice, otherwis magazines One fact plainly learned In teaching 1, By E. R. KROEGER down in front of my face a huge spider, would if they were given a new one every be done. Interchange cu the value of a second piano In the studio* 18 though the^ extra Piaiu^ may not be A composer, who was fond of children It was all I could do to keep from laugh- two weeks; but the compositions will be and books of musical interes . . _'the solo Instrument, it ca melody in the left hand is bright and good best condition possible. If 01 tolerated, but it cannot take the place of (and who, by the way, was a good friend ing; but I knew the audience could not so thoroughly mastered, that they will have Seventh:' rGather^hpr nnup vouryour brokenbro — _i—- it HE CULTIVATION of good taste humored. In the' course of the composi¬ "piano, ft may often befcad T what is generally acknowledged to be the of Schumann), was Niels W. Gade of see the spider unless they had powerful gained more in the end. you idlers, regardless of age. No the storage. At present my studio contains Is as necessary a feature of a tion, the right hand genially joins the left opera glasses, so I waited until the spider _ publication gives more aid and mspiratio three pianos: two arc mine, the third a new teacher’s duty as the training of best in Musical Art. Denmark. He wrote a most charming set Steinway, for which care was asked. entitled “The Children’s Christmas Eve,’ reached the floor and then put it to the self-helped student than The Etude. The youngest pupils an* Riven duets verv technic. This should be begun as soon as “A Little Study” (No. 14) is a simple The Children’s Composer' (Opus 36). All of these six pieces are existence. If you have back numbers, review them early in their training At flrst I pl«v with possible. Simple arrangements of compo¬ arpeggio study, alternating the hands, but Why Stop Work When them; later they "pair off, and in the Jr HE PRINCIPAL great Master who very lovely. In the first we have “Christ¬ “Because of my skill in playing the gui¬ carefully, studying your individual needs. sitions by standard composers are to be T concealed in the broken chords is a de¬ Lessons Stop? ond grade they are given trios. The two* has written music especially for tar a firm of Chicago manufacturers paid me The pianist is advised to read the follow¬ piano work follows, and is given as a reward found in every publisher’s catalog. In lightful melody. The word refined can mas Bells,” quite descriptive. The second for good work, which Includes countliia aloud young people is Robert Schumann. His the honor of presenting to me a guitar ing articles listed from the 1925 copies: practicing these, the pupil’s acquaintance well be used in describing this number. is a little “Christmas Song,” of the folk¬ By Helen Tyler Cope Three tots, each seven years old, have sevi “Album for the Young,” Opus 68, the costing $1100.00, last year. This I use in January, page 20: Where There s a eral duets, and each can play either pritno with the best music will be established No. 11 is the famous “Little Romance,’ song character. “Childhood Scenes,” Opus 15, and the ‘The Barber of Seville,’ at every per¬ Will There’s a Way (Fairchild). or sccondo of any one of these Mrs. Crosby frequently used in connection with the com¬ Often we hear of talented people who, Adams’ “A Five-way Sketch, 1 a most iu. early. “Three Sonatinas,” Opus 118, amply prove Christinas Song, Gade formance. February, page 83: How Not to Prac¬ teresting Introduction to ensemble work for It is just as easy to develop a love for poser’s celebrated “Traumerei,” (from for lack of time or funds to continue, his love for children. In the set of pieces “Again, let me advise young singers: tice (Corder). children. Presser’s eigbt-lmnd arrangement good music as for poor music. The child “Children’s Scenes,” Opus 15). It is a have given up their music study and hid¬ of the ••Russian Hymn, is im,•resting, and entitled “Album for the Young,” there is The main thing in the art of singing is February, page 89: How to Bring an four high school girls have delighted audi¬ is extraordinarily susceptible to the recep¬ most expressive piece. The principal mel¬ den their talent “in a napkin.” Yet, even such a wealth of beauty, and such imagina¬ foundation! foundation! foundation! The Earlier Technic Up-to-Date (Stair). ences this winter with a spirited rendition tion of impressions. The teacher is truly ody is played by both hands an octave with time and opportunity, talent is some- May, page 315: What Makes Piano of the two-piuno arrangement of Ilollaender’a tive power displayed, that it is difficult to better the foundation, the longer the yoice ■March In D flat.” responsible for the education of the pupil’s apart, and the short chord accompaniment wasted when there is lacking that refrain from referring to all the pieces. will last and the higher the singer will ' W . , ,nfre .? .,!!g Playing Difficult? (Raab). I remember my own Introduction to the taste. If his selection of pieces is con¬ is quite subdued. The middle section has be able to soar. Jean de ReSzke and Bat- ^lly essential quality, the willingness 389; ^-he Master Secret of Moszkowski ‘•Spanish Dances,' and Wagner's But for the purpose of illustration in this “Pilgrim Chorus,’’ through the medium of fined to wishy-washy, nondescript compo¬ strong chords in contrast to the song-like fistinili continuedconfirmed to sing yearsvonr* after=ftor others to work> to, persevereT through. . hours,„ days,.. _ ■» ’ ^ article, the writer feels obliged to limit Great Teacher (Brailowsky). eight-hand arrangements, ami m.v keen de. sitions, the pupil will instinctively recoil character of the first theme. No. 20, in obliged to stop. What is the secret? «"»*«« »nd years. Laziness is usually the light in playing with advanced ' udents. My himself, and to select a few. In No. 6, August, page 539: Systematic Practice from them and will prefer something of the key of F, has no title, yet the charm A fine foundation!” of failing to attain proficiency and music library contains many dn t and trio (“The Poor Orphan”), which is in the Plan. Making Plans for the Coming books, and the two-piano numbers afford the jazz sort, which has at least some of the melody is quite unusual. It is many profitable hours. Sometimes I put six key of A minor, we .have a few simple I. ,ou„8 could but realize th„ people at three pianos, supplyii each piano striking characteristics. pleading and longing, and requires a firm September, page 609: How to Play a with, say. an October Etude -• chords, above which there is a plaintive “Perfection Before Pedal” succeed they must be willing to There is a tremendous amount of mane singing touch, in order to play it properly. t0ficesome dE fr** Accompaniment Rebuilding a Keler Bela’s "Hungarian ’nC and puerile early-grade stuff written for little melody which is most appealing. k know the A beautiful tonal tribute to his _ fneml and apply themselves more diligently to Long-Neglected Technic (La Forge). ^ w ..m . . teaching purposes. It is too bad that val¬ The Poor Orphan, Schumann Mendelssohn is “In Memoriam” (No. 28) By Blanche D. Pickering October (editorial) : Get That Technic! Joseeiiim: a. 1 practice, the world in the next decade uable time in the formative period is given Lento M.M. ^=88 in the bright key of A major (a favorite October, page 687: Talks on Playing Very often pupils use the pedal too soon, would be richer in art and there would to the study of that sort of trash. It is key of Mendelssohn) which brings out the be fewer regrets. the Piano (Philipp). Practicing Studies infinitely better to give the pupil easy best features of good style in its rendition. when learning a new piece. In this way October, page 695: Master Thoughts To The Etdd Those who are unable to have a teacher , . - - ~ / transcriptions of operatic airs, simple ar¬ mistakes are covered up by the pedal, and Among a large number of piano students the result is that the composition will should not lose what they have, gained, but fr°m theL.fe of a Great Teacher (Mme. the tendency in practicing studl. - r< to rash rangements of folk-songs, melodies from should resolve to begin work systemati- esc etlzky'- madly through the Brore, lilt ami ml**, often Symphonies and String Quartets, put into never be played with perfection. leaving out whole phrases at 11 time. This The use of the pedal can make a„ compo¬. cady by themselves. Many of our great may be the unconscious result unconwlen- playable form for young children. Some the other artists have studied alone, and the advice tious study. In *tlugging to achl-ve the ulti¬ of the dances from the Bach and Handel sition sound beautiful; and A Thought Provoker mate technic required by the stuilv. the ways hand the abuse of the pedal spoil any from de Pachmann given in a recent Etude, and means have been neglected li Is foolish Suites have been cleverly arranged for performance. ought to encourage and goad one on to By D. Little to believe thnt one bus truly mustered a students in the second grade. The third is “The Christmas Tree,” a. study under tlieae condition*, li is belter to little march. The fourth is a “Boy’s Therefore it is a very good plan for doing some real work alone. He says, "1 accomplish accuracy and neatness in the fin¬ Great Composers and Children teachers to see to it that students do not studled largely by myself Bach, Beethoven, ished work than to Jumble tlx- whole musical Merry-Go-Round,” full of sparkle and vi¬ idea by speed coupled with lnaceuracy. ONE MAY WONDER why the great vacity. The “Dance of Little Girls" (No. use the pedal until they have mastered Chopin ■ • • • everything; and the student Concert the other night and One of my acquaintances ..nilv began composers wrote so few pieces for 5) is very graceful. No. 6, “Good Night,’ their piece. Of course, in most cases, wIl° 1S pining for a teacher may, in this My friend said, “What is the study of Chopin's twenty sn, . ' Etudes.'’ As anyone who baa ever plnved 1' in knows, children. The reason is that their musical retains some excitement, due to the vari¬ teachers see their pupils but once a week’ day- work by himself and acquire a technic That instrument and also the peculiarity of the fingering, the dimeultv conceptions transcend the abilities of chil¬ Our better emotions ; ous doings of Christmas Eve. Robert and so they should instruct the' parents to and rePertoire which would put to shame This instrument?” and °f.the style, and the peculiar rhythmic char¬ acteristics of these studies make them, prac- dren’s fingers. The passage work is too listening to this little piece, and the eyes Volkmann, in his Opus 27 (“Grand¬ watch this during the remainder of the some of the students who use a teacher I said “It’s a- enlly speaking, Insurmountable, lie resolved difficult; the chords are too complex; the fill with tears, in picturing the sad life week. f°r a kind of crutch .... Everything de- Oh, that’s pretty to learn these Etudes to the best of his mother’s Songs”), wrote a collection of ability. modulations too intricate. But we must of the lonely little orphan. No. 10, (“The The following is a good procedure with pends °.n your deep-seated love for the art, Ah, that’s sweet-” fascinating pieces, all of which may be He had rend thnt slow practice wns Indis¬ accept things as they are. If the Masters Happy Farmer”) is widely and deservedly new compositions. your willingness to sacrifice, and your en- And my pensable for speed and accuracy. The dlffl- taught for the purpose of developing good The first week the new piece is assigned durancc to work work WORK!” eulty, however, lay in bolding himself back have given us but little especially intended known. It has become a classic. The taste. Friend isn’t a piano-teacher and to a given speed and gradually i l easing It. for children, able transcribers and editors to the student with instructions to watch A few suggestions by which the worker I a , but Setting the metronome back to ns lowest Stephen Heller is a composer who has have taken passages from their Sym¬ carefully the notes, time and fingering. may profit follow: I didn’t know the names of the marking, he played the study j that rate written many Etudes, largely valuable in five times. Then, moving the w. inlet to the phonies, Sonatas, Concertos, and String At the first lesson, the student will play Fi.rst and all-important: regulate your Instruments. . . . When next Indication on his metronm he re¬ cultivating the musical susceptibilities of Quartets, and have put them into good it through, very slowly, with no ex pres- routlne_ to include daily practice. The I got home pented the mode of procedure. \; first the the student. It is no easy matter to select sion, devoting all attention to notes, time temptation is for spasmodic work. A prac- work went terribly slow, It seem, i : but soon shape for beginners. At a later age, when I thought, his speed increased and accuracy nth it. from them any special ones to be recom¬ studying or listening to these works in and fingering. After all corrections’ have tice hour must be established and never Well, I may be a By the time he had reached his utmost ca¬ mended. One set, not taught as much as been made he is instructed to watch the “terrupted by trivial things. Fifteen or pacity for improvement, he had played that their original form, they will be recognized the others, but especially attractive, is Pianist but I’m not a study many more than n hundred times. Yet expression marks for the next lesson, still tb‘rty minutes a day, strictly adhered to Musician! — consider that great virtuosi practice as old familiar friends. Thus, besides the Opus 125, “Twenty-Four Studies of Ex¬ without the use of the pedal. ’ and nSbtIy used, can accomplish much, many hours a ..day, every day in the week, technical and other advantages gleaned pression and Rhythm.” Another delight¬ I intend to be one. every month in tin-**“ ”— “■•- number appears At the second lesson, after the pupil part of tbe period being used for technical I’m studying now. diminutive Indeed. from their practice, education in music ful set is the “Thirty-Two Preludes to has played the composition through per- development and part for the study of Are you like that? By the use of the metronome. It is possible appreciation will have begun. Mademoiselle Lili,” Opus 119. It is truly fectly, the use of the pe'dal should be soI.os whic.h should be worked up to the to maintain a uniform spee,l at a low rate, thus centering tbe attention on accuracy. Music in Schools a sequence of musical gems. “The Al¬ marked on the music, to be studied for the fin‘shed point- . S'w.pr',precaution against mechanical ac- bum,” Opus 138, is a splendid collection uon should ,,e exercised. This plan used on UCH GOOD is being done in the next lesson. For example: Second: cultivate musical acquaintances; “Breaking-in” the New Chopin s Etudes, would of course, work M of short and picturesque pieces. It con¬ hear all the good music possible, and read equally well on other studies. schools nowadays by means of re¬ tains the well-known “Curious Story.” Franz Liszt and study the musical magazines and litera- Lesson Richabd Ganonq. producing instruments. The pupils hear Poco allegro, con af fettc operatic airs, good songs, piano and orches¬ Other “Scenes from Childhood” Third: make use of every opportunity By Stella Whitson-Holmes How “The Etude” Helps tral selections. They soon become ac¬ To The Etude : CARL REINECKE is another able to appear in public performances, thereby , „Ar quainted with them; and, when ear tests That pupil is best trained who is taught composer who has written consider¬ gaining potse and nerve control. There is how to “break in” sdSfpV+S ,been nrdpnt admirer and sub- are given, they usually make high grades. low tn _ 1 Jr . l few wtnJOUr,ErrDE’ 1 nni tempted to write ably for children. His eighteen pieces no worse handicap to the amateur than can be e.*0 n.ew.lesson- Th>s Yonr °f ipra ls° und oonin,pn (• The amount of good done in this way called “Home Music” (Opus 77) are re- stage-fright and no asset more valuable ^ teroStf vi0,ln department is of immense in- men? t0 me as I am a student of that instru- is tremendous. Also, information is given plete with charm, refinement, and distinc¬ than perfect ease and confidence acquired during the lesson^Jw? TpCS separately> by the instructor regarding the various tion. The “Scenes from Childhood” of through wide experience in public work, be shown as niJri d' The pupd shou'd eStInan°«HcTC-issn^ rrad with great inter- numbers—their character, the composers’ llis ProMH lc..on "The Adult Beginner and Theodor Kullak (Opus 62 and Opus 81) participation in church, club and charitable pose of ’ studJmm™ ,fosslblc> ,the t’ur' Also IJroblema- by Mr. John M. Williams. lives, characters, manner of work and so affairs. Pf 0t ,a study’ difficult parts should be b more recent copy, Mr. Hraine gives contain many pieces which can be used the^Vinfln*^» concerning the student whs. plays on, all of which is very valuable. both for the purposes of study and for Fourth: Do not be above taking ad- ^“wa/^d^the wlvf in However, the combat against the vulgar, of t^0l8,5uinHonh?rCh- A W0nderfUl am,IySiS vantage of opportunities for earning counted aloud WW h° 6 ,COmposition ordinary, meretricious “popular” music The Clock, Kullak money. W tf p When every phrase of the eighteen”11 ?tu,,-T>nR the violin at the age of Ex.4 ^T3 tie third year X earned a lit- must be kept up without cessation. Its Fifth: Do not sacrifice yourselves and way it may bTregTrld in this a memher n? ” “"odred and sixty dollars as rhythmic lilt is often captivating, and it your talent completely for your home and tice. ' ded as tbe first Prac- casionnl oof ? dm'cc orchestra and as nn oc- theatos. l0l8t at the church, and local demands no concentration of the mind to children. Hold on to music for the en- ti,™ , absorb it. But it has a paralyzing effect joyment of those about you, and when the his “breaking „should h* told *«> perform very vmi™"rth near of 8t"dy I piloted three upon the taste for better music. It can _____ car practice with the same »Uh iJ,l,pi s through their first year. hard, strenuous, and, after all, brief years care at home and to teach ^nTv rh°f n,-v "‘tlrh,'r who Preferred soon cause the listener to be unresponsive The above measures are taken from of''motherhood ^’havT pTsseVyou‘wii/ne^d h^sL^nreb.0”-Same day he has Patience is ih„ra.'irc advanced pupils, when one 't T’rtue. It is also an asset to anything else. It seizes its victim like Liszts Love Dream, No. 3. This system your talent and resources for your own cianlv ^,'t„r ! CanJbr!ng a ”i°re musi- Youngsters to Impart to these the tentacles of an octopus, and drags him of writing out the pedal is easily under- happiness. than7!, M t ra j?^ard the Problem then down into the depths of musical oblivion. stood by the pupil and is a time saver for Sixth: Create an outlet for your self- for a dav ^ h® neg!ect th9 lesson Therefore, it is the teacher’s duty to keep the teacher. After a while, when the pupil improvement by forming a neighborhood The remaining A * in mind the necessity of developing and becomes more advanced, pupils may write group of congenial workers to meet for drive the !,? • of practice should Portance’. * 81 dePartments are of equal im- educating the pupil’s taste, and of finally their own pedal marks, to be corrected mutual help and study. This does not shape Another ,?a°- ^m?ry in Perfect aIlySraviedtho™ng aI1 my Etudes but gradu- by the teacher. anchoring it so firmly, that “jazz” may nnmha.interested * Sn how I Jhave0 ^ ronly*end8 the Octoberw.erf The last thingr‘ required mpa" “organize a club” for a club gen- ticing systematical^"tW mC' beat upon the ear in vain. It may be o memorize erally entails burdensome dues, social frills flr„*first, study m . .’ ttlat is, the scale ERNST KROEGER Piece last a reguiar diet >t sorry, for I know they enjoy tolerated, as slang in speech is occasionally Louis Clabi THE ETUDE JULY 1927 Page 497 Page 496 JULY 1927 One teacher plays ’brilliantly; another is THE ETUDE The Tuition, file contains a record of pay- an expert accompanist; still another puts recital performance. “The Clock” (Opus Rules and Regulations forth his best efforts in lecture recitals. Few Hints on Violin Playing 62, No. 2) is particularly well known. 1. Tuition must be paid five weeks in ad¬ One teacher develops artists, while another A The writer very heartily recommends vance. specializes in work for beginners. One An Interview with the Well-Known Violin Virtuoso 2. All missed lessons must be made up these “Scenes" to teachers who are on the The Receipt teacher cannot sing, but may lie an expert lookout for attractive numbers. at the convenience of the instructor or roach Think up the good points and bring EDDY BROWN Xaver Scharwenka, in. his “Album for paid for in full. rriO GIVE a receipt is not only 1 business-like but also wise aid fm „ them'forward. This is salesmanship. Young Pianists” (Opus 62) has written 3. Lessons will end at the time scheduled. The two best advertisements for the Obtained especially for The Etude by Arvid Erickson twelve charming pieces of about the third 4. Lessons falling on holidays will be Pupils are thus entitled to a prot anah'st clerical errors, and, when paying teacher are, first, his own performance in grade. A composer who has much sym¬ changed to another day or not charged. public, second, the public work of his Have and kissed the abashed Eddy before an audience of 3,000 persons, 5. Pupils are requested to practice two ff advance have a dependable remm e pathy with child life is Cornelius Gurlitt. pupils. If he possesses a pleasing person¬ Eddy Brown who shares with Josef Hofmann the accomplishment declaring he had never heard the work played with such perfection sme His “Album for the Young” (Opus 140) hours every day. Those going to business of such payments. The Theodore Presser ality and a winning smile and is also of having, developed from a hoy prodigy into a great artist is regarded contains twenty simple pieces, all of which are expected to practice one hour. Company publishes excellent and mexpen capable of doing work he is very apt to are melodious and artistically pleasing. sive printed blank receipts. to-day inboth Europe and America as one of the masters of the violin. JOaChFrom Budapest, Brown went to London for a tour thaf Provefe^, There are, of course, other compositions be a great success. He was four years old when his father, a pupil of Msen gave him The Pupil’s Pledge The fruit dealer fixes up his stock just written for young people, which can be The Lesson Book his first instruction. At five he appeared in public. He stiudied ^Indmi- NLY after the pupil has read over and used for the development of good taste. O T IS WISER for teachers to write as attractively as possible. The pastry apolis with Hugh McGibcny, and, at seven, went to Europe. At Budapest, has signed the following printed pledge his triumphant Berlin appearance. Driven home by the z^’yB^U-1 However, in those above mentioned, the - down a pupil’s lesson rather than fol¬ shop is often so tempting that many people is he truly accepted as a pupil. This I he became a pupil of Jeno Hubay. his American dibnt a, the Me,rotoUan writer feels that he has given the names low the old way of asking him to remem¬ are over-weight as a result of the indul¬ pledge should be pasted in the inside cover He played the Mendelssohn concerto at eleven, and in a contest free of many which are most valuable in ob¬ ber it. A little book containing twenty- gence in wares displayed therein. We are of the Instruction Book where it acts as for all violinists, came out victor among forty contestants, receiving a fine taining results which are greatly to be four blank lesson slips called 'Guards selling goods also, and the more attractive a constant reminder. If the teacher makes violin as prize. In his thirteenth year, he passed his examinations at the desired. Practice Record,” also published by Pres¬ we make our displays, the better business it difficult for students to become mem¬ ser, solves the problem beautifully. Each will be for us. Royal Conservatory by playing the Beethoven Concerto until orchestra. bers of his class he encourages effort from H! pupil is given one, and every week his We cannot very well expect some kind- As the °story^goes, David Popper, the celebrated virtuoso, came on the Self-Test Questions on Mr. Kroeger’s those who feel privileged to be under his lesson is written in it. To the teacher, the hearted man or woman to take us by the Relaxing the Wrist Article guidance, while at the same time he is in¬ fined to the fingers and the thumb, the Lesson Book is a weekly guide and an in¬ hand and make us famous. Succer s rarely However, much study is wasted through N EXCELLENT plan for acquiring 1. When should the development of a sured against the superficial innovator. EMORIZE every one of your exer¬ purpose of this exercise being to limber A comes in this way. We must first work M lack of method and direction, and so I a flexible right hand wrist is to taste for good music be begun? valuable reference. To the parents it is cises and technical studies, if you up the thumb and strengthen it at the until we can do something well enough to give a few hints that may simplify the practice bowing with a book under the 2. Why have the great composers left a boon, for it keeps them posted as to the would master the violin. I consider same time. Due to past neglect, it will duties and progress of their children. To please the public, then get out and hustle task. arm. In order not to drop the book the so little music suitable for children? promise (name of teacher) it more important to memorize exercises become tired at first, but it will soon re¬ the pupils themselves it is an unfailing to make our opportunity and lastly, keep One of the first suggestions concerns the student should be required to hold the 3. How are the public schools influenc¬ (My earnest and sincere teacher) than solos, at least until the student has spond to regular exercise. standby, and a means of review that is before the public until we have arrived. left hand thumb. Violinists spend long upper arm fixed without rigidity and to ing the general taste for music? the following completed the technical studies as the Now a few words as to the vibrato, one 4. Which of the great composers has left unparalleled. It pays to advertise. and sometimes painful hours developing move only the forearm, wrist and hand. I will always regard (name of teacher) major part of his work. their left hand fingers, but they neglect of the most important phases of violin the most music intended for children? If private teachers based their lesson To play the violin well, you must first This in itself forces the wrist and hand as my sympathetic friend and helpmate. the thumb. Flexibility and control of the playing. Unlike many violinists who con¬ 5. Name four other composers who have contracts upon these fine principles, their overcome all technical obstacles. Until to relax, especially when full bows are I will tell him without hesitation exactly thumb are as important as these qualities tend that, unless the vibrato comes na¬ left compositions written in a style suited what puzzles me so that he can help Finger Gymnastics you have done that, you cannot throw turally it cannot be acquired, I believe used. . in the fingers, and thumb exercises should The purpose of this is to give the flex¬ to children. me when I need it most. I will try never your whole soul into the music itself. The that a good vibrato can be obtained by be considered among the fundamental ibility which is of necessity induced in the to deceive or disappoint him in any way effort to execute the difficult notes detracts constant application, even though the pro¬ By Earl C. Jones studies in violin playing. wrist by inability to move the upper arm. for I fully realize that he is constantly from the freedom and ease so necessary Weight Playing Rhythmic Motions Here is an exercise for the thumb which cess is, at times, long and painful. However, this is merely for practice pur¬ planning and laboring for my success. to smooth, sympathetic playing. The first phalange of the finger, that is most helpful. To convey an accurate poses. On playing without the book, the I will come regularly for my lessons and The following exercises, if practiced During my studies with Hubay and By May Hamilton Helm picture of it By means of the printed page nearest the finger nail, should be bent un- By Josephine Clark remain absent only for very serious rea- consistently before the regular period at Auer, I had a lesson twice a week and student will realize what freedom there is something of a problem. In general, til it nearly doubles back to meet the the piano, will develop and strengthen the memorized every exercise so that I seldom is for the right arm. This helps con¬ it consists of a forward and backward third phalange. This brings the first and siderably in acquiring a large, free and In teaching weight to those who have I will always try to be punctual—rather The first time I used my metronome hand. had occasion to refer to the music while second phalanges almost at right angles. movement of the thumb, a single move¬ easy bow technic. difficulty with the legato, this simple little too early than to late. my little brother, six years old, was much Be careful not to overdo any of them. at my lesson. Memorizing an exercise is, In other words, each finger describes the interested in it and brought in a playmate ment for each note played. In holding the bow, the thumb should illustration seems to drive home? the point. I will practice every day faithfully and At the least sign of fatigue, stop and rest of course, more difficult than learning a letter “n” and is so placed that the tips to hear “the! little clock.” In explaining On the G string, play G, A, B, C, and remain between the first and second fin¬ Swing the pupil’s relaxed arm by holding as much as possible. I can be only as immediately. solo. The latter has a melody which the are almost perpendicular to the finger¬ it to them, I first set it at the slowest. D thus: gers. For practice purposes lift the sec-, it by its first joint. Then have him imagine skilled a player as / am a willing student 1. Open and shut the hand from twenty former usually lacks, since it has, for board. he is swinging by his arms from a trapeze and worker. (They began swaying from side to side to forty times. its primary purpose, the emphasizing of ond and third fingers, holding the bow making grotesque movements. When the The player should concentrate on the with only the first finger and thumb and or from the limb of a tree and is working I will practice slowly and with intelli¬ 2. Twist each finger of the right hand a certain technical difficulty. Such prac¬ joint nearest the finger nail with the feel¬ sideways along its length. Of course he gence and care. If I practice beautifully tempo became faster, they changed their in a rotary motion toward the right ten tice develops the ability to concentrate, balancing it with the fourth, being very motions, until, at the fastest, they did a ing that the power which rocks the finger careful to see that the fourth finger al¬ will not let go with one hand until he has I shall play beautifully. times and then to the left. Do the same which is considered essential to memorizing. back and forth to create the vibrato ema¬ pretty good jig. Later this little brother While playing G on the open string, ways touches the bow. Hold the bow a grip with the other (unless he wants to I will not waste my time on “jazz” but with the left hand. But to play an exercise or solo over and nates from this joint rather than from the break his neck). Now the teacher grad¬ rather use it to understand the best music. gave an “interpretive dance” to Schumann’s 3. Stretch in between each of the fingers over until it is learned by heart is too move the thumb up the neck of the in¬ fairly tight, but be sure to give the ually releases one of the child’s fingers When I come in contact with a famous Fascliingsschwank in most amusing fashion cumbersome a process. Artists who must strument until it reaches what would cor¬ wrist. wrist the utmost freedom and flexibility. and pull them apart as far as they will go. The mind should conceive of the finger, as he climbs with another, his arms re¬ work which seems to be outside of my —a purely accidental but sincere tribute have extensive repertoires would never respond to the note D or thereabouts, There is a common impression that a 4. Massage the back of each hand. in this forward and backward movement, maining a dead weight. sympathies, I will say, “This work bears to the spirit of the pie'ce. succeed if they depended on mere repeti- stretching the thumb as far as possible, fairly tight bow is necessary for a large Massage in between the ligaments . : the as pulling the hand with it, rather than To get a really relaxed fall, hold his the name of an artist whom the best judges tion for learning large concertos. The but taking care not to move the hand or tone, yet I have continually played with fingers, especially the fourth and fifth the hand pushing the finger. All muscles, arm by a finger and, while swinging it, have pronounced to be great. The work mind, the eye, the fingers of the left hand wrist. Then play A with the first finger, the bow hair very loose with a consid¬ fingers. however, should be relaxed so that there compare it to a loose rope which sud¬ is called a masterpiece. 1 cannot see its It Pays to Advertise and the bow-all these must combine to moving the thumb back as far as it will erable gain in power and sonority. The 5. Pull the! fingers back so that they is no counter movement or resistance to denly breaks. The fingers drop, all right! beauty, but that must be because I am not fix the selection in memory. go. Now play B with the second finger impression is given that tone is produced almost form a right angle to the back of the easy motion of the fingers. The stu¬ yet educated to it. I will study it, and per¬ In my own case I visualize the music moving the thumb up to D again, then by being drawn rather than pressed out By Florence Belle Soule the hand. dent should not rock the fingers too haps, by and by, I shall appreciate its qual¬ and can picture in my mind’s eye not only back while playing C, and so on, in this of the instrument. 6. Keeping the forearm still, move the rapidly or the result will be a nervous Managing the Student and ities. A love of good music is the one hand from right to left. Move the hand every note but every notation of dynamics, alter One of my exercises for tone produc¬ Spending a day in New York recently, I rather than a pliant vibrato. unmistakable mark of culture the world up and down. These exercises are fine every mark on the page, even to the finger The entire movement should be 1 tion is a quick, sharp note, the bow being the Studio was much interested in the various adver¬ for developing a strong wrist. spots or a tear in the paper. Not many drawn rapidly from frog to tip and raised tisements. Fortunes are spent in advertis¬ I will cultivate a love for all that is By practicing these exercises instead of persons, however, seem to have this faculty with equal rapidity at the end of the beautiful and uplifting in this life—good ing in this city every year; and we can By Marguerite C. Kaiser endless scales and runs, you will save developed to such an extent. They must stroke for both up and down bows. books, pictures, nature with its stars and well afford to examine the results and time and also keep the hand in playing rely on the other senses for memory, such The bow should be applied lightly to sunsets and forests and hills, and friend¬ profit by them. T IS NO longer a simple matter to condition. as “hearing” the music mentally and mem¬ the strings, but the left hand fingers must I ships which bring us closer to God. Life The subway cards read: attract and to hold piano students. orizing the fingering and bowing. Then, be of steel. A good tone cannot be pro¬ to me, without music and art and loveli¬ Use the Subway. Save Time and Be Safe. With the advance made in the fields when the mental picture fails them, they duced with uncertain wobbly fingers. The ness, would certainly not be worth the The Safest Railroad In the World. of education and commerce the private How to Keep Pupils may still proceed by remembering how fingers must know where they are going The elevated advertises as follows: the passage is fingered. Perhaps the and then hit the string with a hammer- teacher’s problem has grown seriously Ride On the Elevated. complicated. Practical ideas, like the five The Index File fingers unconsciously go through the pas¬ like action that in itself may be heard even Avoid the Crowds and Get the Fresh Air. By Wilfred E. Despard sage, so that, with the assistance of the though the bow is not touching the string. given below, have an assured way of im¬ AN INDEX file is as much an asset to Use the Open Air Route. pressing and winning over the intelligent bow which likewise has remembered what I would emphasize, also, the importance a piano teacher as to a commercial There are also cards used in the surface and discriminating pupil of to-day. executive, for money is money whether To keep pupils: to do, the. performer manages to continue. of accent as the backbone of rhythm Pupils respect the private teacher who taken in exchange for an artistic truth or L Be genuinely interested in them and These are helps, but visualizing the music which, in turn, is the life of music. For they will take a liking to you and work is the first essential. At least I find it so. instance, play a few measure of a Schu¬ dares to have a code of laws and is coura¬ for a pair of shoes. For the teacher to be We can see at a glance that these are geous enough to demand obedience to careless in keeping business records is to for you. bert Rondo, or any other number at hand good. They tell the truth and they do i with the first notes in each measure well them. enslave his peace of mind to endless de¬ an attractive way. 2- Be cheerful. Never lose your temper. Beauty Through Repetition accented and then repeat, but without ac¬ Tacked on the side of his desk, within tails, to say nothing of the dissatisfaction 3. Never make pupils cry. If things go NCE HAVING learned a solo, the Musicians use very little imaginatior O cent. Despite the fact that the notes are arm’s reach, the teacher may display a inspired in his pupils. their advertising. There is surely noth wron|-get in touch with the parents. student should play it frequently, not played in the latter way in correct time large piece of cardboard on which are In a small desk file the teacher may alluring in the following: 4. Stimulate their interest with attrac¬ primarily because repetition is an aid to and with beautiful tone, they do not written the rules and regulations govern¬ arrange three groups of index cards. Prof. 0. How Wise tive material. Publishers are glad to send memory but really to seek new beauties “sound,” but, lacking rhythm, are lifeless. ing the class. They may be read aloud to After a pupil has signed “The Pupil’s Teacher of Piano new music “on sale,” which you may ex¬ each prospective pupil, for there should be Pledge” his name is entered on three cards. amine during your spare time. The point is that in the masterpieces, The passage played the former way, how¬ ever, has rhythm and, therefore, vitality. a mutual understanding of what is ex¬ One card is filed under Mailing List, one Miss Susan Highvoice 5. Read good books on child psychol¬ at least, the student should find new beauty pected and why. Rights should be clearly under Tuition and o«e under Repertoire. Teacher of Voice Culture. ogy and apply their principles to your every time he plays them. I have played asserted before the pupil has committed teaching. The Mailing List is referred to when send¬ If Prof. Wise is a brilliant pianist the Beethoven Concerto hundreds of times, “Personal participation in the perform¬ himself. Then, afterwards, there will never ing out studio announcements, circulars not stress that fact? If Miss Highv 6. Do the best you can for every child. perhaps, in all parts of the world, and ance of good music is the one way to cre¬ arise any unpleasant discussion concerning and recital invitations. It is also handy A Get results first! Think of money has an attractive method of teaching each time I discover something new in it ate in the minds and hearts of the young an unfair advantage taken either by teacher when locating, at the spur of the moment, later. ginners, by all means inform the pi Whether the individual is talented or a lasting desire to hear good music."— or pupil. a pupil’s address or telephone number. Forty good pupils w;n do raore t0 ad not, hard work is necessary. No one can Joseph Regneas. vertise a teacher than fifty bad players! become a great violinist who is lazy. EDDY BROWN JULY 1027 Page Jt99 THE ETUDE TIIE ETUDE Page W JULY 1927 The Scissors Habit selves. To draw out inherent qualities is rrmritUE CLEF CLUB—Please bring scls- Melody Writing for Little Tanrsto the next dub meeting. Yes, a new Putting Life Into Your Playing “Flowers of Our Lost as much the work of the teacher as it is .mine to make to take home. Wear your tiilnk- Romance” nf the sun in the heavens. mf caps, because you are to choose a name Rhythmical Movement Applied to Technic Folks Excellent niusic-writingbookssuch to the game. (This notice, typed on white ™aB ..nt in the center of a sheet of Adele Sutor’s “Note Spelling Book’ ai d , ^een construction paper, and all around By E. L. Selwyn By CHARLES B. MAC KLIN By Leonora Sill Ashton Mathilde Bilbro’s “Spelling Less*™i « I misted little black silhouettes of open scis¬ sors. I used au advertisement picture for a they can more easily identify even a well- Time and Notation” have been used with recognizing and responding to the entire are three new books on niusieal sub¬ tension develops. Tension is simply the known tune by its rhythmical pattern than Under the above title, Dr. Charles F. NE OF the best teachers I ever knew COMMON CAUSE of poor pas¬ rhythmical plan—the pulse, or accent, O lets at the public library., I suggested their A working of the opposing muscles at the by its melody. Yet one might take a tune Lummis writes a preface to his “Spanish insisted on a blank page of music names to the^Iibrariaa. Now you must keep sage work, manifesting itself in an first- its sub-divisions into beats and frac¬ same time. The fingers assume a tight like “America” or “Dixie,” and put the Songs of Old California”—a few of the paper at the first lesson of every one unevenness of both time end tone, tions of beats, second; and finally, its tbFlvettofhMlsse Merrinm s violin pupils will condition only when either muscle refuses actual notes of the melody upon a new great number he has collected, to which of her pupils; and upon this the little begin¬ he here at eight o’clock Friday night. Mem¬ is that the student allows the finger to multiplication into measures, phrases,_ and accompaniments have been written by Mr. Your Ally—The Bulletin Board to relinquish control when the other is rhythmical pattern, and it would be un¬ ner made his opening efforts in writing bers of the MaeDowell Club who wish prac¬ begin the stroke too soon. Frequently he periods. This must be grasped inde¬ Arthur Farwell. “In old California, ‘be¬ tice in sight reading of accompaniments are trying to gain it. There is a fractional recognizable. On the other hand if one • the simple elements of notation. invited to be prompt. Please sign your names will find that the finger is on the right pendently of both melody and harmony, fore the Gringo came,’ ” says Dr. Lummis, moment of tension when the return move¬ were to discard the melody entirely, and I do not believe in too much theory. By Virginia M. Moncrieff below. If we are to expect you. note, but that the note either fails to being the structure upon which these are —“the California of the Franciscan Mis¬ ment is made; and it is to reduce this merely tap the rhythm of “Dixie”—mark¬ The first object of a piano lesson is to sound or produces a tone much thinner formed, and because of its tremendous sions and the vast Ranchos—they lived the Using Records moment to an infinitessimal point which ing the accents sharply—any group of chil¬ teach a child to bring forth pleasant sound than the rest of the run. Close observa¬ influence upon physical movement. happiest, the humanest, the most beauti¬ MORE general use of the bulletin NEW records released this month is one of the chief purposes of technical dren familiar with the tune would instantly for the enjoyment of his family and him¬ A tion, both with the eye and with the feel ful life that Caucasians have ever lived board would help many a teacher. T™ the music stores, them. Ask the drill. This is accomplished with com¬ self; but, at the same time, intelligent clerks to play the good you. They of the finger, will reveal the fact that, The Wrist Staccato identify it. Teachers should make this test anywhere under the sun. It was Patriarchal Not a dull dusty affair, with duller, •Ikmi you tellll themtheir- you parative ease if we time our movements with their classes—quite as much for their musicianship must go hand in hand with after lifting the finger preparatory to S TO* THE WRIST staccato, the as Abraham—and far more hospitable. dustier notices, but a board that draws are music students. so as to coordinate with the speed of the A own enlightenment as for that of the pu- the fine ear and the natural musical sense Picture—Etude cover for January. 1023, making the stroke, the student has allowed same principle applies. The bounce of Hotels were impossible, because every which are born in most children. notice by its attractive appearance. mounted on Irigtit red. Tills notice: The general movement. Lift and stroke should Treble Clef Club will give stories and tableaux it to drop again towards the key, perhaps the hand from the wrist must be a group home was open to the stranger—and even A clear explanation of the signs of At a second-hand store a large, substan¬ be at the same rate of speed, and this P The rhythmical element in physical from famous operas at tln-ir regular meeting to the extent of actually depressing it; so movement, the groups punctuated by ac¬ I have known the day when I could travel notation, of course, must be the foundation tial picture frame waa found, with backing next Saturday afternoon. Parents ami mem¬ speed is determined by the speed at which movement is a matter which ordinarily re¬ that, when he tries to make the stroke, cents. The accented notes usually are from San Francisco to Chile without a of all music teaching; and the actual of thin pine board. The glass was broken, bers of the MacDowell Club are cordially we intend to play the passage, which we ceives even less attention than the same he finds either that the note fails to sound struck with the arm; and where this is not dollar or a letter. There were no orphan forming of these signs by the small fingers so the frame was secured for almost noth¬ Picture—of Hofmann from a colored.adver¬ determine by sharply accenting the meter. element in music—especially when the phys¬ or that its tone is thin—the stroke hav¬ feasible, the work of the wrist is supple¬ asylums—for everybody was anxious to themselves, is worth more than a dozen ing. A piece of light brown art cloth was tisement, mounted on soft orange. Advance For example, if we have groups of four ical movement is applied to making music. copy of program. This notice: Jns.-r Hof¬ ing been made actually in advance of the mented by an arm movement, which sup¬ adopt any orphan that happened. There “tellings” or two dozen “tryings to re¬ stretched over the backing which was again mann will play these numbers nt his recital sixteenth notes, we must first time ac¬ This is a curious commentary upon the in¬ plies the impetus which “shakes out,” so to was no paying $5.00 to be seen chattering member” from the page of a book. inserted in the frame. A little furniture Tuesday night. Come to the studio Monday curately and heat into our consciousness completeness of most people’s thinking; for ami i Another phase of the same defect may speak, the little, unaccented wrist move¬ in satin while some Diva sang her highest. In my own teaching, a musical blank polish and vigorous rubbing brought back the space of time to be occupied by quar¬ it is in this connection that the relation¬ be observed in the wrist staccato; though ments from this main movement. This is There was no Grand Opera—and no fool book is given to every new scholar. On a fine finish on the frame. It was hung quite ter notes, and then divide this exactly ship is not only most necessary but most songs. There were songs of the soil, and low, just inside the door of my tiny wait¬ its manifestation here usually is in the essentially a rhythmical process, and its the first page', the copy is set. Fifty Treble form of increased tempo. The hand, hav¬ into four, spending all of this final divi¬ obvious. Yet a very little thought will songs of poets and troubadours, in this far, ing room. A generous supply of thumb¬ But why multiply examples? I can ease depends upon exact timing of wrist Clef signs are required for the first week. sion of time in making lift and. stroke- show the necessity of rhythm in physical lone, beautiful, happy' land; and songs that tacks completed the equipment. already hear you saying, “Why I can do ing been raised too quickly from the keys, and arm movements, so that they co-ordi¬ If the fiftieth is not a vast improvement on has nothing to do in the interim between half of it for the lift, half for the stroke. movement. Why is walking upon a rough came over from Mother Spain and up For decorations, I simply took note of better than that!” Of course, you can, nate. The time taken between the rise and the first, then another page must be filled, and that is exactly the spirit wc wished to strokes. Therefore, it descends again, road more fatiguing than walking upon a from Step-Mother Mexico. But every¬ until the queer curl is written correctly. the clever posters the high school girls Uneven Fingers fall must be exactly divided by the size of arouse. often, too soon. If, in this descent, there smooth one? Simply because the walker body sang; and a great many made their Then the same number of Bass Clef made, and decided it needed only patience, ART OF THE DIFFICULTY in do¬ the group desired—three, if triplets, four own songs, or verses to other songs. is power enough to make the note sound, P upon a rough road is too often called upon signs is required. After this, a page of neatness, and some pretty mounting board ing this on the piano lies in the fact if groups of four, and so on. When the “For thirty-eight years I have been col¬ the result will be an increased tempo; if for a separate, detached balance and ad¬ whole note’s; one of half notes; and so to make announcements as attractive as that the fingers are not of even strength student can sense the rate of speed of the lecting old, old songs of the Southwest; not, notes will be missed. justment of the nerves and muscles. He on, taking each sign in turn, until all theirs. Several sheets of different colored Asparagus with Brahms nor agility. But this must not interfere general movement, and can sense also the beginning long before the phonograph but is unable to relate his movements one to can be "fashioned in a fairly creditable “construction paper,” bought at a kinder- Thinking Rhythmically with the student’s thinking it all out ac¬ sub-divisions of the pulse of the movement, utilizing that in latep years. I have thus garden supply house, proved ideal material another. Whereas upon a smooth road he manner. OTH OF THESE errors have the curately before starting to play. True, he will automatically time his lift so that recorded over 450 'Unpublished Spanish for the mounting. Magazine covers and By M. R. Coni B may make an automatic balance—may re¬ In the meantime, these signs are being same basis. It is that the student has the fourth finger, which rarely lifts as it will fall at the right moment, lift and songs (and I know many more in my the ve^y pretty colored advertising pages late his movements smoothly, one to an¬ seen on the printed page of the lesson failed to time his movements—has not high as the others, often will strike too fall being practically a continuous move¬ ‘Attic’). It was barely in time; the very of various periodicals furnished these In a little hand-book of Brahms’ life by other, rhythmically, may make, in fact, a book and studied during the practice hour; recognized the “rhythm-in-technic prin¬ soon, because it travels a shorter distance. ment, without hurry, but without check. people who taught them to me have for¬ decorations. Naturally, Etude covers were Frederick Martens wc get a very human continuous series of movements, without and some idea of time and the value of ciple. The remedy, of course, is to think The 'remedy is special training for this Not only will rise and fall be equal in gotten them, or died, and few of their treasured. Sometimes notices were typed glimpse of a master to whom some in¬ check. It is the stopping and starting again notes is being absorbed. As soon as this rhythmically; to recognize that there is finger. Often the third will follow the speed, but that speed will be co-ordinated children know them. But it is a sin and on my ever-useful “portable;” sometimes justice has been done by virtue of the which makes fatigue. It is the continuity last is well enough understood to permit an exact moment of time at which each fourth too soon, because of the thick with the speed of the rise and fall of the •a folly to let such songs perish. We need they were printed with a rubber stamp legend of austerity which surrounds him: of movement which makes for ease and of the neat ruling of the-staff into measures note must be played, and that this moment connecting ligament between them, and arm—exactly three times as fast, or four them now! They are of the kindred of outfit. Without these helps, the lettering “During the last ten years of his life,” grace. by straight bars and a simple time signature is determined by its rhythmical relation¬ also because of their divided nerve supply. times as fast, as the case may demand. our own undying favorites.” has been followed, let the pupil begin to may be done by hand, or gummed letters says Martens, “Brahms often accepted din¬ Momentum in Rhythm ship to the whole passage. The fourth finger has no nerve supply Without this sense of rhythmical move¬ form a little melody. Many an extraor¬ of different sizes may be had at stationers ner invitations from families forming part If the student will learn to think rhyth¬ of its own, but derives its activity from ment, the whole process is marked by awk¬ RECALL that, during the war, my com¬ dinary page has been offered to me at or book stores. I of his inner circle. And he rather ex¬ mically—and he need anticipate no gen¬ both third and fifth fingers. The remedy ward stops and starts, as well as by a pany was ordered to take a practice Improving the Diatonic Scale this early stage of musical composition; pected to find a good dinner and good uine progress in music unless he acquires for the defect is special work for the two general sense of fruitless effort. The er¬ hike of some twelve miles. It so happened and the interest it excites and the earnest Current Topics wines. He was old-fashioned in that he this habit—let him try to sense the pulse fingers. The fifth finger often is late in ror commonly made in staccato is that of that I was but then out of the hospital, By Ralph Kent Buckland effort it creates are worth all the eye strain /~\F COURSE only worthwhile notices liked to compliment his hostess upon the of the general movement of the piece be¬ striking, and the thumb, because of its too quick a lift; and it is remedied by the where I had been for three weeks, and in the world. For instance, instead of should be put on the board. My product of her kitchen. ‘Some people think fore playing at all; let him try to hear isolated position at the side of the hand, accurate timing of all movements con¬ where I had gotten “soft.” The twelve continuing to copy whole notes, half and pupils form two clubs—The Treble Clef they have to feel embarrassed when things Perfection of the scale is paramount in in his mind, without playing, not only and also because of its greater strength, nected with the action. miles were a small matter to the rest of quarter notes all on the C space, suggest Club members being the younger, and taste good to them,’ he sometimes sai I. An piano playing. There must be evenness, the melody of the run, but also its rhyth¬ will often be both too late and too strong It is the sound of staccato which is de¬ them, but some effort for me, especially as that the practice! of writing these take others forming the MacDowell Club. Our annual festival in his honor was the smoothness and speed. A great help in mical structure—to feel it basically as a in tone, the latter especially when the ceptive. Being sharp and detached, it those leading the column became possessed the following form, or one of this charac- programs and notices are among the most Asparagus Banquet held every May, on attaining the latter is to be brought about rhythmical pattern, independent of the mel¬ motion of turning it under the hand be sounds rapid in tempo; and the student of a desira to do the whole thing against interesting items put on the board. Then his birthday. Some twelve or s:\teen from the practice of velocity exercises ody. Let him, whilst doing this—indeed, involved. Special work for this movement usually is beguiled into too rapid a move¬ time, and hit up a tremendous clip on the with the chromatic scale. pupils are kept informed about coming guests were usually invited, Hanslick ment. Whilst advanced playing affords in¬ musical events, and free musical advan¬ as a means to accomplish it—move hands is the remedy. return trip. The last five miles was made Beginning with any note, conveniently Ex.l always included. (Hanslick was a famous In connection with the unequal strength numerable instances of staccato which re¬ tages. Current musical happenings are or feet or head, or all of them, to the in an hour, flat. When the officer called with the keynote of the major scale for music critic in Vienna.) The luncheon quires all the speed at the player’s com¬ brought to the students’ notice. Recital accents of the movement. He must under¬ of the fingers, there must always be the “halt” upon reaching the barracks, I was that day’s practice, the student should hour was twelve, and the menu, which mand, easier literature is replete with in¬ programs are posted early, and it is both stand that he must feel rhythm, as well most rigid and' patient training of the only too delighted to obey. But when he run, as rapidly and as easily as possible, never varied, included oysters, caviar, cold stances of staccato which may, and should, amazing and encouraging to see the “fol¬ as think it. If there be difficulty in the fingers, having in mind this very point— said “Fall out,” I was unable to do so. I chromatically to the octave, pause for a meats and the principal dish—asparagus. be done with a most leisurely movement. lowing” the older pupils have among those notes themselves, that is to say, if the the equalizing of their strength and could stop, but I could not for the life of moment as does a swallow before a down¬ Each guest received two bunches. Then Let the child vary this himself, by him¬ less advanced. passage be an involved figure, let him play obedience, as well as their agility. At Obviously, the extremely rapid staccato is me start again—yet I could have gone on ward swoop, descend as rapidly to the came cheese and dessert, and good cham¬ self, and see what the result will be. Practice hints and bits of inspiration upon the table, tapping with one hand first, this must be done in the “five-finger accomplished only by developing this lei¬ marching, doubtless, for a long time. Once tonic* pause again, then sweep upward and pagne flowed in streams. position, then with the hand extended, surely movement with greater and greater Of course this process must be very gleaned from The Etude are always to be the rhythm of the meter-—the pulses—and the rhythm of the movement was sus¬ immediately down again without waiting “During the last months of his life and finally in passage work. It must be ease—never by forcing the speed, which re¬ deliberate. The modern child is to be found on the board. These last are with the other the rhythm of the passage pended, the very power to move was, in at the highest note. This should be re¬ pitied for all the things that are being Brahms was touchingly grateful for every to be played. Let him be sure that his begun with the very first lesson on technic, sults in tension, nor by allowing the speed changed twice a week, that the pupils may this case, suspended also. peated through two octaves, each time add¬ little attention shown him. He would seat fingers strike exactly at the right time, and must be maintained until the hand to fail to co-ordinate, with consequent fa¬ forced into his brain at once; but do not find something fresh each time they come In considering technic of any kind we ing a new^ half tone, until the scales of be discouraged yourself, and persevere himself at the piano in the twilight and by timing the speed of his movements— is balanced and equalized. Indeed, it is tigue and missed notes. The student, there¬ for lessons. Often an editorial from The quite too often overlook the fact that it is both octaves have been compassed. slowly. As time goes on, and the child play softly for half an hour; and when to lift at a rate of speed which will bring doubtful if it may ever be dispensed with fore, should never work directly for speed, Etude is so helpful that it is shared with primarily a matter of muscles and nerves. This treatment of the chromatic scale learns still further notes of different val¬ too tired to continue would move to the the finger to the top of the lift just in in some form or other. If the student but only for ease and accuracy, which in all my pupils, by being placed where they We think it is something we can get out will be found greatly to clarify and ues, he may choose a more elaborate form. window and gaze out upon his familiar time to make a smooth descent upon the be allowed to play pieces, or ever studies, itself begets speed. This ease of movement cannot help but see it. of a book; so we! buy a book and try to strengthen velocity in the diatonic scale. surroundings long after night had shrouded key, with no check of movement. to the neglect of this work in muscular depends primarily upon the accurate tim¬ % play the exercises. As a rule, we come much When the student wishes to play the final Ex. 2 them in darkness.” training, the bogey of the uneven run will ing of movements; which, in turn, depends The Bulletin Board later—if ever—to the realization that these scale run in the Chopin Walts, Opus 64, Coordinating Muscles haunt him all the days of his musical life. upon sensing the pulse of the movement, No. 1, it will be found to ripple lightly in XTOW HAVE A PEEP at some actual exercises can be played only when w€ un¬ HIS CONTINUITY of movement, both in large and in little. even triplets to an effective close. notices that have appeared on our T The Latent Defect derstand all the principles of movement “Such Hard Times” in actual playing, is a most important bulletin board: necessary to their performance. Indeed, point, if ease and freedom from tension ALL OF THESE physical inequalities, Identity in Rhythm the mere playing of the'notes does not be¬ “Immense advantage and profit may ac¬ Then, as he learns the scales, will come are to be achieved. There must be no however, frequently are not the real xv-u, wuuutcu UU DIUCK Wltn { By Sarah A. Hanson THE IMPORTANCE of rhythm in get muscular facility, as many a student crue by direct dealing with the laws which his first and best lesson in transposition; rder, then again mounted or pause between lift and stroke. The strik¬ source of the student’s trouble. His real music receives far too little general discovers to his grief and amazement after underlie musical art, but to look into its best, because he will be transposing some¬ Drown. underneath: “Some of my i ing muscle must be taught to take on ex¬ defect lies in the fact that he does not are practicing like this, I’m afraid Oh recognition. Students—and, for that mat¬ perhaps years of wasted effort. hidden past and to explore its historical thing of his own into another key. no ! I didn’t mean you /” actly when the lifting muscle leaves off, associate movement and time; does not There will he movies at the First In this time Ft. JHR the recognize the rhythmical element in phys¬ ter, many teachers—do not realize that it treasure-house is to realise, at least in some The placing of these formations of notes gational Church Sunday afternoon, and the lifting muscle to stop working is the foundation structure upon which mel¬ measure, that music as applied to the wor¬ on paper and the writing of little melodies ical movement. When he does develop A Changed Viewpoint LTr?me> gettinS ‘he bass ahead when its work is done, so as not to in¬ ody and harmony are built. Rhythm is one ship of God is one of the most powerful are bringing the music out of the child this recognition, his mastery of the phys¬ the beat and thinking of the short nc terfere with the work of the striking of the identifying elements in music. It FORTUNATELY, during the past few factors which have been making for a bet¬ himself instead of putting it into him. And as belonging more to the following coi ical inequalities will become increasingly ^hrn7wC^nbDrBinfs outatM°smweeek. muscle. It is upon this smooth connect¬ would come as a great surprise to many of years mote attention is being given ter world in which to live and have been is not that the psychology of all teaching? The note with the dot after it is lc ing of the work of the opposing muscles easy. This rhythmical element must be realfy ITtTe'eS hi^XTsu^ quite extensive musical experience, if they to these obvious facts, but there still is helping mankind in its quest for God.— Do not spend too much time “showing while the! following note is short ; that smooth movement depends; and it thoroughly sensed before playing. The my shave a newtookof musical^iogra,, have never made the test, to know that great need for wider recognition of them. Horace Whitehouse, in The Diapason. how.” Make your pupils do things them¬ what jumps to the next; usually the long r is in this connection that most of our whole being must be concentrated upon ts struck with the bass. JULY 1927 Page 501

THE ETUHe the ETUDE Page 500 JULY 1927 work in a cheerful spirit, just then are you How I Turned the Corners Mental AttitudeToward Work placing yourself in the right mental atti¬ We see, then, the importance of the whole being respond definitely and accur¬ tude toward what you are doing in the ately to it, and then, as he plays, to keep rhythmical element in music, and also in By Jean Paul Kursteiner assurance that the results you attain wii, By SIR FREDERIC COWEN physical movement. How doubly essential, his critical faculties awake and detached to be surprisingly favorable. This mental at- then, is the coordination of the rhythmical observe whether the playing really corre¬ When I have wanted to be quiet I have TT IS ALMOST impossible to estimate titude of Can, of Possibility, of Success turned the first little corner in my life. movement with rhythmical music—how im¬ sponds to the plan he made for it. is one of the chief aids to conquer, to LONG BEFORE I knew that there heard a cornet playing it in the street. possible the latter without the former. This was with the production of my hrst When I have sat down to read a notice achieve the ends to which we are all were such things as corners to be symphony, when I was seventeen, at a striving. In other words, it is merely turned, my musical career, which of some other of my compositions, it has A Practice Plan Self-Test Questions on Mr. Macklin’s concert my father gave for me at St. common sense to the nth degree, expressed was destined to take me round three cor¬ been the chief topic of the criticism _ N CONCLUSION, a word about prac¬ Article tions of the mind exercise a Profernof spiritual \ongs, and I should again.” In most cases the student will play 5. Which element most quickly identifies something which we wish to acqu.re- There are many times when he might “Did you score it yourself?”, ■?t£e*«ood~53r! Cowen to set which was written by a girl cousin. It was nne“o“r two of thfm to music before he again instantly without ever stopping to music? something which we are absolutely sure show you more than you think, but tor “What do you mean?” I asked. produced in the back drawing-room of our himself goes to that Better Land, where consider what ought to be played. One will help us for further effort. It may be the fact that you have put a barrier be¬ “I mean, did you really do all the or¬ I shall hope to join both, the author anu house, and later on, after the Italian war composer of that beautiful s says, “No, that’s wrong. Play again.” The some little fault in finger work, some little twixt him and you by reason of your chestration?” _ Garibaldi came to London and paid a state my work Is done.” same thing happens again. Finally it may What the Cowboy Liked Best error in applying muscular action that pre¬ frame of mind, shutting on the current With all the haughtiness of seventeen I SIR FREDERIC COWEN vents us from doing something as we visit to the opera. At that time my father become necessary to call for the dictation of knowledge which he would like to have looked him full in the eye and answered: I sometimes wonder whether, in the in¬ know it ought to be done. was treasurer to the Opera House, which of the notes and rests and their time-value, By C. H. Tilson flow freely toward you. For to be able “You may not be aware that the scoring terval, he has made the acquaintance oi One of the innovations of my conductor- to show someone how to do a thing so stood on the site of His Majesty s The¬ one by one, so that the passage may be cor¬ Banish “Dislike” of' a big work is usually one of its chief Mrs. Hemans and is waiting patiently m ship was the introduction of humorous rectly impressed upon the student. that it is understood mentally and done ater and he took me into Garibaldi s box Maurice Ravel, the French modernist THE MOMENT you take your place points.” ' T that “Better Land” to introduce my spirit music into the programme. I had heard “Ah,” you .say, “but why take all that practically, is the crowning happiness in a so that I might gratify my ambition of “I am sorry,” he answ.ered; out i composer, declares that music is a matter at work, having the thought that to hers. of this having been done in Glasgow, un¬ time and trouble?” “Why not tell the pu¬ teacher’s life. This mental attitude is a presenting him with a copy of my oper¬ thought that perhaps you only wrote in of the emotions only. It is best enjoyed, what you are about to do is a bore, is der the conductorship, I think, of Dr. Hans pil what was wrong?” Because the tehcher duty you owe to yourself from the lowest ate I can recall him perfectly with his the melodies for the clarinet or cornet as The Last Corner he says, by those who put aside technic something so distasteful that you wish you bronze complexion, blue eyes and reddish- von Biilow; and I thought it would be a must teach the pupil to find out for him¬ standpoint, that is, the commercial. For we do, and left someone else to fill up HE LAST corner I had to turn was and theory and listen to the heart pictures had never begun it, just that very mo¬ T good thing if we could try it in London. self what is right, and he will never do you are paying for something you do not brown beard; although, oddly eno"Sh> 1 as a conductor, work which I en¬ in the music. ment you have allowed the emotion called the rest.” I proposed it to the Gattis, but they were this if the teacher does it for him. receive. A very bad busine- proposition. cannot remember whether 'he_ wore his It was Ravel who wrote the lovely study “dislike”-to have full sway over that set “The Rose Maiden” joyed very much and which I also found dead against it. I persisted, and eventually The real point, however, in this case is,' celebrated red shirt or was m evening for the piano, which sounds like water of muscles you are about to use; in fact, Y FIRST important choral work was very remunerative. At one time it neces¬ they consented to allow me to have my that if the student is so unwilling to think M trickling out of a fountain, splashed about over your whole mental machine. the cantata, “The Rose Maiden sitated my dividing my year into two way, though they had no confidence in my during the lesson, with the urge of the Music and Serenity ^Shortly after this l begati to study r the by the wind. Once, M. Ravel was on a You have put yourself in a position to which, although it was composed when 1 parts. From October to April I used to scheme. The success of the venture was teacher beside him, what sort of thinking piano under Mr., afterwards Sir, Jubus concert tour in the United States. He accomplish nothing, even' in spite of trying was only eighteen, still goes on. me say I might be a commercial traveller in so great that the programme had to be goes on in his head during his practice? By Marion Cossitt Brackin Benedict, and harmony with Mr., after¬ came, one night, to a tiny frontier village to force yourself. You might better for libretto was adapted from the German music, for I covered from sixteen to twenty repeated several times. In fact, he does not think. He plays in¬ wards Sir, John Goss. thousand miles every year m connection where he was booked to play. There were the moment try something else', for as long Did you ever think of music as a giver I hardly know what to call the turning by my friend, Robert Francillon, at that Among the pieces we played were such stead of thinking; whereas, he ought to with the societies whose work I directed. no dress suits in his audience, but cow as this pessimistic frame of mind governs of serenity to life, an aid I" that sure, point in my career as a pianist, although time a well-known novelist and journalist, really musical jokes as Haydn’s “Farewell play only as a result of thinking. you, you are beaten at the start. Further¬ They were the London Philharmonic, the punchers who had just swung off their regular advancement of our plans which I had played at the Gewandhaus, in Le.p- as well as a poet. He also wrote the and “Toy” Symphonies, Mozart’s “Peas¬ A few minutes spent in making a careful more, don’t forget that you are beating Liverpool Philharmonic, two societies in ponies after riding far and fast. precludes the possibility of wasting nervous sic where I was a- student for some years, words of two of my other cantatas, St ants Sextet,” Gounod’s “Funeral March plan of the work at the beginning of the yourself. No one else is guilty. Bradford, the Scottish Orchestra, which Ravel determined to give them his best energy in trying to do two hours’ work as’well as at the famous Monday popular Ursula” and “The Corsair,” as well as of of a Marionette,” and Sullivan’s "Gro¬ practice hour will repay itself many times. On the other hand, if you can make practically provides the orchestral music music—let them take it or leave it. He in one? Considered this way. everyone concerts at the old St. James’ Hall. several songs. tesque Dance.” Only by such a habit can progress be made. yourself believe that every stroke of each for the whole of Scotland, the Cardiff started with simple sounding things: a can afford to devote a little regular time Young as I was when The Rose Maiden Let the student begin by asking himself ex¬ finger you use is making it stronger and Festival, and so on. On one occasion, in¬ Playing “Farewell” Haydn minuet, a bit of Master Mozart, to music every day. The Young “Maestro” was produced, such great artists as Mme. actly what he is trying to accomplish with full of musical wit, something of gruff better, each arm movement furthering your deed, a commercial traveller who had met F THESE, the greatest success was Perhaps we are counted among those HEN I was nineteen, I was con¬ Tietjens and Mme. Patey and the cele¬ O each phase of his work. With this, phys¬ Beethoven, a brilliant transcription of chord and octave work, if you can realize W me several times took me for one of his the “Farewell” ' Symphony. It was women who, after marriage, let their music nected with the opera at Her brated baritone, Stockhausen, sang the ical movement is the purpose, of a certain Liszt. Then, drawing a deep breath, that to-day you are better than yesterday brethren and asked me what I travelled in. done in the old traditional way. The the¬ lapse. This may have liven d. ne without Majesty’s, as maestro at piano and chorus principal parts. sort and manner to be done in this fasion Ravel played a group of extreme modern¬ and to-morrow you will be better than to¬ I might truthfully have answered Or¬ ater was darkened, candles were placed on looking at both sides of the problem keenly master. In addition, I had to coach the and no other, in order to accomplish this istic compositions, with no particular form, day, your whole work becomes a joy, and, "The Better Land” chestras.” , the desks. As each player finished, he and sensibly. ’ Yet, when we who are for¬ artists, play the organ behind the scenes, or that result. With this, tone quality is and no particular melody. Among these as far as practicing is concerned, this be¬ What that travelling meant may be took up his instrument, blew out his can¬ tunate enough to have been gh n more or and sometimes even the bells and simitar IT WAS as a serious composer that I the element to keep in mind; the melody he included his own Jeux d’Eaux. comes a real pleasure. Who is there to gauged by the following facts: Often, I dle, and crept quietly off the platform. less education in the art of mu ic drop it, instruments in the orchestra. I also acted really made my first impression, and not to stand clear of the accompaniment. With After the recital, Ravel shook hands tell you to feel sad or gloomy, to look on have left Glasgow on Monday morning for At the end, I was left alone, beating time we are letting go of something which can as accompanist on the concert tours which as a song-writer, although, at one time this, the long line of crescendo is the pur¬ with some of the cowboys who waited the shady side of life? Who is there to a rehearsal at Liverpool and conducted a and apparently unconscious of what had give us genuine pleasure and an advanced followed the operatic season. Indeed, at in my career, I composed a great many pose—to add power and tone gradually, for him outside the hall. They told him tell you that you cannot practice in such concert there on Tuesday. I returned to happened until an attendant, gorgeously ar¬ feeling of awareness to the 1 .umony of that time, I had the reputation of being songs. From first to last they number holding back the ultimate force for the cli¬ how they had enjoyed his playing. He a state of mind conducive to success ? The Glasgow to rehearse on Wednesday and rayed in scarlet and gold (the uniform life. The necessary investment of regular the best accompanist in England. By the three hundred. The song which turned max—so. In each case, from beginning to asked them what they liked best. “Well,” answer is—no one but yourself. took the train to Dundee to conduct a in use at the promenade concerts) came daily practice is ridiculously small com¬ time I was twenty-four or twenty-five, I my first corner as a popular song writer end of the work to be covered, let the stu¬ replied a lean, red-headed cattleman, “I concert the same evening. From Dundee up, tapped me on the shoulder, pointed to The Right Attitude pared with the continued refreshment of had practically made up my mind to give was “The Better Land.” The words, 1 dent carefully go over in his mind the vari¬ liked the one about the water. It reminded I went to Bradford, rehearsed and con¬ the row of empty desks and awoke me VT^HAT WOULD BE your reply to spirit which is the result An hour of up all thoughts of a career as a pianist. need hardly say, are by Mrs. Hemans and, ous essential points, making daily a more me of one time I had clawed my way ducted a concert on Friday, and returned from my rapt condition, when I, too, slunk v v anyone who suddenly presented him¬ serious practice every day will keep us on One reason for this was that I was always I subsequently discovered, had been set and more detailed plan. across the desert, with my old cow-pony to Glasgow for a rehearsal and concert away, looking half ashamed of myself. self, ordering you to put yourself in a friendly terms with the piano and will exceedingly nervous on the platform and by several other composers. Fortunately nearly dropping under me from the heat on Saturday. Apropos of these humorous perform¬ Listen! Watch! gloomy mood? You surely would send definitely help us not only in the art of could not conquer this, try as I would. I had never heard any of them. If I and thirst. 'Long about sunset we got to As this constant travelling and conduct¬ ances, it will not be out of place if I him about his business. If you find by a music but also in the greater art of living Another and by no means insignificant had, I could never have written the song. BUT THIS is only the first part of his good ground and I heard a little spring ing left me no time for composition, I used refer to Haydn’s “Toy Symphony,” which little struggle you have approached your well. contributing cause was hearing Rubinstein The idea that I should set “The Better thinking. The second is that he must of water talkin’ to itself—gurglin’ the to do my composing in the spring and was given at Saint James’ Hall for a listen and watch with all the critical facul¬ play. I first heard him in Milan, when I Land” to music was given to me by Mme. prettiest little tune I ever heard. Tonight Antoinette Sterling, who was at that time summer. charitable purpose got up by Viscountess ties at their keenest, to observe whether I heard that same little tune while you was about two-and-twenty; and I cannot one of the most popular singers on the Sullivan’s Successor Folkestone. The chief musicians of the what he actually does is what he planned played that there piece, an’ I just closed do better than to quote what I wrote of concert platform. She" liked the poem day took part in it. Sir Arthur Sullivan to do. him in my book of reminiscences: i ERHAPS the corner I turned as a my eyes an’ got happy over it again.” P placed the “cuckoo,” Sir Julius Benedict To listen to ourself and watch ourself think there is no one, before or since, who and wanted me to do it for her. conductor was in 1880 when the Writing “The Better Land” I have al¬ the bells, Sir Charles Halle the “night¬ in a perfectly detached, critical manner, has combined all the qualities of a real y Messrs. Gatti, who at that time ran the ways regarded as a somewhat unfortunate ingale,” Dr. Stainer and Professor Kuhe carefully appraising each tone and move¬ Qdn You T5ell? » great pianist as he did. He could, at will, Promenade Concerts at Covent Garden The Jekyll and Hyde Game business for me. The reason, was that the trumpets, Blumenthal the thrush, ment, is at once one of the most difficult move you to tears, thrill you with emo¬ Theater, offered me the post to succeed 1. What is a Coda? after it had been out for a few weeks and Alberto Randegger the drum, while Sir and most essential features of practicing. tion, or make you shiver with excitement. Sir Arthur Sullivan, who had done a good By Cecil W. Berryman 2. What is ail Enharmonic Change? looked like being a success, Boosey offered Charles Santley, Carl Rosa, the founder of The proportion of students who can plan It was no longer a piano he played on, deal to improve the popular taste, for his me three hundred pounds for the copy- the Carl Rosa Opera, and Cusin were the their work is small, compared with the 6. What is meant by Modulation ? but an entire orchestra, in which power, programmes contained a much larger pro¬ right. Seeing that I was a very young violins, and Henry Leslie conducted. I number who study music; but even this A game that might be called “Dr. 4. What is a Triplet? sweetness and great execution vied with portion of really good music than had man of two-or three-andrtwenty, and that small proportion must be reduced by a Jekyll and Mr. Hyde” has aroused in the each other to produce efforts totally un¬ hitherto been the case. Indeed, I once was sent to the piano. the song had cost me only about an hour s An incident I recall in connection with great deal if we are to come to those who class renewed interest in self-criticism and 5' WhCenturhy?greateSt EngHsh ComP°ser of the Seventeentl like the efforts of any other single instru¬ heard Sullivan’s predecessor at these con¬ work, I said to myself: “Three hundred this concert was that Sullivan played the not only can plan, but also can see that the attainment of greater accuracy. Here mentalist I have ever heard.” certs say to his orchestra before beginning pounds is three hundred pounds,” and I cuckoo’s two notes up instead of down, they carry out the plan. I have in mind are the directions. 6' WAmerka°?UCed Singing into the Public Schools ° a rehearsal of the overture to the “Flying one student who could make a most excel¬ Concentrate on a definite aspect:—a A Corner Turned accepted the offer. Dutchman,” “Gentlemen, I must confess with the most comic result, for everybody, If I had been a wide-awake business including several members of the Royal lent plan—could tell 'in accurate detail just scale, an arpeggio, or a few isolated 7 What is meant by Related Scales; and what are thev> USED TO GO HOME from his con¬ to you that I know absolutely nothing I man, I should have said to myself: “If Family who were present, burst into fits what ought to be done, and why. But for measures wherein fingering, rhythm, 8. WhMare the aesthetic principles'gove^ fi&Cn certs feeling that I should like to about this composition.” , Boosey is so anxious to buy the copyright, a long time she so completely lacked the notes, phrasing, dynamics or pedalling are chop up my piano with an axe and never Even as long ago as the time of which of laughter at the unusual sound. the song must have some greater value faculty of criticising her own work that stressed. Score under two headings, the 9. What is an Interval? touch a note again. So I turned one cor¬ I speak, Wagner’s music always drew a than I think,” and I should have stuck The Royal Philharmonic Society her progress was( negligible. It was only good points under Dr. Jekyll and the bad 10. How are Intervals reckoned? ner in an entirely different manner from good audience, and his name was one to out for royalties. Had I done so, Boosey HAD TO WAIT, however, until 1888 as she developed this faculty that her work under Mr. Hyde. Executing a passage the way most people do, and went into an¬ conjure with. The first half of the pro¬ I would eventually have had to pay me before the offer came which really made any marked improvement. correctly gives the doctor one: each mis¬ other street altogether. gramme was made up of classical music, Save *. 5i5 ANDCH£CK UP ANSWERS, many more thousands of pounds than he In the case of the rhythm of movement, take must be credited to the Hyde column. JlZIlltZ While at one time of my career people but the second half consisted chiefly , of brought me into prominence as a con¬ paid me hundreds at the time. then, it must be the purpose of the stu¬ The goal is ten points. No score for talked a good deal about me as a song¬ waltzes, polkas, ballads and similar light ductor. This was my appointment to the reception room reading table. nP b°°k of them f<* the benefit rf eaj£ “The Better Land” has, like a Franken¬ dent, before playing at all, to saturate Hyde grades 100 per cent. One point for writer, it was really as a serious composer Royal Philharmonic Society. It was im- stein monster, haunted me ever since. pieces. himself with the sense of the movement, Hyde gives A+. Two points gives A. that I made my first success, and in a way to feel sharply the pulse of it. to let his Seven or more points gives E or “failure.” JULY 1927 Page,503 THE ETL'Dfl Page 502 JULY 1927 THE ETUDE A Chronic Disease Nobody Knows What Music mediately followed by an invitation to go Beethoven’s Deafness Really Is to Use the Wrist in Piano Playing to Australia to act as conductor at the r-ptHE post-mortem examination of Bee How Tthoven’s auditory organs showed that Melbourne Centenary Exhibition. That By H. C. Toms set the ball rolling, and, as happens when By Charles S. Smith th„ nro°ress of the chronic disease, witn By EUGENE F. MARKS which they were afflicted, was ac“^rane one is in the swim, one thing led to an¬ Music and Mathematics go together extension and flexion of the wrist, by rais¬ other. A MAN of intellect encumbered with by a thickening of this mucous membrane ness again resort to the exercises for re¬ lining, which gradually impaired the «« hand in hand—an art and the most exact of the movements which the hand is ca¬ ing the hand with fingers curved and allow¬ When Sir Charles Halle died, I was a physical ailment which influences- of the sciences. It seems a curious com¬ WE READ quite often about the laxation. ing its weight to fall through a relaxation invited to succeed him at Manchester and ibility of the elastic structure and finally pable of executing. The hand is the essen¬ the power of his expression or his bination. Yet, although a tone can be clas¬ fingers and their activities and the of the wrist by catching the force of the Liverpool. I remained at Manchester for appreciation of it, is one of the destroyed the true function of the ear. tial part of the upper extremity and the Relaxation in Chord Work sified according to its precise vibrations arm with its weight; but we sel¬ fall with the finger upon its particular key three years, when Dr. Hans Richter be- fui figures in human history. The singer It can easily be seen that this thickening forearm subsidiary.” \EXTERITY and facility of the and although a melody can be coldly dis¬ dom see or hear much concerning the and raising the hand immediately after¬ came the conductor. With the Liverpool who loses her voice, the painter who be- with its fatal result finally prevented the The forearm contains two bones which / fingers may be quickly gained through sected and set down in terms of mathema¬ wrist with its divers movements and subtle ward in preparation for another fall. Philharmonic, however, I remained for COmes blind, the pianist with disabled fin- perfect transmittance of sound wavesit articulate with each other, the ulna and such exercises. Still, in broad chord tical calculation, nobody really knows what pressure so useful in the act of perform¬ The lateral movement (abduction and nearly twenty years; and I was the same gers; these call forth our compassion. But the inner car, not only those sounds com¬ radius, the latter joining with some of the work, one is liable again to encounter a music is! ance Indeed, this joint seems to have wrist bones. The ulna is continuous with adduction) of the wrist are invaluable for time at Bradford; while my reign with most pathetic of all is the picture of Lud- ing from without-inward, but sounds aris¬ been lost in comparative obscurity. Many stiff wrist. Relaxation in such work may What is it about a tunc that makes you the humerus, the bone of the upper arm, the dextrous adaptation of the hand tor the Scottish Orchestra lasted for ten wjg van Beethoven, the great composer, ing within-outward. Thus the unpleasant teachers become so engrossed in the subject be attained by holding the hands loosely years, a longer term than anyone else en- becoming gradually deaf, roaring and rushing sounds within the ear, “crazy about it?” Why do you like to and is affiliated with the movements of the poised above the keys and then allowing the over and under position of the thumb of legato for the fingers (which is of the in scale passages. These movements are joyed. Beethoven first experienced violent noises of which the composer complained, were hum, or whistle this melody, when another arm. It does not articulate with the wrist them to fall by mere weight without force. melody fails to invite you? Why does utmost value) that they neglect the wrist- bones, but acts merely as a support to the easily displayed at the keyboard—and at The Largest Orchestra in his ears when he was in his twenty- caused by the flowing blood in the vessels work or postpone its study until the legato The fingers should be kept firm, but the of the ear and in the mucous membrane. one song melt you to tears, while another, parts beyond and serves as an anchorage wrist entirely free and easy at all times. the same time give a most excellent exer¬ OF THE ORCHESTRAS I have con- e'Shth year< and in 1801> three l"ears Iater- seemingly just as beautiful, leaves you touch has been attained. Yet the use of for the attachment of muscles which move cise preparatory to scale study. ducted, that for the Handel Festival deafness grew on him to the extent of be- The normal adjustment of the sound- this joint may be early introduced in the Practice slowly. cold? What is that mysterious quality in the radius and hand. In other words, it Place the thumb of the right hand upon is, I need hardly say, the largest. It is, cominS an unending annoyance as well as transmitting portion of the ear causes routine of technicalities by employing a Too frequent, too strenuous or too pro¬ these circulating sounds to be transmitted true music that sets your heart passionately is the fixed point around which the radius tracted an application of wrist movements middle C for the study of C major scale indeed, with the chorus, the largest regular a continual pressure on his sensitive nature, semi-staccato touch upon repeated chords (other scales to be adapted according to outward and pass unnoticed. But, from beating, fills you with a strange longing rotates. . , , in the study of octaves or extended chord orchestra in the world, although, on occa- It made him silent and melancholy, and, as of the triads or two notes (thirds or the requirement of each). Then, with a congestion of these parts, in Beethoven’s after the unattainable, makes something The radius is located on the thumb side positions is liable to incur some injury to sions, the numbers at the recent Wembley ’t increased, he lived in constant dread of sixths) simultaneously on each degree of good legato connection continued through¬ Exhibition put it in the shade. its being observed. When the infirmity case they were retained and appreciated. stir within your soul and reach out to the and articulates with the scaphoid and the intricate articulation of these little the scale. out the entire exercise, strike the E above It was in 1903 when the late .Sir August was almost complete he not only kept to The closing of the Eustachean by exces¬ lunate bones of the carpus. It is contin¬ carpal bones, such as a dislocation or gan¬ Just as an understanding of the mechan¬ it with the third finger releasing the L. Manns was in poor health, that I was himself a great deal, but also, by advice of sive mucous allowed no air in the cham¬ Nobody knows! And this is one of uous with the hand, serves as its support glion in adjacent parts. In case of a gan¬ ism of the pianoforte aids the pupil in em¬ Next, using this third finger as a pivot, asked to do this work. his physicians, unwillingly spent much of ber of the middle ear, and the heavy pres¬ the fascinations of music. and enables it to perform the function of glionary effusion usually purulent or tu¬ ploying different touches upon the keys, swing the arm outwards (abduction of the I have often been asked what is the dif- his time in the country. This made a very sure of outer air forced the drums pronation and supination. bercular in character and recognized by a so a knowledge of the bones of the wrist wrist) at the same time pulling the thumb ference between conducting so enormous morose man of one normally of a sociable tightly inward. This it was that caused swelling above the wrist or in the palm of enables him to acquire a better control of Pure and Partial Wrist Actions under the fingers until it stands over F an orchestra and one of ordinary size, and nature, Beethoven such distress from excessively Keyboard Cruises the hand (in compound ganglion by swell¬ this member. The wrist is the joint by URING THE acts of pronation and above the pivotal E. This gives the wrist it may not be out of place if I devote a A Misfortune loud noises. D ings at both of these places) it is advisable which the hand is united to and moves on supination (the alternation of which an outward-curved position. Sounding the few words to the subject here. There is a «4rX)RGIVE ME, then,” he wrote to his Such was the progress and nature of the By Dorothy Bushel! to consult a physician. the forearm. Within the wrist-joint he produces rotation of the hand), the lower F and using it as a pivot, immediately distinct interval between the beat and the J? brother “if you see me turn away disease that so insidiously deafened the Dislocation at the wrist may either fol¬ eight little bones of different figures and swing the hand over sidewise so that the sound coming to the conductor. Sound, when i WOuld gladly mix with you. composer. Introduction of the play spirit into end of the ulna remains at rest while the low from injury or occur spontaneously thickness placed in two ranks, four m lower end of the radius moves with the fourth finger will fall upon its allotted know, travels with relative slowness, a Doubly painful is my misfortune, seeing piano lessons for very young students (observe the delicate mechanism of these each rank, and all closely affiliated. The hand. In the performance of pure wrist note, B. Using B as a pivotal point with fact with which everyone who greatly facilitates progress. bones!). The displacement may be located it is the cause of my being misunderstood. shapes of these bones give them such dis¬ another outward swing of the arm let the hammering in the street at a distance from For example, at the beginning of a new actions, such as flexion (pulling towards at the true (radiocarpal) wrist joint or be¬ ~ there can be no recreation in tinctly descriptive names as: the palm), or extension (turning towards them is familiar. They see the hammer humanTntercourse, no conversation, no ex- piece, the pupil is told he is alwut to em¬ tween the two bones of the forearm near thumb land upon the C above. First row, near the forearm; The same exercise reversed (playing go down but they do not immediately hear change o£ thoughts with my fellowmen. bark on a voyage to several countries. If the back of the hand), or the lateral move¬ the wrist. In case of the pianist such dis¬ Scaphoid or navicular—boat shape. ments of abduction or adduction, the eight from top to bottom) affords an example the sound it has made. In solitary exile I am compelled to live. the piece begins in the key of I Major it locations are usually caused by violence or Lunate or semilunar—crescent or half¬ carpus bones fall into their natural func¬ of the motion of adduction peculiar to !- Whenever ! approach strangers I am over- is pointed out that the danger points are overstraining of the radiocarpal joint. Handel Festival I used to imagine that o When a painter paints a picture he uses at B flat. It will be almost fatal if B moon shape. tion of articulating upon each other, upon There is apt to be a dorsal protrusion of the wrist. In this manner the octave may by a feverish dread of betraying my Cuneiform—wedge shape. be practiced several times up and down things were not going right when the sound condition'’ a model. Art students often draw from natural is played as it means striking a the radius of the forearm, and with the the ends of the bones of the forearm over did not come to me as I expected it would. The malad Pisiform—pea shape. five metacarpal bones of the hand proper. before proceeding to a higher octave. Bet¬ aggravated by incompe¬ a statue, and the nearer they approach rock and upsetting the boat This neces¬ and above the bones of the wrist usually I found, however, that it was best not to Second row, near the hand: The hand, in its movements of flexion, ter still, each swing may be practiced sep¬ tent doctors, and Beethoven also tried the lines of the model the more successful sitates another journey to set matters confined to the ulna alone. pay any attention to this, but to go beat¬ Trapezium — quadrilateral, rhombic or extension, pronation and supination extends arately several times, thus: every conceivable remedy, including gal¬ their drawing is, for they know that the right (as, naturally, the student rectifies Such dislocations, when showing slightly, ing right on in the regular way, for it through an arc of about one hundred and vanic treatment, but with little or no avail. model is perfect. In other lines of activ¬ the error by starting afresh.) table shaped. may be treated by placing a coin about the sounded all right in the auditorium. Trapezoid — quadrilateral, rhombic or forty degrees; with the acts of adduction A heavy strain of fear, relieved at times ity people use a model in the form of an A change of key probably takes place size of a quarter upon the protruding Ex. I As far as I know, I was the first con¬ and abduction the range is about one-half with frail hopes of cure instilled by his “ideal” and try to follow it. midway through the piece. Suggest to the table shaped. hump and keeping the pressure constant by ductor to introduce real light and shade as far. However, the extent of the move¬ doctors, was thus placed upon him. Piano students can also use a model to child at the termination of the first part Os Magnum—great bone. a wide stout rubber band clasped firmly into the orchestra and choir at the Handel ments of the wrist varies much in different good effect in various ways. They can of the study that the first port has been Unciform—hook-like. around the wrist surface. At times it may Festival. In the old days, the choir used listen attentively to the playing of the individuals. Looseness or freedom in the be necessary to precede this application of to shout the music. I never could see any The Cause reached and he is now dropping his cargo master pianists of the world and, though The Double-Hinge Joint wrist joints of children, professional pian¬ pressure by twisting (rotating) and reason why the choir as a whole should I WING preparatory to going on a quite different lack of established informa- not trying to imitate them, can strive to HROUGH THE articulation of these ists, and those unaccustomed to hard man¬ strongly drawing the hand forward until not sing softly just like the individual o s difficult to agree on the journey (possibly via G Major) and that T emulate them. In this case it will be the eight bones upon themselves, the first ual labor, is well remarked. the bone jumps into its natural position. members of which it was composed. One of Beethoven’s deafness. It is popu- he must now be most careful of the danger memory of a beautifully rendered piece row of bones in. conjunction with the bones Every student of the pianoforte, no However, it is far better to prevent any day, at rehearsal, I told the choir of this larly blamed on an imprudent exposure signal, F sharp. If he ignores this it will of music that will serve as the model, for, of the forearm forming the true wrist- doubt, realizes the great necessity of a free trouble tending towards dislocation by and got them to try it. They did. It was cold when the master was at one time result in disaster since it marks a very of course, when one is practicing one is or and loose wrist in his playing. For, if he practicing octaves and wide expansions of before taking the entire octave as at (b). most impressive to hear four thousand heated, and, according to one of his ac- dangerous rock. joint, and the second row articulating with should be alone and out of reach of the holds it with tenseness, he finds difficulty Then practice the over-and-under swings, voices singing very softly. Gradually, the quaintances, it “eventually settled in his The writer finds that students are very the palm portion of the hand forming the the hand slowly and carefully. If the concert platform. in securing agility in the fingers and in as in (b), for two octaves; and finally choir got to know exactly what I wanted organs of hearing.” Another time, in a fit watchful for danger signals when pointed metacarpal joint, we obtain such diverse wrist is kept entirely relaxed the student Yet another way to use a model is to bringing a good resonant ring to his tones. interpose the omitted intervening notes of from them, and eventually they used to of heated temper, a frequent occurence out in this manner, and are greatly in¬ movements of the hand as, flexion, exten¬ need not entertain any fears concerning the perfect a line or a phrase in a piece of Before a note is sounded he. should be sure the scale and observe how much more sing this soft music beautifully. with the master, Beethoven threw himself terested in the notion of traveling to sion, pronation, supination, circumgyration, possibility of such a mishap occurring music and try to make the rest of the of utter relaxation in his wrist joint. This easily and rapidly the scale run may be __ on the floor and when he arose found he South Africa, India and other far lands abduction and adduction. However, all With the old method (arms held closely piece just' as perfect. This serves a two¬ state may be attained by the simple exer¬ executed after this preliminary exercise could not hear very well with his right by means of the keyboard. these motions do not lie within the wrist to the sides) it was not unusual for stu¬ fold purpose in that the model is found cise of loosely shaking the hand for sev¬ has been practiced. For the left hand ear. Considering this fact with the au¬ itself: for, notwithstanding the fact that dents to invite wrist-dislocation. Children Check Their Practice in what the pupil happens to be studying eral seconds while it hangs limp and list¬ begin again at middle C and proceed topsy the conclusion is that a form of the wrist is a “double-hinge joint” possess¬ at the moment. Theory and Pedaling for ing movements around two axes, there lessly by the side, giving it a forward and Scope of Wrist Technic downwards in a similar manner using the apoplexy brought on by the sudden im¬ One thing the pupil should keep in mind. backward motion while the entire arm By Nellie Dovel pact of the ear with the floor caused the Beginners exists no independent rotary movement in THE USE of the wrist in every phase notes C-A-G-D-C. . , . . This is that, if he practices correctly, his swings as if devitalized. This motion is One may readily conceive that it is disease, a chronic catarrh, which gradually the wrist. When a rotation of the hand of modern piano playing is so uni¬ model will change from day to day and produced by the hand swaying and hinging utterly impossible to utilize the rotary The practice problem has been solved destroyed his faculties of hearing, By Esther Lindberg occurs it is produced by the forearm. versal (and this is as it should be, as the even spur him on to greater efforts. For upon the axis of flexion and extension of wrist motion throughout its entire arc on successfully by one ingenious mother. Others partially attribute the cause to a Within itself the wrist possesses upon wrist is capable of movement in nearly it is a truth that his model or ideal is al¬ the wrist. the piano-keyboard. Yet, for motions of She gives to each child a card marked constitutional disorder inherited from his At the age of eight years the pupi its two axes only the power of flexion every direction) that one hesitates to limit ways a little in advance of him, no mat¬ Follow this exercise by a similar pro¬ adduction and abduction, it is indispensable with lines to allow twelve spaces for each father. But it is safe to assume that not- personalities begin to peep out. A m( (hinging towards the palm), extension its possibilities by assigning it to a par¬ ter how great his progress. cedure, but shake the hand laterally, using in playing arpeggios with legato in the piece. Any number of spaces may be withstanding facts obtained from the au- important question then is, “What kind (moving in the opposite direction), and ticular place. Even in simple five-finger the lateral movements of adduction and the alternate wrist movements of abduc¬ three positions of the triad. As legato- used. topsy concerning its nature and progress. instruction book is best? ” After tryi tion and adduction upon the transverse axis. work with what is termed a quiet wrist, abduction. The movements of pronation in semi-staccato touch or repeated notes, connection is rather difficult to sustain in Each time a piece is practiced carefully the direct cause of this disease of the audi- numerous ones the wise teacher will choc When all stiffness and tension seem to have supination and rotation are obtained its employment, in not too rapid tempo, is these enlarged reaches it is incumbent upon through, the pupil places a diagonal line tory organs will probably never be known. A New Way to Play the Scale as a guide one simple, inexpensive ai been eradicated from the wrist and fingers i one of the spaces. through the bones of the forearm. preferable to the finger snap. This shows one to keep this fact in mind always and fact that the inner surface of the liked by all the pupils, along with t by such devitalizing motions, attempt to in Broken Octaves Because of the close affiliation of the the superiority of weight over muscular design preliminary exercises accordingly. middle ear is coated with mucous mem¬ th«iry and the pieces given them. play a few notes softly, employing the forearm with the wrist and the great util¬ exertion in piano-playing. For example, Sly the exercise for wrist-gyrations / / (/’ / / brane, very rich in blood vessels. This But should the teacher give theory weight of the fingers only: if the tense¬ ity of their combined movements in play¬ the first four measures of Mendelssohns within keyboard limitations is to make use {Zofclz. / / / / coating covers not only the walls of the By Lulu D. Hopkins pupils so young? Assuredly! When giv ness reappears perform the shaking pro¬ ear but the inner side of the ear drum and ing the pianoforte, it will repay any pianist Wedding March from “Midsummer Nights of the arpeggio-run / / / / m simple language they can easily unde cess again and repeat it, if necessary, even the three small bones which transmit the to study the bones of the forearm and their Dream” should be played entirely fdom the / ' / Play two notes, one octave apart, with stand the why and wherefore of this hci before every note. sound impression from the drum to the consequential action upon the hand. Dr. wrist rather than by employing the change Ex. 2 &f-17 / the second and fifth fingers. When letting tofore unexplored realm of music. T In the slow practice of chords no method inner ear and their articulations and at¬ Gwilym G. Davis, the renowned orthopaedic of finger method (4-3-2-1) upon the go of one key with the second finger and very first lesson, then, is the time at whi is superior to this devitalization of muscles tachments. Communicating with the mid¬ surgeon, in his “Applied Anatomy,” says, groups of one repeated note of the first reaching for the next with the fifth finger o begin teaching theory, and further dirt between every fall of the hand and arm. dle ear is the Eustachean tube connecting “The forearm is intimately associated with and second measures. Else, when the the second finger should unbend from its Hons are given as the need arises. After practicing the scale in this slow .with the mouth, the function of which is the functions of the hand. It serves as a chord repetitions are reached, a difference curve and the fifth finger should remain Also, with the cooperation of the paren manner at each practice period for at least to allow the ear to maintain an equal air sort of pedestal or support enabling the in touch will be apparent at the change raised, ready to strike, until it reaches a the problem of when to teach the pec two octaves and back, endeavor to run the Her children become so interested pressure on both sides of the ear drum. hand tp be carried away from the body; from the finger to the wrist flexion. point directly above the key desired The can be solved. Many can grasp its « scale lightly and rapidly and see how far seeing the marks travel across the page This tube is also lined with mucous by possessing certain movements of its This mezzo-staccato touch with a quiet actmn should be from the elbow.' The aiid misuse from the beginning. Othc you can go before experiencing any rigid¬ that they think practice is play. brane. own, those of pronation and supination, it arm or hand is secured, through alternate wrist should go across with the finger. must wait until their cars have been pre ity in the muscles. I f there is the least tight¬ erly trained. increases greatly the range and character JULY 1927 Page 505 THE ETUDE the etude Page 501+ JULY 1927 MacDowell’s Witches’ Dance offers an for the first position as in (a), for the but retains its position above the key- Gleanings from Practice Hours example so formidable that it is sometimes second position as in (b), and for the board.” In contrast to such teaching the -- omitted bodily. A NEW DEPARTMENT OF PUBLIC SCHOOL MUSIC third as in (c). modern tendency, originated by Franz Liszt gy Sylvia H. Bliss In these exercises each note, on being at about the same time as Plaidy, en¬ Conducted Monthly struck, becomes a pivot on which to swing courages the assistance of a relaxed arm Many years of piano pract.a have de to the following note. If the exercise is when needed and allows a downward and veloped certain conclusions which, handed By GEORGE L. LINDSAY, Director of Music, Philadelphia Public Schools performed correctly the arm swings out¬ upward lifting of the wrist at intervals on, may be of use to an occasional student wards and inwards and the hand from the to sustain the flexibility of the wrist, thus: First a few words regarding the atti¬ wrist assumes a rotary motion while the tude toward a composition to be learned. fingers take their designated keys. Of Ex. 4 At first trial, this piece may seem a v course this act of partial revolution neces¬ itable mountain of difficulty; and the e - sitates total relaxation of muscles and dency to discouragement will prevail if we joints throughout the entire arm. The old Music Clubs in the Public Schools carry into each period of practice a sense method of quickly moving the entire hand High wris for program study clubs in order to pre¬ The use of the talking-machine of the (thus preventing the rotary motion) to of the difficulty of the entire work. Mas¬ ond grades as a club activity. The chil¬ pare the pupils for the fullest understand¬ It is evident that these two positions must AN IS said to be naturally a gre¬ newest type will provide an ample back¬ each new position of the arpeggioed chord tery of the most trying composition is not M dren enjoy organized rhythmic expression ing of the music to be played at the not be taken suddenly, but gradually. The garious creature. How much ground for the major part of the score is superseded by this modern method of one great task but an assemblage of many through the use of toy drums, cymbals, concerts. But these opportunities exist feeling experienced by the' hand and fin¬ truer this fact is in the natural if the teacher is not able to play the piano flexible rolling of a relaxed, wrist. The small ones. Broadly speaking, it is true triangles, bells, tambourines and other only in the larger cities and only a small gers on the keys in this touch may be social relations of children. Group activi¬ score or if she cannot obtain upper grade omitted notes may be supplied easily by that, if a. student will descend with suffi¬ simple rhythmic instruments which can percentage of the pupils can be accom¬ likened to the rebounds of a bouncing rub¬ ties are decidedly more stimulating and pupils to do so. The proper development the fingers while the wrist and arm are cient patience and care to particulars, he be effectively used to express the rhyth¬ ber-ball. However, there is one rule of interesting than individual efforts. The of this extra activity with picked children modated even there. performing their acts and practiced so will find nothing difficult. Difficulty is en¬ In case's like these, continued rapid prac¬ mic structure of marches, waltzes and The growing movement of broadcasting Plaidy which should still stand and which example and adulation of others are often develops an interest in orchestral music throughout the entire length of the key- countered when we attempt on the first day tice is more than likely to end in stumbling. other dance pieces played on the piano by orchestral programs is a splendid one, pro¬ states, “In order to obviate the clumsy, the principal motives for sustained and in¬ and acts as a stimulus for creating a what belong to the tenth. The difficulty is akin to that experienced in the teacher or on the talking machine. vided that these programs are broadcast heavy touch which beginners are apt to tensive effort toward achievement. These desire for the children to study the regular The rotary motions enforced by the repeating rapidly, “Thcophilus Thistle is Capable children are selected as leaders at a time to fit the club period in the employ, and to acquire lightness and ease, Practice Plus Thought basic principles are foundation stones _ of instruments of the orchestra. forearm (those movements which the sifting a sieveful of unsifted thistles." and delight in directing in such a way as school day. No attempt should be made these exercises should first be played piano A second conclusion is that practice, to the structure of universal public education. famous progenitor-monkey tribe is in¬ to make sure that the proper rhythmic re¬ and slowly.” be of real value, must be practice plus There is alliteration in the arrangement of The conservatory idea in music study to supplant the regular lessons in music capable of performing) are clearly ex¬ sponse is given to the demands of the music. The Elementary Orchestra and Glee Club understanding by introducing the radio thought. It is possible to go over an in¬ notes and use of the fingers, and confusion exemplifies these principles. It has been hibited in the performance of the chord- The rhythmic band is always greeted enthu¬ programs in the schools in place of the Self-Help Questions on Mr. Marks’ Article tricate passage several, even many times, results. This may not occur till long after carried out in the introduction of piano -'HE PUPILS in grades five and six tremolo. These same twisting wrist-move¬ siastically by groups of older children and more resourceful talking-machine reper¬ 1. What exercises give complete relaxa¬ without becoming at all familiar with it. the piece fs learned. The passage has been class instruction in many progressive are extremely interested in studying ments in conjunction with slight finger their parents whenever they appear with tion to the wrist ? Each repetition may result in the same handed over to the subconscious self; and school communities. These classes and piano, violin, cornet, drums and the solo tory of records. The symphony orchestra action may be used advantageously in such their simple uniforms of capes- and’ caps children’s concert supplements the study 2. How may slight dislocations of the trouble; each time it may be as if newly it is with dismay that the player becomes ether classes in violin and the solo instru¬ instruments of the orchestra if an oppor¬ simple exercises as the following (given in the assembly or in public gatherings. of music appreciation in the class-room, wrist be treated? read. For such trouble the most effective aware of inefficiency in his fingers. ments of the orchestra and band have de¬ tunity is provided for them to join«the for the right hand only) : The youngsters take their task seriously 3. When should the mezzo-staccato touch remedy is acquaintance with the text, not The best means of rescuing the passage veloped tremendously in the public schools school orchestra. Many schools have and the educational radio broadcasting of and are very keen in following directions be performed with wrist action? through mere finger repetition but by from automatism, which has become im¬ in the last decade. The tedium of soli¬ capitalized this interest and have organized music may be introduced in the school Ex.3 exactly. Many school music educators 4. What wrist actions aid in scale-play¬ means of the application of thought. What¬ perfect, is playing it many times, con¬ tary practice has been turned into the joy orchestras on an extra curricular basis. assembly to large groups of children to have thought so highly of this device for ing? ever the difficulty, whether of rhythm, fin¬ sciously superintending each note. When of cooperative effort by the introduction The elementary orchestra caii be made a serve as the best substitute for the actual rhythmic response that they have em¬ gering, unusual succession of notes, or in¬ the offending section is again taken rapidly, of class instruction and practice following success if the teacher will select music childrens’ concert. bodied the use of it in the course of study volved chords, it will yield to intelligence. awareness of each note is not possible; the policies of the best pedagogic prin¬ of elementary grade and not attempt The broadcasting of children’s programs When the passage's are definite and clear but there are always points of prominence in music • education. to make these beginners play selections offers an opportunity for the schools in ciples. The use of the rhythmic or play band in the mind, the fingers, if well trained, where consciousness may step in and save What is true of the intensive work car¬ that are too elaborate. In order to de¬ rural districts as well as in cities to hear lias a place in all courses in music appre¬ Bach Study Hints will readily do their part. Finger stumb¬ the fingers from disaster. Definitely re¬ ried on in the varied program of the school velop interest in instrumental music, there the best in music. The music appreciation ciation in the lower elementary grades. ling is, primarily, mental stumbling. curring accent is invaluable in this con¬ day and in the supplementary classes is is a nation-wide movement to provide club may follow the same plan of pre¬ In song contests arid festivals a place is senting the identical programs performed By Alfred J. Tull nection; and thought directed t" some par¬ obviously true of the well-guided social school children with class lessons in piano Speeding Up generally found at the top of the program in the series of children’s concerts by The hand in exercise (a) dolls with a ticular finger or to a certain note each time clubs or extra-curricular activities. The and in the solo instruments of the or¬ twist from the key C to E while the third In the matter of tempo it is frequently for selections by these groups. Since it chestra. Great success has been obtained means of the modern talking-machine, and “Giving of doses” is the current attitude it occurs will frequently give one control school is dull indeed that provides nothing finger, slightly lowered below the other impossible to exceed a certain speed. Even costs very little to equip a rhythmic band, with these classes that meet either in thus bring these truly remarkable record¬ of a great number of teachers. But Bach’s of the situation. more than the regular program of edu¬ fingers, descends upon the key E stopping works should not be taken as tasks though if the piece is a very familiar one, efforts no first or second grade class should be school hours, after school or on Saturday ings of the greatest musical organizations The first cadenza in the Nocturne, Op. cational subjects. the force of the roll. The momentum of they do develop a certain phase of technic. to increase the rate of movement may be without one as a club or a regular activity. mornings. and artists into the school assembly and 15, No. 2 of Chopin is the despair of many. this roll or twist slightly raises the thumb- The prime reason that some children ineffectual. For this purpose set the met¬ Many places are providing individual class-room. This is the more practical By fixing firmly the notes to 1: done by side of the hand and at the same time have an aversion to these studies is be¬ ronome at a mark considerably beyond the Socializing Influence of the Club The Class Choirs instruction and the pupils who are in good way of securing results although it may depresses to an inconsiderable extent the cause they think of them only as exercises. usual one, and play at least a portion of the fourth finger, the others will fall into standing in the class room subjects are not hold the interest and fascination for line. THE JUNIOR high school club idea NOTHER interesting socializing move¬ little-finger side. The impulse to regain Therefore, in order to hold the child’s in¬ the piece, in spite of stumbling and some A excused from class in order to take les¬ has received so much attention of ment is ’ evidenced in the present de¬ the children that the radio does. balance carries the hand towards the left¬ terest at the very start, Bach should be skipping of notes, at this rate. Do this sons during school hours at public ex¬ Ex. 3 Chopin late that the elementary schools, and even velopment of class choirs. No modern side and the D is taken by the second presented in a distinct light. several times; and, while this tempo may pense or for a small fee. The outcome of the senior high schools have relaxed -in school music course is complete which The Junior High School Clubs finger, the thumb-side of the hand falling The principles of polyphonic writing not be maintained, the old time habit will all this is the splendid development in their efforts to provide opportunities for does not call for individual singing on the and the outside rising; and so on to the may first be explained. Then the unique have been broken up and a new speed these outstanding communities of worth¬ THE JUNIOR High School program club activities. The reason is due, no part of all pupils. The music class is end of the exercise. This continual rolling manner in which the constantly recurring limit attained. And in this connection it is while school orchestras and of the com¬ calls for regular club periods in school doubt, to the fact that little or none of the thereby easily divided info three groups of of the hand from first one side to the voices are presented may be pointed out. well to recall the old advice', “Do not bined all-elementary community orchestra. hours. The early adolescent period is the school day is devoted to club periods and singers. The best singers are seated in the other is a simple transference of weight The child can be made to see the piece is always, or even often, in general practice The prospect of developing fine vocal club age of most fruition. The socializing that the clubs have to meet after school rear of the room and form the first choir, and produces a tremulous movement of music rather than a finger exercise. The play a piece at your highest speed.” Slow work in the glee club or chorus com¬ influence of club activities in grades seven, hours. The fault is not with the modem the medium-grade singers in the seats in the hand. The exercises should be prac¬ fact that the works are of great impor¬ practice of what is even well known is in¬ prised of the pupils of grades four, five eight and nine is well recognized and child, nor with the average harassed the middle of the room and constitute the ticed very slowly at first with an exag¬ tance technically need not be unduly dispensable to continued clearness and ac- and six is the best afforded in the schools. practically every pupil elects membership The Supremacy of Thought teacher who is often forced, to spend second choir, the poor singers in the front geration of the sidewise movement, and stressed. curacy. This is the age when the voices of the in three of the numerous organized clubs. The connection between brain and hand nearly all of her after-school time in col¬ seats and form the third choir. later interspersed with soft and rapid Taking a two-part invention, instruct the Snares for the Unwary boys are at their best. Many boys are The school music teachers are recognized is incredibly delicate and swift. When a lege classes and in preparation for her When the class is so organized, at least movements. pupil to play it Tempo Commodo. Then members of church choirs. The children as those who should handle the glee clubs, What has been said is especially true of finger slights or skips a note, usually a own educational and economic advance¬ one choir may be used as the nucleus for However, wrist movements conjure up start at the beginning and study it a are in the age when group practice does orchestras, bands and operetta clubs. such passages as follow. The first is from careful thought of that note, as it ap¬ ment. The reason lies in the fact that the a club which can sing for the assembly.. to the pianist exercises devoted to simple phrase at a time. When the general idea fall upon them and they are capable of Other school and professional teachers November by Tschaikowsky and represent value of school club activities is often The first choirs of all of the three lower chords or octaves played from the wrist of the composition has been conceived, proaches, will bring it into the fold. performing the most difficult part music, should assist by sponsoring music appre¬ the tinkling of sleigh bells against the overlooked and underestimated. grade classes may Be formed into a lower in a staccato manner and employing only work it out measure by measure until the Simply listening for clearness and evenness such as the intricate score for children ciation clubs, violin clubs, wind instrument the motions of flexion and extension which rhythmical left-hand theme1. Enterprising teachers, however, have grade chorus and produce little cantatas technical demands are mastered and it of a scale passage usually will establish in Pieme’s “Children’s Crusade.” The club for beginners and radio clubs. are restricted to the eight wrist-bones. these qualities. found time for music clubs before school whose plots are built around the class¬ can be played at the required tempo. This Ex. 1 Tschaikowsky music selected should have dramatic ap¬ The glee clubs may be divided into the The position for the hand to assume in method of study enables the student to and at noon, as well as after school. No room songs. The chorus may sing pro¬ I’’ P'ano practice as in prayer there may peal. girls’ glee and the boys’ glee. These such performance is most aptly described perceive the thing as a whole, and so have one likes tp stay “after school” even for grams consisting of these songs in the be “vain repetitions;” and the one no less A little difficulty will be encountered groups should be combined into the by Isidor Philipp, in his “School of Tech¬ the interpretation constantly in mind. than the other may be made effectual by intensely interesting club activities. Edu¬ assembly and on public occasions. in organizing glee clubs and in developing mixed choral club. Much splendid work nic.” “In these wrist exercises (double The finished rendition and interpretation sincerity and thought. cators say that the solution to the prob¬ notes and octaves) it is necessary to pre¬ lem is in an extended school day, and. many operettas and concert programs with can be accomplished by these vocal organ¬ must not be relegated to the last, else the The Toy Orchestra pupils of this age. The children are serve the full-curved finger position. The study becomes tiresome as soon as it has places have organized on that basis and izations separately, but the mixed chorus USICIANS since the time of “Papa capable of doing all that the leader may hand is moved from the wrist, and the been learned from a technical standpoint. have met the issue by providing time for M is the representative Junior organization. Don’t Forget the Old Songs Haydn” have written kinder-sym- call on them to do. The class choirs of fingers in use are held fixed while the Unless the greatest of care is taken in the club activities in school hours. Wherever Concert programs should be developed and phonies with scores for the instruments pupils of these grades furnish the main others are drawn up, to avoid contact with presentation of these works they will mean the time is to come from it must be found, the glee clubs must have frequent oppor¬ of the toy orchestra, two or four hand group of contestants in song contests the keys.” I will add, however, that at nothing to the immature understanding of By Lucile Collins and the social life and spirit of the school piano parts and sometimes violin parts. and no drill or practice is too tedious for tunities to sing in local functions as well the same time there must exist a relaxation the child. maintained or developed in order that as in school affairs. It is assumed that and looseness throughout the entire arm. every school may play in part in what is The knowledge of rhythmic notation of them if the end justifies the means. Most children hear and learn to love the the pupils of grades three and four can the teacher-director should welcome in¬ Even Louis Plaidy, a teacher of technic “Take a music bath once or twice a week considered the greatest need of the times— old songs through singing them at school. be utilized in following specially written vitations for the music clubs to perform at the Leipzig conservatory a century ago for a few seasons. You will find it is to the social and ethical development of pres¬ The Elementary Music Appreciation Club After a year or so of lessons they can learn parts for the toy instruments. The music in public whenever they are prepared to and a confirmed adherent to the rigid or the soul what a water bath is to the body. ent and future generations in the way of to Play them in easy keys. When the publishers are meeting the demands for SINCE pupils in the so-called associative “close to the side” arm, called especial at¬ It elevates and tends to maintain tone to wholesome living and useful citizenship. do so. teacher tells them she is going to give written parts for each toy instrument and period, that is in grade four, five The club sponsors should not treat the tention to the desirability of extreme free¬ one’s mind. Seek, therefore, every clean t lem Old Folks at Home or something very pleasing effects can be secured by and six, are intensely interested in the dom in the wrist, contending, however, opportunity for hearing. Purchase some dub activities as part of a routine of siinilar they always look so pleased and Clubs in the Lower Elementary Grades study of music appreciation, appreciation that “the arm must have nothing to do kind of instrument for the home and sec using these specially prepared scores and school duty. They should enter enthu¬ say, “Oh, I’d love to take that! We sing parts. This could not be done in the clubs should be formed. When 'the oppor¬ with this movement.” Furthermore, “It that its beneficial harmonics are often VERY INTERESTING rhythmic bands siastically into their leadership and guid¬ it in school.” first and second grades as the reading tunity is» afforded the children to attend is necessary to see that immediately after heard. Let music be as much a part of a are often maintained in the kinder¬ ance and thereby bring the music clubs So along with the regular work try ability of the pupils is not sufficiently de¬ special children’s concerts given by sym¬ each touch the hand moves back by the day's routine as eating or reading or work¬ garten classes. This type of organization This figure, continuing for manv sandwiching in some of the old familiar phony orchestras, provision should be made (Continued on page 543) •wrist and does not sink during the pauses ing.”—Oliver Wendell Holmes. should be continued in the first and sec¬ veloped there. ures, may easily become blurred. “l°7.s; , Your little pupils will hail them with delight. THE ETUDE JULY 1927 Page 507 Page 506 JULY 1027 the etude

DEPARTMENT OF BANDS AND ORCHESTRAS

^ The Teachers’ Round Table The French Horn Conducted by PROF. CLARENCE G. HAMILTON, M.A. Professor of Pianoforte Playing at Wellesley College By EDWARD ELLSWORTH HIPSHER, A. R. A. M. ut loud. See that your pupil has under her fin¬ The ox-horn or the elephant’s tusk were Thus the natural sounds of the Bb-alto should be always employed with particular By William Albert Deal Mrs. W. especially useful as preparatory studies care that their peculiar quality would for the fugues, since they introduce the gers several pieces thoroughly learned and chosen to serve a similar purpose, ac¬ horn are written Observe that when a finger is sustaining be wedded to the mood of the passage. pupil to fugal writing in a simple and in¬ memorized. Then, get her to play one or cording to the predominating animal of Among the women’s clubs of this 1. I do not think it fair to a pupil to weight the wrist is held high, and the fin¬ the locality.. On the more perfectly Beethoven took especial advantage of the teresting way. Take, for instance, the two of them every day, before some one— country—those musical and otherwise— try to teach him how to play a piece which ger is only slightly curved. In this way shaped of either of these it was possible value of the low notes of the horn. First Invention, Let the pupil get thor¬ a member of her family or a friend that there is in recent days a great agitation is unfamiliar to you. Indeed, the more the finger gradually acquires strength, to produce approximately the harmonic The tone of the horn is.full; though, oughly into his head the little theme: is calling. Tell her that, when playing, for the recognition and support of the you have studied a piece and taught it to which will finally be evident in general series of tones; and through this our early compared to the more brilliant trumpets she should put her whole thought on (1) American artist and composer. This leads other pupils, the better you understand its work. Other exercises, such as the slow ancestors probably had their first taste of and trombones, it is on the whole rather keeping her wrists loose, and (2) making soft and mournful. It has a great range one to speculate upon the really appalling “teaching points,” and the more confi¬ each phrase of the music mean something trill, may be utilized in the same way. instrumental harmony. From, this his¬ ignorance there is in regard to the accom¬ torical sketch the origin of the name of of quality, varying from the mysterious dently can you present it. —working it up to its climax note. If plishments of writers for the American 2. But if you thus understand a piece Technic for an Adult the instrument will be discovered; and the lugubriousness of the stopped low notes Then show how this theme is used over her mind is filled with these constructive band and orchestra. and can illustrate at least its “high spots” I am thirty-two years old and name of that near relative, the “cornet,” to the almost painful and despairing cry and over throughout, sometimes inverted ideas there will be no room for self-con¬ There is a galaxy of composers of actual to a pupil, it does not follow that you must years, three while growing and two is but a variation of the Latin cornus of the upper tones when plaved forte or extended. sciousness. merit which extends through the last three since I became an adult. However, which was the Roman equivalent of the The records of the Theatre Royal’ of be able to perform it at concert pitch. If After studying a number of the inven¬ I sometimes wish that every teacher I cannot play readily nor with ease. generations, but who has ever heard of you had many advanced pupils, indeed, it I have never done much technical English horn. The Horn in F, which seems to have Vienna show that there were two horns in tions in this way, he will be prepared to might have a group of pupils present in them? These are thorough musicians who would be a considerable task to keep all work, and wish to know* if. In your When men discovered that articles of been the one first introduced into the or¬ the orchestra in 1711. At the Imperial trace the subject through the more intri¬ the music room when individual lessons opinion, I could accomplish any¬ chestra, and which is the one still mostly in addition to practical experience are their materials at your fingers’ ends! thing now. I should like to play use could be made from the metals, they cate mazes of the fugue. are given. In Tobias Matthay’s studio in 17^r t °if7^len"f ? WaS lntro(hiced from adepts iq harmony and counterpoint. To Chopin s Waltzes easily and grace¬ also found that horns could be made from used, is a tube of about twelve feet in 1/12 to 1740 and then for some time dis- 3. A good teacher should be so con¬ Since the three-part inventions are London, for instance, a number of pupils, fully. I have worked on the Etudes, length. At the end where the mouth¬ think of their abilities, craftsmanship and versant with the principles of technic and but they are too difficult. My hand the same substances, that the ones thus nearly, if not quite, as difficult as some of perhaps from six to twelve, are almost piece is inserted, this tube is about one- innD2nedH IlWas fifSt USed in ^gland knowledge and then to think of those made were much more durable and that 172°. by the. opera band of the Hay- expression that he is competent to work the fugues, I prefer to go directly to the always present during his teaching hours G. G. fourth inch in diameter. In proportion to would-be writers of music, so numerous out a consistent interpretation of a piece they at the same time produced a better market Theater, in Handel’s “Radamisto ” latter. to absorb words of wisdom that fall from its length, the conical expansion is much on his own account. It is, of course, il¬ I see no reason why you should not be¬ and a louder tone. These early metal It was introduced into. France by Campra, nowadays, who conceive some trite melody, 2. There are two classes of studies: his lips and to join in the discussion of more gradual than in horns of the bugle and, after getting a musician to “take it luminating to hear experts perform it; come a fluent player, provided you relax horns followed in general the form of " - opera ‘Achille et Deidamie,” in (a) those which aim primarily at the de¬ mooted points. Perhaps at first this may type. Then at the mouth it rapidly but even then one should finally rely on your muscles properly. The attempt to the ox-horn and made a curve of little 1735; though it is possible that Lulli had down and write them a finished copy, velopment of technic, and (b) those which be embarrassing for the student, but even¬ flanges out to a diameter of about eleven made earlier use of it. one’s own judgment as to how far their play wide intervals is apt to result in more than a quarter of a circle. How¬ g oriously announce themselves composers! emphasize > musical values, or interpreta- tually he becomes so accustomed to an au¬ ever, ere long they had followed the con¬ inches. When a compass lower than that It is to laugh 1 performances are worthy of imitation. dience that he forgets all about it. stiff wrists if the hands are very small. volutions of the ram’s horn till they made of the Horn in F is needed, the orchestral * '?e sa7 too much when we say that 4. In the present era of accurate re¬ Cultivate, therefore, looseness in the wrists Chords and Single Notes a little more than one and three-quarters composer usually resorts to the Bb-basso “* WaItZeS of C W- Bennett (who and cordings, one is able to hear the perform¬ and practice five-finger exercises and scales horn. Also, among modern composers the I find that my beginners, young One of my pupils, aged ten, has go plentifully. You may safely work on ar¬ of a circle, a form still practically re¬ *X‘.e u he’ anyway?) in regard to ances of expert pianists on the player and old, enjoy playing chords rather weak a fourth finger on her right tained by the French Horn. tendency is to write notes on the bass melody, harmony, treatment and orchestra¬ pianos. These records are especially val¬ than single notes. This they can hand that she Is considering aban¬ peggios, but you should be chary of easily do if the pieces are so ar¬ doning piano study—which would staff representing the actual pitches to be tion can be compared creditably with these uable, of course, when made by the com¬ stretchy chords and octaves. heard. ranged that the hands do not strike be a pity, since she has a love for The Extension Tubes °t istrauss, Lanner and Waldteufel? Are poser—such as those of Rachmaninoff, for together, as, for example, in Walter music aud some talent. I advised I suggest for your daily practice the In the early instruments it was possible Rolfe’s Bio Bass Singer or Daddy’s her to try to lift this finger slowly AS THE musical art developed, and es- no the overtures and concert pieces of instance. But remember that concert Waltz. The left hand strikes a mel¬ for ten minutes daily. Virtuoso Pianist, by C. L. Hanon, and to secure a complete scale by the introduc¬ pecially with the growth of the or¬ Rollinson works of ability and artistry? pianists may sometimes indulge in airy ody note, then the right hand one or When she plays with the weak Mastering the Scales and Arpeggios, by tion of the open hand, with the fingers more chords, or conversely, the right finger the fifth finger wants to go J. F. Cooke. chestra, the horn became a valuable mu¬ th^6 TL marcI*es better written than flights that would be both unsafe and mis¬ hand plays the melody while the left down with it. Another trouble is close together, into the bell and for some VALVE HORN sical instrument. As its importance grew hose of D. W. Reeves? Who can ever leading for pupils. strikes chords. Please give me the that when she attempts to play a You ought eventually to play with ease distance up the tube. This, however, titles of several similar pieces. in coloring the texture of orchestral music, 5. 6. Both of these pupils need to be L. M. J. Chopin’s Waltzes, also any other compo¬ created a difference of tone quality, so With the development of orchestral and of ^aurend raC?^Ul melodies and harmonies improvements were made in its manu¬ brought to see plain facts. Certainly, all sitions that require finger dexterity but that great skill in varying the force of concert music, composers made greater An example that occurs to me is Schu¬ facture. The natural horn, with but a and greater demands upon the ability 0 students should be able to count aloud, look, I can lift the fourth finger with¬ do not call for long and powerful fingers. the breath was necessary in order to make siJni6 W°,rksf ?.f George Southwell, albeit mann’s Happy Peasant, Op. 68, No. 10. simple tube, whether this was straight as and should be taught to do so until rhythms out the others!” Yet it was such a even the scale composed partly of the the performers. Beethoven constants due? 6 °f ight measure, were the pro- Will not other teachers in the Round Table tiny bit of a lift that it was hardly in the early trumpet forms, or whether it u- S, 0 a thorough musician who knew are thoroughly established in their minds. noticeable, though she is attaining open and partly of the stopped or “hand” his6 works ^°As \ prorn‘aent place in all send the names of pieces of this type which was in curves, could make only a part of " ■ a[monies and the instruments for Several remedies occur to me ; first, that splendid control over the other “Music is a part of life. It is n notes. This led to the invention of a they have found useful? fingers. merely an accomplishment or a hobby, ra the notes of the scale. Only certain fun¬ dally in his Sonata^ HoTZ’pZo wr°te- Then there was Petee- they count finger exercises until they be¬ system of valves of which at first there yet a means of relaxation from the stre damental tones and partials are possible, u mysterious person to the writer, for who come accustomed to their own voices; Playing by Ear were but two. With the aid*of these, then, that you play duets with them, both My feeling is that with care the finger uous business of earning a living. It and it could produce these tones only neve?lS 3nd Where he Bved were facts I have been teaching about six much more flexibility of execution became parties counting aloud; again, that the will develop as the child grows older, es¬ not an addendum or an excrescence; it in the key in which the instrument was such a stupendous Lethal as non I?0Wn t0 many musicians. He was months and have a pupil who is available and the horns took a more nea-lv seven, but wh-> a-ts like a pecially since she seems to be a tractable positions are almost never heard Pu ar and as well-known among the metronome be called in as an aid lioth for child of five. Only after twenty an actual part of the fabric of life itsell and intelligent pupil. —H. Ernest Hunt. (Continued on page 547) exercises and for pieces. lessons did I notice that she played THE ETUDE Page 508 JULY 1927 JULY 1927 Page 509 BUSKERS the etude SCHUBERT’S SENSE OF HUMOR In that most fascinating volume, “Xhe RONDOLETTO s certain that Schubert did lack Story of Irving ■ Berlin” by Alexander For early study of the minor key: a little a sense of humor,” observes Edmond- Woollcott, we learn that this highly suc¬ Turkish Rondo. Grade 2. LOUIS REE, Op.40, No. 3 stoune Duncan in his biography of this cessful composer of tear-laden ballads, composer, "for when rid of conventional The Musical Scrap Book whose real name is Israel Baline, was a restraint he would indulge himself to the Anything and Everything, as Long as it is Instructive busker in his youth. top of his bent in merriment and practical “If you look in the dictionary,” Wooll¬ jokes. His favorite drollery, when in this and Interesting vein, was a performance of ‘The Erl King’ cott tells us, “you will see that the verb through the teeth of a comb, a feat which Conducted by A. S. GARBETT ‘to busk’ still recalls the time in Chaucer’s always drew, the laughter and applause' of England when it meant ‘to offer goods or his audience. His own laugh, we are told entertainment in public houses.’ The mot¬ by Keissle, was no ordinary, mirthful per¬ ley wear, the quaint inns, the sun-dappled formance; ‘it consisted of a hoarse, sup¬ lanes and the hawthorne hedges of Merrie pressed chuckle.’ England have vanished from' its associa¬ WHEN LISZT MET LONGFELLOW “Schubert did not dance, but he was tions, but twenty years ago, at any rate, ever ready to extemporize by the hour One cannot imagine two more opposite friend, Mr. Healy, to introduce to the the customs of these wandering minstrels for those who desired trip‘ it lightly,- characters than Liszt, the romantic poet- maestro. Longfellow was so struck with an(j the very idiom of their guild sur- He is said to have turned some of these pianist, and Longfellow, the New Eng- the picturesque, appearance of Liszt as he vived on the Bowery as they survive today fleeting fancies to practical account by re- land poet and creator of the chaste Pris- stood in the old doorway in his long black jn the ‘concert parties' of the English peating such strains as pleased him until cilia. Nevertheless, the two actually met, soutane, holding a lighted candle, that he towns. They still called it busking, he was able to carry them in his memory, and Walter Damrosch in “My Musical asked Liszt for permission to have Healy “The buskers were the American cousins They were afterwards- written - down Life" tells how the meeting resulted in the paint a picture of him, and he (Liszt) of the comedians you see on the terrasses • ‘ ‘ ' painting of a little-known picture of Liszt, consequently gave Healy several sittings, of the boulevard cafes in Paris or on the “When living with Mayrhofer (in 1819) reproduced in that volume, Longfellow took the painting back with sidewalks outside the London theaters the composer and poet seem to have During a dinner, “Liszt asked if I n t0 America. when the line is forming for the pit. The amused themselves with ‘jests and youth- knew anything of a portrait of his which 'I had never heard of nor seen this pic- idle drinker in Pari- and the patient play- ful jollity, quips and cranks’ of many had been painted under interesting condi- sorts, ‘for whilst we were together,’ (says tions many years before,” says Damrosch. e, but tflirty years later, when Ernest 8°cr in London are both entertained by Mayrhofer) ‘many a curious thing hap- “Liszt occupied VoomsTtThe ^hT Villa Longfellow, a nephew of the poet, was floating geiUry who will sing songs, swal- pened. Both of us were of the right tem- d’Este at Tivoli, near Rome, for a month lunchin8 at our house I remembered the low flames or swords, and pci un prodi- perament, and opportunities there were in or two every winter. It then belonged to indent and asked him if he knew any- &*cs of sleight-of-hand, all ‘we in his new pupil that he would often go to “In a letter to Heinrick Dorn (Septem- whimsicality and' his humor; with’ his USed t0 P'ay at home the old str‘,lg C*uar“ the window to watch him come down the ber: 1839)> after complaining of the stu- questionings, his fancifulness, his plead- tCStS' among them those °< Pleyel—very street,” this author tells us. “The pupil’s p‘dlty of a Berlin critic who ‘imagines ings, and his dreaminess; he implanted in S'mpie in structure and style—the kind of manner of entering the room would be *bat 1 set before me a yelling child, and the mother-heart the true likeness of the mUS'C S° many teachers seem to thlnk is noted, and everything that had been ob- then Set about findlng muslc that sounded child; and she understood. . . .”> the best for children. This insipid stuff served or heard of him was taken into —____ bored me unspeakably. Haydn and Mo- consideration. Good nature and self-pos- u zart were more to my taste, but my en- the part of the pupil acted as OFF WITH HIS HEAD” thusiasm was not really aroused until I got a stimulant to Leschetizky in the lessons, Playing for an oriental despot is , , , bold of a pianoforte version of Weber’s as also courage in asking intelligent ques- idently »■* * “™* -*•*. according w°„, »£ SRgjfi* * ** !"*£ “>*“ <**'***. 0~ «* to Leopold Auer, whose book “My Long again I found that hL hi h and ! P 1 whoIe after”Oons, enraptured, “Blunders were often cheerfully over- Life in Music” contains a long descrip- look piercingly out of h-aC 1 C°Uld l°U9 lt by enthusiasm to play ten times looked if the personality of the pupil was tion of a concert given the Sultan of face .... 1S ean’ sallow hctter tl,an 7 had ever played anything be¬ at all agreeable to the master. But, while Turkey by a group of Russian artists, “. . . .Then it was mv °rC' Tbe zeal thus aroused was after- the pupil’s personality was of great inter- m^«ding himself. played two or three small 1 '!ards fanned by the songs of Schubert, est and importance to him, the absolute T le ,c,onc,T was g'ven only after in- careful to keep my eves elnpav evenings in the the first lesson. Every chord had to be ‘1;“ not Stop p]ayi^ The sultan, howevt at Ha™rd, * the great dis- understood so well that its arpeggio could crL peals of subdued kughte the and before • I 8“! °f Profess°r Pai"e. be played fluently without hesitation, frou of silken garments, and breaths of had Ino Violin' I !"a .W0!'d- 11 was enthusiasm for mod- Moreover, the musical structure of the perfume floated down from above. An Aranda Pasha hurried V”'”8 il than the f ^ f3* ed me to devote myse,f to piece had to be so perfectly understood, as air of gaiety and merriment seemed to nervous manner hetr0-»aP t0 me and in a Im [ a"d to do what litt,e 1 have been well as visualized, that one could begin at bang over the great empty hall, and it playing. I exnlamer?^ i™6 continue e to acc°mphsh on its behalf. Had I any bar or on any note. robbed us of all the nervousness which we strument was outout'of of tune f„ my" ScarbnI~een brought , up compulsorily,rnpu*30nly 011on a diet ^of “Until a few technical:nmcai studiesstuaies andana ttwo might“ , otherwise-- have felt...... Blaie oi agitation, he - .1, i. , — ‘ wuiiwu-s - stateu _of cagitation,...v • he.. hissed intonito my„ ^ear: shoust]°uld H probablv?l° thav. ,er such composers inI _r three pieces were mastered in these re- The Sultan himself ente«d with a “Cela ne fait rien; allez touio, r p-Txt63" = 1 pi-obably have lost my interest in spects, it was not possible to follow him °f marshals a"d pashas, mind-keep on playing). FortunatehreVe-[ scientifi3"*1 ,deVOted my life entire,y t0 freely in the detailed study of tone and ovfeff m J^ rhS?8 n*"’M'^ "0t ‘°ng after this that the sultan “It f ph,losophical problems.

International Copyright secured tionately great.” Copyright 1927 by Theodore Prosser Co. JULY 1927 Page 511 Page 510 JULY 1927 THE ETUDE the etude To my incomparable friend, John Luther Long BEAUTIFUL ISLE ISOLA BELLA VALSE LENTE

A melodious little waltz. Grade 1|. GILBERT A. ALCOCK THE ETUDE Page 512 JUL71927 T rri INTO THE PALE NIGHT A fanciful and delicate 'Aquarelle; DANS LA NUIT PALE MAURICE PESSE by a modern French writer. Grade'5. MELODIE SANS PAROLES Andante quasi lento M.M. J-=63 iN 8_-

f * #nn f ffi — f}_H 1iR~r3n ft- v —3^

3 L—--', ^-’ P;

PP Fine

International Copyright secured THE ETUDE the etude JULY 1927 Page 515 P.^5,4 JULY mi QTTVPPV PTTTMES SILVERY CHIMES 111 modern nuvotti1 sty le-. Arranged for four H 1 1 1 V JDj XL 1 CURT GOLDMANN, Op.75 PEIMO CURT GOLDMANN,Op.7 5 hands in response to many demands.Grade Sj. Allegro moierato MM J = I08 Allegro moderate M.M.J = to8 SECONOO ^ ~ ~ —

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( f=f ff#T f^\ J ^ C..1J- 1 T 1 -I-—; Hi TRIO' p dolce,cantan(10 11 i— in- ( r- =H H 9 i . "T i It3 • (•"» 1^30 Iff*- •% ^ -Ill A| 1 .

Copyright 1927 by Theodore PresserCo. # From here go back to % and play to fine; then play Trio. International Copyright secured % From here go back to % and play to fine; then play Trio. Page 517 THE ETUDE JULY 1927 Page 516 JULY 1927 LITTLE FESTIVAL MARCH JULY i927 Pag* 5i9 THE ETUDE THE etude

vi/ British Copyright seatred Copyright 1902 by A.Durand & Fils Copyright 1916 by Theo. Presser Co. JULY 1927 Page 521 THE ETUDE the etude Page 520 JULY 1927 OH! SUSANNA Banjo Tune,by Stephen Foster CONCERT PARAPHRASE HARL M? DONALD A splendid new American concert solo. Grade 5. Allegro scherzando poro a poco ritard

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Copyright 1927 by Theodore JULY 1927 Page 523 THE etude THE ETUDE Page 522 JULY 1921 ARNOLD NAUMANN % tempo LULLABY Transcribed for violin and piano by When played in the First Position,the lower fingerings apply. To play in a more ARTHUR HARTMANN# artistic manner,use the upper fingerings,introducing the Third Position. Moderate M.M.J=72

VIOLIN

PIANO-

THE MAGIC HORSE R. O. SUTER, Op. 33 On the open strings,with use of the 1st,2nd and MARCH 3rd fingers. Very^easyjo^lay.

VIOLIN

PIANO

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— && stf5^ ^^ w&iy •#^ British Copyright secured t When played in public, it is requested that Mr. Hartmann’s name also appear on the program. The Publishers. Copyright 1926 by Theodore P Copyright 19 26 by Theodore Presser Co. International Copyright secured THE ETUDE

Faee 524 jvltw grand choeur in o ROLLO MAITLAND /Gt.Full to 15th,Sw.coupled (on small organs Full Gt.with Sw.eoupled.)

Prepare: Ichisft* 4ft Sw.eoupled. An imposing Postlnde,oT recital number. Fine work for the Pedals. ' Pei.to suit Gt.& Sw. , Allegro maestoso m.m.J=126

MANUAL

Copyright 1927 by Theodore Presser Co British Copynght secured JULY 1927 Page 529 THE ETUDE To KennethE Smith THE ETUDE BERnard hamblen in THE STARLIGHT CLARENCE KOHLMANN Page 526 JULY mi A QUICK RETORT CARL WERNER A clever characteristic piece, requiring a ? a^TWORT Andante con espressione spicy touch, shifting expression and quick bPI rZE AJJ 1 alternation of the hands. Grade 3. CAPRICCIO Presto_i

Then in the dusk, While sil - ver stars ap - pear, Ech - oes of mem - ’ry soft - ly come and go. Each lone - ly day, I long for you in vain, One thing I crave, to make my life com-plete:

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British Copyright secured

Cwithfury Copy righPl 927 by Theodore Presser Co. International Copyright secured JULY 1927 Page 531 the etude THE ETUDE

FOREVER J. CHRISTOPHER MARKS MINNIE MAE BEACH-

British Copyright secured JULY 1927 f HE ETUDE THE ETUDE Educational Study Notes on Music in this Etude By EDGAR ALDEN BARRELL

Sslsvsr - “ — -c l Isle (Isola Bella), by J

gvfSf»»

■ • SSSfAS New Days And a New KIMBALL FASTER, almost, than you realize it, their young lives are nearing maturity—the days of brightest promise. Their growing minds are reaching out for the new things—the better things. And what can give a fuller, more vital meaning to the coming days than a new Kimball piano. It is “the piano of the American home.” More Kimballs are in use today in American house' holds than any other piano in the world. KIMBALL PIANOS aremadeinmany styles—grands inperiod designs—-also classic-modern, reproducing grands, uprights, and play¬ ers. There is a Kimball exactly suited to your home. Catalogs and our near est dealer ’ s address sent on request. W. W. KIMBALL COMPANY (Established 1857) Department KE, 306 South Wabash Avenue, CHICAGO, U. S. A.

iiii:i:iiifJ!T!lTTrTrHnin DE and ask them to give you the privi- of sending in their subscriptions. or Catalog of Rewards for subscriptions you send. THE ETUDE, 1712 Chestnut St., Phiia.,Pa.

TINDALE much money. I earned $265 in ten days. He is just one of many. Write for FREE book and GUARANTEE plan. Music Filing Cabinet BRYANT SCHOOL, 92 Bryant Building, Augusta, Mich. PIANO JAZZ

rmony, Oriental, Chime.

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“LESSONS ONTIME” SCHOOL MUSIC CATALOG byW.M. EBY, A. B., M. A., LL. B. A very helpful catalog for College Directors and SPECIAL EDITION FOR PIANO Guaranteed to Drill ‘Time” into the System Part Choruses; Music for Special Occasions, Cantatas, Sight Reading Material, Orchestra, Collections, etc. THEODORE PRESSER CO. VIRTUOSO MUSIC SCHOOL, Dept. K, Buffalo, N. Y. 1712-1714 Chestnut Street, Philadelphia, Pa. ISSS^JSSS touch with the higher Ideals of a JULY 1927 Page 5S5 THE ETUDE THE etude Page 5JULY 1927 than that for singing. The exercises may Education Counts should be practiced till improvement has be extended to words with several syllable ORRECT AND TRUE vocalization been noticed. Then exercises on e—a—o— HUNDREDS of voices have been the as, hazard, Madras, caravan, flagstaff. C often depends on general education. u, and later double vowels may be added. victims of improper use and imper¬ The sombre vowels are practiced to ad¬ There are many counties in America The very last, should be a (ah). Strict' The “Whole World” Music Series fect training. In no branch of music vantage with the prefixed consonant "t” d England where certain dialects destroy observance of checking the natural ten¬ is the world’s premier line of musical collections has there been so little application of scien¬ with chest voice and intermediate register. L beauty of the language and diction. dency to let the superfluous air escape for piano, violin, voice, organ and other instru¬ tific knowledge as in singing. As a prepara¬ “he teacher should try to abolish all bad at the same time as the intonation, should No.7 ments. Each volume contains 256 or more pages tion, every teacher should be able to pass be observed. Fields were hard. Simple habits in this direction. . devoted to the choicest classic and* modern com¬ an examination on the anatomy of the Proper pronunciation is impaired by effect lasts. Evening shades fell fast. positions. Printed f rom engraved plates on clear throat and should know what the effect of various causes. Often it lies in the im¬ Peace ever charms. white paper, and substantially bound in either articulation is on various organs and the mobility of the tongue, at other times by PART IV vibrating factors. Without this knowl¬ articulating incorrectly the vowels To THE ACTUAL training of registers cloth or paper. edge, voice production is an undue risk. correct these the following exercises should may not be commenced until the Here is the Complete List of “Whole World” Collections’ Few’ realize how easily a voice is strained be gone through. Exercise the lower difficulties of the preceding chap¬ Book Songs.$2 by bad tuition and incorrect practice. Only law the lips, the uvula, till they reach a ters have been fairly conquered. The Modern Piano Pieces "n Solos.. ’ by studying all the details of the art, with Dance Music . I in Pieces, state of flexibility. Let the pupil sing with slightest strain would be a serious damage Recital Piano Pieces.. din Conce patience and determination, will a really a protruding tongue these syllables na, da, to the voice. Therefore great judgment Piano Duets . beautiful singing voice be developed. Light Piano Pieces ... True Vocal Art in Singing in quick succession, an energetic move¬ and precaution should be used by the Practical Training of Articulation and ment of the lower jaw being indispensable teacher. The development of the inter¬ Diction PART I for it mediate and chest registers is especially th a Victrola.... O COMMUNICATE indirectly in When the Uvula Interferes recommended. s (Kb Alto).... T Songs Whole World singing what the composer meant by ural pitch of his voice. A good way to do Illustration of the Various Registers Saxophone i s (C Melody).. rpHE UVULA which drops 1 Love Songs . Saxophone :s (Bb Tenor).. his work requires a knowledge of proper this is to let the pupil recite a simple piece I and a relaxed arch of the palate can Ex. 10 _- Ballads Whole Wor Organ Piec< diction. To obtain a fluent command over of poetry where no modulation is required. disfigure any t As both actions Modern Violin Pieces.... vowels and consonants, it is necessary to The quality of voice in general also comes Gilbert & Sullivan at Hoi- Should the voice have improved, begin involuntary, the singer must cultivate the sent direct on receipt start at the very beginning. into consideration. For that purpose let For Sale at all Music Stores (except in Canada) o to speak and sing alternately. Practicing flexibility of these organs till the action of marked prices First try to produce a sound from the the student sing on la, la, la, with a steady singing and speaking alternately does not becomes automatic and enables him to chest, without the slightest pressure on the position of the pharynx. create a large space for the production .of particularly benefit men’s voices. Exer¬ This “Whole World” Catalogue throat. This is of great importance. The The Female Voice sound which proceeds from the posterior right way to do it is to practice the cises may be extended to words containing - 7-OMEN’S voices are often of a pierc- ends of the vocal chords. Is Sent Free exercises in the beginning with a childlike ^ several syllables as in hazard, island, high¬ V ing, shrill sound, which has no^ Here an exercise which will be most voice. Never hurry or strain the voice. land, fine, miner;, and such phrases as, to every music lover in thfe United States (not power of’ resonance. Occasionally tenors’ The developing of men’s voices is easier beneficial to strengthening the action of The principal rule is ease. On no ac¬ man priced; life’s strife; white diamonds; The following table of crescendos it Canada) on request. It is an intensely interesting voices have the same defect. In this case, because the registers are more blended. the uvula, whose laxity is often the great¬ count should singing be done with a con¬ Mabel liked. If the preceding exercises phonetic power in the various registers ii booklet, profusely illustrated, containing the titles, the position of the larynx is too high. The chest voices generally descend without est hindrance in tone production. Close tracted throat. A natural, easy position have given satisfaction, the sombre vowels also both interesting and instructive. descriptions and complete contents of all the books It is expedient for women to begin studies difficulty. The vowel i (ee) demands a your mouth, inhale and exhale through the should be adopted, a pleasing expression may be practiced to advantage with a pre¬ listed above. Whether you are a teacher, a student with clear vowels first; men with sombre more concentrated emission of sounds, nose for a few minutes, keeping the throat Ex.11 on the face, the lips a trifle parted, show¬ fixed consonant. vowels. The normal tone of the pupil therefore men do well to practice exercises open wide horizontally. or a musical amateur, you will find a number of ing the upper teeth slightly. The training of men’s voices is easier on should be lowered to account of their natural tendency to blend with syllables containing i. Breathing exercises: Prepare with a books for violin, piano, voice, organ, saxophone, The Vital Breath lifted upper lip. Now use a slow, ener¬ etc., which will prove the most satisfactory collec¬ Ex.l the registers; besides which the chest notes Ex.8 BREATHE naturally. One of the most descend without much difficulty. The getic inhalation, through the open mouth, tions which you have ever used. Mail us a post¬ important factors in singing is breath¬ vowel “i” like in gift, requiring concentra¬ otherwise strictly avoided and permissible card today with your name and address and the ing. By wrong breathing the voice be¬ tion of sound, has to be avoided in the ee, eel, Ice, see, ni, ti, gi, H> only in this instance. By such practice the catalogue will be sent by return mail. comes dull and muffled, without timbre in women’s voices. The syllable la should beginning by men; the sombre vowel "a” uvula rises, the palate is put on the stretch, forming an arch, and presses back, closing or tone color. The pupil should learn to be repeated in a moderate tempo. Later as in fall, tall, walk, talk, being much more In dynamic exercises, the student has fill the lungs with air and then to hold the nasal channels. The tongue has a D. APPLETON & COMPANY a few notes lower and higher may be suitable. be careful that the strength of each tone the breath for a second, in order to resist added but without overstepping the register For the sombre “a” the mouth is shaped low position, shaped like a funnel. is even. Do not sing the lower stronger, the natural tendency of compressed air to which changes on broadly, the upper lips somewhat lowered, Through this general tension, and by the higher notes weaker. It is evident that escape. Breath should never be mixed with NEW COURSE of SINGING Ex.2 the tongue slightly arched at the side. An holding the breath a few seconds, then the higher the tone, the more physical ex¬ by CORRESPONDENCE tone. Singers also must try to avoid A Practical Key To unpleasant sound of "a” is often due to letting the air escape gradually, the various ertion is requisite, on account of the greater Including Voice Culture, Sight Singing and Mu¬ breathing by starts or jerks or to become sical Knowledge. A thorough, practical course. a nasal articulation. To rectify this de¬ see deep sea fish, Keep sleep read feed otherwise mobile organs remain stationary. tension of the vocal chords. The lesser exhausted. The higher the notes, the more A/so Harmony Correspond* ITALIAN fect, the pupil should try to practice the It now depends on the expenditure of the quantity of air ejected, the greater the breath and physical energy are required, Contralto voices may go down as far as Small monthly payments. Send for Prospectus. exercise by closing fhe nostrils with the breath and being able to control the mobile purity of tone. One may notice, in un¬ . State distinctly which course you desire. PRONUNCIATION on account of the greater tension of the Ex. 3 fingers, exercising the uvula as well as organs to emit the sound. Let the pupil ALFRED WOOLER, MUS. DOC. tutored female voices, that their speaking By vocal cords. the low position of the back part of the In sea lives fish. This is in pitch, see. sing ah in a precise loud tone. Practice The difficulty in breathing is to regulate voices lie on these five notes, the e, f, g, a, tongue. Sing and speak with a flexible it .in this way. Breath—preparation—sing b of the treble; which explains the fact MICHELE FONTICOLl the emission of breath or support the jaw—-Ba—ta—pa—ka—ya (Italiana). The ah, ah, ah—pause. This is to be continued PART in that one seldom hears a recitation with a Without the aid of a Teacher voice. “Spin the voice,” as the Italians Exercises are to be practiced as shown jaw should move easily and freely. in quick and slow time. Soon the teacher MATHILDE BILBRO say. Perfect control of breath is the ERFECTION at an early stage can good resonance. here below: English speaking people in particular P will have the satisfaction of noticing that Harmony—Composition Especially adapted to the secret of great singers. Deep breathing not be expected, for any strain would The obscure vowels oo-a present some Ex.4 should pay attention to this action; for the palate sound is disappearing. The use difficulty when sung with the chest register. Use of Singers and Musicians and relaxation of the muscles are matters Breathing seriously injure the voice. Remember the English language is somewhat pre¬ of a looking-glass during the lessons will Scales on la, la, up and down, are recom¬ >Ve have taken over the publishing rights of of the gravest importance. judiced to this movement. Breathing has to use true precaution. If the voice is be found valuable in training and shaping this valuable little book, and have just issued The pupils should practice inhaling and strong and possesses a good resonance, but mended, gradually going on to exercises on a fine, new revised edition. 11 can be heartily to be practiced, by breathing through the the mouth correctly. Address, 1712 Chestnut Street exhaling in the following manner. Inhale still shows crudeness and inflexibility, the obscure vowels. nose, holding the chest high, assuming a Corrupt pronunciations may also cling Chords on the piano as accompaniment through the nose, the right nostril by pref¬ smiling position of the mouth. Many be¬ teacher should try a different method. to the pupil from childhood. Sometimes, erence: wait a second; exhale slowly and To regulate the process of respiration support the voice considerably. The neu¬ ginners make the fatal mistake of breath¬ however, it happens that a defective organ tralization of the vowels cannot ,be over¬ PIANO TUNERS and calmly. The student should try this with is most necessary. A dull, woolly, muf¬ ing from the collar bone and raising the may prevent the voice from getting de¬ looked. If the proper timber is absent or TECHNICIANS a lighted candle held about one foot dis¬ fled sound is due to the wide opened shoulders, a bad habit which has to be veloped. Should the primary inability of uneven, the student should try to sing on tant from the mouth. Inhale; count one, position of the glottis, by which super¬ fators and repairmen. Practical Shop School. avoided. closing the glottis properly be the only one note only; then by and by the scale up two, three—exhale. The flame of the at at at al at at al al al^ fluous air escapes. To acquire a restrain¬ Send for Catalog E. cause, exercises on “i” as in gift or lift, and down. Exercises should be spoken “I have received your book upon the Italian candle should scarcely move. ing influence on the compressed air, the Y. M.C. A. Piano Technicians School Pronunciation and I find it most valuable for Exercises for Developing Chest and produce good results. In the clear vowel, on the c, below the treble staff. The tone the purpose.” After some practice of this, articulate Intermediate Register pupil should sing on the vowel i (ee) a‘tj-r 1421 Arch Street Philadelphia, Pa. i (ee) the vocal chords approach each should be directed towards the front, as words such as, bean, milk, mean, green, filling the lungs well with air, holding t * THE C BELOW the staff in the treble other in the easiest fashion, on account of near the upper teeth as possible. By prac¬ Published by seen, keen. The most determined effort el el el el el is mostly used in women’s voices, with breath for a second before emitting the must be made to prevent air escaping at the narrow channel of the pharynx which ticing these examples, the voice attains that GUIDE TO NEW TEACHERS ON the chest voice, as here. sound. Intone the following examples firs flexibility and resonance which gives the TEACHING THE PIANOFORTE THEODORE PRESSER CO., the same time as the tone. Without hold¬ with a very soft voice, later with more prevents superfluous air rushing through. ing the breath for a second there will be no Singing the syllables "in” and "ing” in listeners such delight ;°"'1 PART II force. good results, the reason being that the feeling. Smooth Tones pianissimo with the natural normal tone vocal cords have not had time to close on each other, thus resisting the rush of tO BRING FORTH a smooth air from the trachea or air passage. It is mellow tone, it is necessary to have the lack of correct control of breath which the jaw very flexible. The attack makes fine singing an impossibility. . But of the sound must be strong, with rich with careful instructions any one with a resonance. For that purpose, exercises good speaking voice may learn to sing, with the prefixed consonants l, n, m, la, na, provided there is no organic defect in any ma, al, am and the French syllables, ment, of the vital or respiratory organs. Polypi lan, nand, are beneficial. French pro¬ in the nose, 'tumors in the throat, a too nunciation helps a great deal toward rich large uvula, enlarged glands, defective resonance and carrying power. After that vocal tubes or a weak chest are antag¬ the pupil may proceed to the clear vowels onistic to singing. and diphthongs. Ex. 5 The First Step % the above illustration, it will be seen the oo the smallest ■ AFTER having ascertained the sound¬ i iv - er piease. ne ness of the pupil’s constitution, the that a has the greatest capacity of sound, similation of c e r eye eye eye eye ile ile ile ile Sweet food not lacks. Sleep would coif (Continued on page 545) teacher’s first step is to find the true nat7 THE ETUDE. It Identifl) back. See room of glass. Wh.n ,ni«. to our advertisers alreaj JULY 1927 Page 537 TEE ETUDE rUE ETUDE Page 536 JULY 1927 in this respect that the church organ can self with the facts. Church music has been tinue to improve, although perhaps slowly; best fulfill its purpose. T IS NOT very difficult to say some¬ improving slowly for some time past, due but the great essential is to have men in I Churches that are in the central part thing of a constructive nature about to the influence of the secular field; and this work who are thoroughly prepared [AUSTIN ORGAN of a city and have small Sunday attend¬ s) organ and choir music; because, per¬ while the church music in general is yet . for it, students desirous of producing the ance would do well to give regularly 0j THE BEGINNER’S far in the rear, nevertheless its influence best, and in return for this a compensation haps, there is no field of musical activity The Organist’s Etude occasionally a noon-day program of organ has been felt. Undoubtedly it will conr which is worthy of the service they give. which contains a wider range of musical and choir music. This experiment has VOICE BOOK highest grade materials, they stand to their endeavor. Even in large metropolitan Edited for July been tried in certain cities and has worked work with record unparallejed. They are cities we find both the poorest and the BY always dependable, i r ' By N. LINDSAY NORDEN . to advantage. The old-fashioned organ best. The difficulty is not to say some¬ recital has practically faded out in the The Value of Orchestral Scores to the Organist thing which is constructive, and which Eminent Authority on Church Music, Especially that of Russia FRANTZ PROSCHOWSKI present time, except where it is given over VERY ORGANIST should make a of other choruses adapted for keyboard would be helpful to those in charge of such E It is the Ambition of THE ETUDE to make this Organ Department the radio. Nevertheless, the organ has a study of orchestral scores and col¬ accompaniment. matters, but rather that they, receiving “An Organist’s Etude Complete in Itself very unique and definite value in church lect a library of these, particularly The organist will also find a great ad¬ and acknowledging such advice, would find music, and, in the opinion of many people those of the principal choral works. The vantage in possessing such scores when he AUSTIN ORGAN CO. themselves under limiting conditions which best fulfills its function in this respect’ musical advancement which comes from comes to play organ arrangements from 165 Woodland St. Hartford, Conn. would prevent their making the desired or as an instrument in combination with Announcing the ability to read orchestral scores is of orchestral pieces such as “Finlandia,” the improvements. In other words, church other instruments. Many churches are in great value. The fact that many of the “Prelude to Tristan,” or the “Prelude to How May We Improve Our Church Music? these days maintaining a music has no systematic method of ad¬ the appearance of anthems that are sung in church are taken Parsifal.” Frequently the transcriber ministration. In one church it may be in from oratorios and larger works which takes unusual and often unjust liberties in Guilmant Organ School the hands of a music committee, which is the most practical are scored for orchestras makes it im¬ making such arrangements. perhaps the most general condition. It perative that the organist should be able Musicianship Demanded may be in the hands of one member of such ^^af'in^raup^ngin^which ^ar^x'ceeds other‘phaseTf this, however, has to do The Organist’s Obligations and effective to read and understand these in their a committee; or, as is frequently the case that of the individual artist, with whom it with the church musician. The slogan for a nOTHER POINT which is very es- original form, because, unfortunately, AFTER ALL, there is perhaps no field A Distinctive School for in the Episcopal Church, it is entirely in is too often a case of personal glorification, him is to do the best he can with what he sential m the improving of church beginner’s vocal many of the arrangements for piano ac¬ of musical endeavor which requires the hands of the rector, who dictates the A solo quartet as the sole means of has, and to endeavor to reach out musically music is that the organist should acquaint method yet issued. companiment are inadequately made and so much general musicianship for success Serious Students musical policy of his church. giving music in a church is not an ideal all that he can. Hardly anyone goes into himseif with music of all types and schools, do not interpret the real effect of the as conducting a choir and playing an organ Music, which goes hand in hand with arrangement, no matter how excellent the musical work who does not have ideals. jn tile pastj we have been too much de¬ orchestral scoring. It is therefore often in church. The organist should endeavor Free Scholarships voices may be, as there is but little con- At the present time, musicians m gen- pen(jent upon English church music which, to broaden himself in every possible way. religion, should be of the highest and best 1000 COPIES SOLD advantageous to see and know the original Write for Catalog type. It is not necessary, nor advisable, trast between the solo and ensemble effect, eral are paid very poorly compared wit many cascs very beautiful, represents IN ADVANCE OF form in order to make a better adaptation, For this work he needs a thorough under¬ standing of harmony, of counterpoint and that either choral music or organ music Further, it is generally very difficult to other professions. The pubheowes a great onjy one phase of church music. We should PUBLICATION especially for the organ.. 17 East Eleventh St., N. Y. should be above! the heads of the main Unfortunately, the larger number of ac¬ of keyboard harmony. Some organists portion of the people; but it should be the There are also many limitations in the kind pose and perform ®hsic ior mem ™ outiook for new material which is worthy companiments of church music, particu¬ are naturally gifted as improvisers, but desire of every musical director, music of. music which may be given with four the individual 0{ production. Many of the old oratorios larly those from the orchestral works, are the average organist has to study his the¬ committee, or whoever is in charge, to voices. Many very hne anthems are writ- he should at least strive tor them, ana witn ...... , . .. made for piano, and the organist has to ory and develop himself and all this mate¬ INSTRUCTION IN ten in eight or six parts, or with a male this in mind, should work to develop the might be laid aside certain excellent do morq than satisfy the whims of those adapt these one way or another for the or¬ rial is invaluable in this respect. chorus, or with a female chorus; and such music in his particular church as far as is new works which are being brought out by It is excellent experience to take an ordi¬ who express them; and such a person, or gan. I have often heard accompaniments THEATRE ORGAN PLAYING arrangements are out of the question with within his power. These two matters are publishers. In many cases these works nary anthem and score it for strings and persons, should strive constantly, to raise played as written, and in most cases they Practice Facilities. Special course for a solo quartet. practically opposed, but it is certain that have an obligato for violin—or have parts organ, or even a small orchestra, when any the standards in every possible way. This were immeasurably bad on the organ, pianists changing to organ. The first essential, therefore, in church a general increase in salaries of church for violin, harp and ’cello-which tend to festival performances are to be given. is the keynote of every sermon that is which is primarily a sustaining instrument. Advanced pupils have the advantage of music is as good a chorus as can be main- musicians will never come about if church elaborate the production considerably, There is a lack of material prepared for lessons before the screen under the preached from every pulpit. It has its same conditions as prevail in tained, and it should be the object of every music is poor. This seems to be the second Every choirmaster should know a consid- Transcribing an Accompaniment small instrumentation, and the only way any large theatre. moral and makes an effort to stimulate the choirmaster to establish such a chorus and important point in improving church music. erable amount of early music of the AKE, FOR EXAMPLE, the opening such pieces can be given is to prepare them OUR PUPILS SUCCEED WHERE OTHER minds of those who listen, endeavoring, T to work for its success. The solo quartet The third has to do with the training church, and ought to be anxious to pro- chorus of Mendelssohn’s “Christos.” especially. ORGANISTS FAIL thereby, to raise them mentally and spir¬ is an easier way of. producing music, but musically of the clergy. This is being duce ;t ;n bis service. Oik of the greatest Outside of a very few full orchestral The accompaniment for “There Shall a VERMOND KNAUSS SCHOOL OF itually to a higher plane. How very in¬ cannot possibly compare with the efforts done to a larger degree now than for- serv;ces for improvement is to take the Star,” adapted from the orchestral score, performances of religious works, the ma¬ congruous, therefore, it is to turn from of a well trained chorus, even though this merly, but particularly in the Episcopal t;me to visit ol|u.r churches, perhaps in gives a movement in triplets on the piano. jority of them are given with organ, and THEATRE ORGAN PLAYING such an impressive address to a piece of be semi-volunteer or volunteer. It is not Church it is not advisable to entrust the var;ous cjtiCs I ikewise the organist This transcription for the organ is im¬ perhaps a few strings and harp. The use 210 North 7th St., Allentown, Pa. musical composition for the organ or the as difficult to obtain a chorus as it would music of the church to one who has had shou,d avai| h;mself ,,r ’hersel{ of the possible, and if played as written, would of even a few strings makes a very im¬ choir which might be rated as a message seem, for there'are generally persons in a but little experience with music and has . , , , t • sound very badly. It is necessary to make pressive addition to the organ accompani¬ of uplift at a grade considerably lower parish, or, if not in the parish, in the com- but a small musical taste. It is impossible °PP°r to hear tlu str> ment, and there are a number of works Vocal Advisor of a complete rearrangement of this thing in munity, who are willing to join such a in this matter to generalize, as nearly thus trai"!ng 4 ear am ll,JF>r V1 S 0RG0BL0 than that of the sermon. In other words, Galli-Curci, Tito Schipa order to make it sound well on the organ. which can be given in this form. The with a literature which has developed movement; and once the organist has de- every church or denomination has its own ,aste- 4“1S would apply to all. and many other The strings in the orchestral accompani¬ trouble with a great many students of the through many centuries and the effort veloped this idea to any extent, he will method of handling its music; but the three Every once in a while some bombastic widely acclaimed singers. ment play in triplets, but the effect is one organ is that they are too much interested find that he has more applicants. The points mentioned above are important, no attack is made upon church music by some which Christianity makes to improve the of legato movement, which effect cannot be merely in the playing of their instrument, minds and spirits of its worshippers,- there first thing to do with a chorus, then, is matter what the conditions may be. one seeking notoriety or influenced by transcribed on the piano or the organ ex¬ whereas a broader musicianship is needed other than worthy motives. Indirectly, should go music which is also lofty and simply to go ahead and organize it. One of the Greatest Contri¬ actly. The same thing is true of.hundreds in this field. The Organ and the Service such attacks probably work to the benefit inspiring, not merely pleasing and “catchy” butions along Educational The Conductor HE FOURTH matter has to do with of church music, inasmuch as they draw for the ear. T HE SECOND matter has to do with the organ part in the service. Years the attention of the public to the matter, Lines, Ever Made to the the person conducting the r ago churches were the only buildings that Singers who spend their money for the Are Organ Mixtures Constructed Properly When the Church Led Vocal World the church. There are two phases of this. held large prgans, and organ recitals were purpose of vocal development are not will- IN THE EARLIEST centuries, the The one is the person who does this work, rather a rare treat; but in these days the ing to enter a choir and without com- By J. E. Pasquet church was the leader in musical mat¬ and the other is the attitude of the church organ has come to be a very common in- penSation, and the paid chuims is undoubt- Onanist and Director, Prylania Street Presbyterian Church, New Orleans, La. ters ; and the early church fathers nurtured towards mm and the music in general, strument, and we find some of the best edlv the best of bolding singers to- T'HIS superb work will be carefully the art of • music long before One of the great set-backs m church music organs, likewise the largest, in the moving th • • • hat may be Collections Every A teaching help for all vc tchers should not be affected by any super or sub¬ there was any effort at what we term secu¬ at the present time is the fact that the picture houses, public halls, stores and ? 1 8 .. a Unlike other vocal methods, It has been several months since we have octave couplers, either manual to manual lar music or secular performances. But church will not pay large enough salaries theaters. Many of the best performers on ,e Wlth , e prop5f intcre"4’ . . to taking the student step by step upw; had a good hot argument in the columns of Organist in the later history of the church, secular to secure the services of competent musi- the organ have gone into the secular field vo untee^ chorus. The problem is so - in the vocal art, it presents much infori The Diapason on organ building and other or on the same manual. The function of a mixture is not to music has outgrown, in. efficiency of per¬ cians for this work. of musical activity, and the public has volved that “ 15 imP0SSlble t0 lay matters and I am wondering if our good Should Know developing a knowledge of musicianship make a lot of noise, but to supply the har¬ formance and general interest to the pub¬ There has recently been considerable ac- been accustomed to hearing organ playing a.ny direct method of progress or of soiu- friends have run out of ammunition. Mr. monics that are lacking in stops that pro¬ lic, the music of the church. The mainte¬ tivity about this matter, and a committee almost to the same degree as piano playing! tlon- The oldy definite thing that can be study. The information upon the physical Lemare has been strangely silent for almost AMERICAN ORGANIST, Price, $2.00 nance of large symphony orchestras in equipment of the singer containet 1 in this duce fundamental tone with little or no made certain recommendations to the end The consequence is that an organ recital said1S 'hat those in charge of such matters supple- a half year and I hope his exertions in re¬ Compositions by American composers. nearly every large city, the broadcasting of book is most enlightening, being overtones. I agree with Audsley that the that the organist’s salary should be two- unless given by a great musician, has’ should strive to obtain the best possible mented with clearly explained illus futing the arguments of the duplexers have The numbers are chiefly of intermediate fine singers over the radio, together with fifths of that of the pastor. In order to but little drawing power these days. How- conditions within their means and power, mixtures should be voiced so that they may difficulty and cover practically all styles. not left him with the writer’s cramp. operatic and other concert performances, maintain its music on a plane equal to that ever, the combination of organ and choral be used with a single stop in their depart¬ Cloth Bound. Here's hoping that I can start up another ment, and as an example cite the swell the use of the talking machine in repro¬ of the secular world, the church has to ac- singing still has a vital interest, and it is The Church Repertoire i this book, have described it as “mar- THE ORGAN PLAYER, Price, $2.00 ducing the work of excellent artists; all first-class fight. I submit that there is not organ dulciana mixture in my own organ, HERE IS a considerable' amount of elous”—a compendium of all the things One of the best pipe organ collections have helped to educate the general public T hat the beginner in voice culture should a single organ builder in the world (to my which I use with the 8-foot stopped dia¬ obtainable. There are very few Church mind far beyond any point reached in church music never heard because of knowledge) who builds mixtures properly. pason, a soft one at that, with excellent organ music racks upon which this book years gone by. The average music lover Prerequisites for Prospective Organ Students the difficulties of performance, and in some This is a pretty big statement and I am effect. Any organist who wants to try a has never been placed. Cloth Bound. who has had the privilege of being edu¬ instances because it is too little known. j| A Real Beginner’s Book looking for Ernest M. Skinner to jump good effect, if he has a very soft swell mix¬ ORGAN MELODIES, Price, $1.50 cated in this manner is certainly not con¬ By Charles Knetzger The field is ripe with beautiful compos1' on me with both feet. While I admit ture, should try this combination in play¬ A compilation of 47 organ numbers. tent to go to a religious service and there — tions, provided those in charge take PRICE, $3.00 there are several builders who know how ing the Saint-Saens “My Soul Doth Mag¬ Each a gem and of the type an organist be obliged to listen to music which is weak Organ students who are inclined to major and minor triads and chords of necessary ""crest in them and to create an artistic mixture, they are all nify” and the results will be very pleasing in many respects. This is one of the begin the study of the organ without suffi¬ the dominant seventh. they are performed. entirely wrong, to my way of thinking, in indeed. It is the nearest approach to a real essential difficulties with church attend¬ cient preparation should remember that 4. The ability to sing at sight music of There is another very important matter Theodore Presser Co. their mechanical treatment of this stop. harp that I have been able to make. And ance at the present time. while this mixture is soft enough to use they ought first to have: a medium grade of difficulty. which has not been mentioned in this af A properly designed mixture is with¬ The whole tendency of the time seems to tide on account of lack of space, and tha Music Publishers with the stopped diapason alone, it also else besides low in pr 1. Two years (at least) of thorough 5. The ability to harmonize simple mel¬ out a doubt one of the most valuable stops point to the desirability of having a good and supplies quite enough mixture to handle the pieces all of good character and wide training in piano playing. odies. has to do with the so-called just or un in any organ but who has ever heard a mix¬ chorus choir. If good solo voices can be Dealers other twenty-seven stops of my full organ. 2. A clear understanding of the funda- tempered intonation, which is the true an ture that did not squeak like a stuck pig maintained in addition, of course, they 6. A good legato touch. I would like to hear some comment on "mentals of music regards notation, rhythm 7 A knnwlpHcro r,4 id , • , , natural intonation, much more beauti u 1712-1714 CHESTNUT STREET when the super-octave coupler was used? are quite desirable; but the first essential I submit the following proposition: That this proposition and to be informed if there THEODORE PRESSER CO. and harmony. fingering the scales eh A !i'C rUes.of when obtained than the tempered '"ton 1712-1714 Chestnut Street is the chorus, be it volunteer or paid. The PHILADELPHIA, PA. all mixtures should be placed on separate is any organ builder who handles his mix¬ 3. A thorough acquaintance with major 8 An sireLh arpe^10s' tion. A choir well trained in unaccom- PHILADELPHIA, PA. excellence of chorus singing has been 8 An agreeable voice which will not be panied singing will sing in this natural chests and that they should be operative tures in the manner I have outlined.—The and minor scales and cadences as well as demonstrated in the past few years by a confusing either to choir or congregation, intonation. The only time we can hear only at 8-foot pitch. In other words, they Diapason. THE etude JULY 1927 Page 539 TEE ETUDE Page 588 JULY 1927 Musical Pointers Music Teachers Need This New Organ and Choir Questions Answered “Pendulum ” Appointment Book By HENRY S. FRY IIP' Wm for It’s different, attractive and practical. It pro¬ SCHOOL FOR vides a properly arranged register for the day’s appointments. Musical Parents There is a page for each day, divided into quarter-hour THE TRAINING OF ■„ T„_ etude unless accompanied by the full Rfek ” IgH periods. Each page is headed with the day, with a space N. B.—No questions will*.w^Onl, initials, or pseudonym given, will be published, for filling in the date, so that the book may be placed in tame and address of the inquirer. v/ . use at any time and used up completely without waste. Conducted by Following each week is a blank page for miscellaneous memoranda, and there is a special ruled section for tele¬ THEATRE ORGANISTS i&Hsfss! MARGARET WHEELER ROSS phone listings. The “Pendulum” is convenient in size— where would you howe'.. ^ __ S"x6H"*%” thick. The durable cover of fancy grained not "two hundred „ leatherette is artistically stamped in gold, and the beauty _ take no distinction be- voices, Iplace them in the following order the words_ mormonophonic and homophonic; A. ft'—No questions will be answered in The Etude unless accompanied by the full name of this book is further enhanced by a handy cellulo d left to right: it tne definition above given will never- and address of the inquirer. Only initials, or pseudonym given, will be published. marker attached with a silk ribbon. Fall Session Opens September 12 irano Alto Bass leless be clearly grasped by the student, _chorus choir the arrange The “Pendulum” will save you time and con¬ necessity of a distinction t... AST MONTH we devoted our space depend on your a"""'"””1 n rp„. the two schools understood. Homophonic L however, I find it the same old flimsy, fusion. If your dealer does not have this new to a discussion of the value and Direction: CHARLES H. DEMOREST and HENRY FRANCIS mors music is single sounding, that is, melody or worn-out article that every prejudiced book on hand, send us $1.50 for a copy, postpaid. ■ „„ssaees given in unison. For countless ages - civilizing influence of music study father presents. I have never yet been PARKS, Famous Theatre Organists and P^s’«^1(f1^as satisfied with this species of Bon the right (altos^ fronts heard music, the division of music into parts being for the restless, over-active boy, turned able to convince a parent that a boy’s THE PROFESSIONAL PRESS, Inc., 17 N. Wabash Avenue, CHICAGO nearu _thanscarcely n seven, hundred years old. loose from the discipline of the school¬ musical ability actually influenced his Students have lessons and practice before the Screens pro¬ t advantage by your choir. : all t world phonic. room for the vacation period. money-earning power. Many men with vided by the College in its studios. New two, three and four Q. In playing a hymn-tu The following communication received pronounced musical ability make money, manual Wurlitzer and Moeller theatre organs for lessons play right through, or to from Miss Olive Delahaye, of Ottawa, many with none at all do the same. double bar, or at tne ’nd of each Hnef. and called it Sumphonia." and practice, owned and operated by the College. I think it is proper to l Canada, is interesting and pertinent to our This gentleman admits his son is not breath.—E. A. B- taking the liberty to write to you discussion, and the comments from this studious. This, then, is why he refuses to- Harmony Book for Beginners | - which has arisen con- SCHEDULE OF LESSONS ' the organ. Numerous young lady upon the father’s unreasonable go to college. If every boy who refused ... .. hurts the organ to play position and his lack of foresight may be to go to college were a musician, the musi¬ I AN IMMEDIATE By PRESTON WARE OREM I ADMIRABLE for I 1 First Year (Beginners) ass*.. has been standing in an tin- cal millennium for America would indeed | I SUCCESS 1 Price $1.25 | SELF-HEL^J | smmmmthat“!sfrthe Zt ^te “t'nM be'sho'ffl \! profitable to other parents. Others have said that it does 1st term—First working registrations. to nilow time for breathing. Otherwise the htatid ro to play c be here. If this boy is not studious, I 2nd term—Playing of weekly news features and song slides. Should a Boy Join a Dance Orchestra? agree with the father that he will not 1 Brief, Simple, Vital, Practical, New and Distinctive | “If I had to live my life over again, I’d make an accomplished musician, for it 3rd term—Short feature films and jazz. | Lays a strong foundation for future musicianship by giving the main | note Sow with unbrokeS rhythm. In situation that I felt theH Ijould find out the never let either of my sons have music takes the highest intelligence, coupled with = essentials of the subject in such simple, understandable and interesting manner that g 4th term—Long feature films and cuing. chorales pauses are frequently made on the exact com * ' 'nev#r* bennl that any harm lessons or touch a musical instrument,” great industry, to make a skilled and suc¬ last notes of the phrase. is done to an organ by playing it when it is was the startling statement which a busi¬ | it will prove invaluable in the class or for self-help work. Changes in temperature affect ” cessful musician. Second Year (Advanced) 0 We stopped the Etude with the Pc- tuning of” an organ, —dand conditions areai much ness man made to my sister the other day, It seems to me that this father should I -—--- I mber, im, issue, but find we just want better for the instrument if tie auditorium in and there was such bitterness in his tone thank his lucky stars that his son became | Read this letter from JOHN PHILIP SOUSA, Famous Composer and Conductor: | 1st term—Actual screen playing of feature films. .you supply- * the>■- Januat hjpu it is located Is kept at all times as and Eel nary issues and send th~- or the same temperature as Is possible. that she was astonished. interested in orchestra work, where, at . The system adopted in your Harmony Book is admirably adapted for the | 2nd term—Improvisation including waltzes, marches, jazz, . March issuet I have a No doubt, however, there nr,- hundreds of “But why?” she asked. least temporarily, he has an income, and, churches throughout the country that are s student who requires an instruction book that is “ as plain as a pike.” The text 5 graduated organ major from “Don’t you know what it has done to etc. ____ irj..wo ino not heated during the week. more to the point, an occupation that taxes | is so lucid that he “ who runs may read ”—a decided virtue in any text book. | Jack?” questioned the merchant. “There I his energy, tires him out, and prevents I congratulate you on your work and com mend it to the student of harmony. | 3rd term—All scenics, effects and constant screen practice. _ ...j satisfactory recital, the program of which I enclose. But he obtained no position am with a splendid business for Jack to him from doing things far worse. A boy 4th term—Screen playing before audiences. because, for all college and church organists, slip into, but he will have nothing to do who is admittedly “not studious,” and with an experienced man was preferred. (He has | Theodore Presser Co. S££ books Philadelphia, Pa. | had considerable experience playing in mov¬ with it, and when I offered to send him no love for business, might be loafing ing picture houses, but, with his qualifies- .. to college, he refused to go. All he wants around pool halls, or more questionable LENGTH OF COURSE turns, he wanted more serious work at the (~) Please name a g registration book to to do is to play in the orchestra to which places, contracting bad habits and ruining The time which will be consumed in covering the course will organ.) Not getting what he wanted he supplement or to follot returned to - and is now taking his (,<) Will you please r where I can get he belongs, at nights, and to sleep all day. himself physically. He is yet young, and be determined to a large extent upon the ability as organists Master’s degree. He. has a church position information concerning the nature of tn ex- near there and piano pupils, thus hoping to amtnation for Fellowship in The American Just now when he is only seventeen he will doubtless find himself in time if of those who take it. Students who never have studied organ get what experience his limited time from Guild" of-* Organists;-f also inltigMfifjfl format* “*0“‘ seems to be earning big money, but what patience and wisdom are exercised in his study will allow him. How shall a yoinu The National Association of Oryantstst previously will require two full years to finish the course. (1,1 Is there a book that is written along is to become of him later on? He’ll never management. Experienced organists may cover it in one year or less. discouraging psychological li—~rs. explaining howI-"*" tnto getnet the be a great musician. He isn’t fond enough His father, however, must rid himself circumstancesf Perhaps your organ depart- lution for cases of . begin to studu orchestration of study. No! If I had to live over of this fallacy that music has anything NOTE_Church and concert organists of experience are kind.—F. E. C. non' rather than another registration book, or again, I’d leave music to the girls.” to do with his dislike of study, or his in¬ A. Tour experience probably is not in conjunction with one. I ha>c studied the eligible to enter the advanced course. __ and our advice would be _ Bach “Inventions,” but rather a long tune This conversation set me thinking. It difference towards a business career. Had continue in his present position and teach¬ ago. Polyphonic- - * • playing«- s,- ei hardest for was impossible to agree with Mr. Blank’s it not been music, with such a boy, it ing until it is necessary for him to relinquish me. Please advise.—M. H. R. , the work because of the termination of his A. “The Diapason.” the official organ ol sweeping conclusicyis, but, on the other would have been something else. This studies, or until a better post is offered him. The National Association of Organists, is pub¬ hand, no one could deny that Jack had en¬ father is, possibly, the strong masculine He will be gaining what is required in the lished liv S. E. Gruenstein. Kimball Hall. CM- better positions—experience. The program eago, Illinois. Other organ magazines include tered a blind alley and that his promising type, devoted to business, and concerned FREE FELLOWSHIPS you enclosed (if well played) Indicates high “The American Organist.” published by-Scott prospects were being ruined by the glamor with little else—one who has left the men¬ -*■“ — "— as organ playing Is con- Buhrman, New York, and “The New Music of playing in a dance orchestra. There had tal and moral training of his children en¬ Mr. Demorest and Mr. Parks have each consented to award cerned, but much -■*<= ’ ,wuu»required 'U. ...1 m. Review,” the official organ of The American been a time, five years before, when Jack tirely to his wife. Such men usually se¬ Free Fellowships of two lessons weekly, each of thirty min¬ important church college post. If he has Guild of Organists, published by the H. vv. opportunity to s: under some experienced Gray Co., New York. We take it for gram™ seemed on the way to becoming a musi¬ lect the delicate, dainty, “clinging vine” utes, for the entire Fall-Winter season of 40 weeks, to the conductor or choh ister, either as a singing that you are familiar with the Organ Depart- memDer or a unorai Society or as a listener ment of The Eti-de. The first two magazines cian. Now, as a friend described him, he feminine woman for a life’s partner, and, SUMMY’S CORNER students who, after an open Competitive examination, are at choir rehearsal, it might! be of much help named deal more specifically with matters per- was simply a “jazz hound.” in the natural law of heredity, the sons to him in his work as a choirmaster, which tainlng to organs and organists, the ones found to possess the greatest gift for playing organ. Free in the better positions is combined with the named later being of a more general character, If Jack had really studied music in the of such a union will resemble the mother. A New and Unique Instruction Book for Young Piano Students Fellowship application blank on request. organist’s post. This will give him ideas For additional study of registration, we sug- proper sense of the word, instead of join¬ It is not often that the sons of big busi¬ as to the technic of the work and at the gest “Organ Registration,” by Everett & ing a high school orchestra which played ness men walk in the footsteps of their MIDDLE C AND ITS NEAR NEIGHBORS same time familiarize him with choir roper- Truette. also “Organ Stops and their Artistic by Elizabeth Blackburn Martin, Price, 60c COMPLETE WINTER CATALOG ON REQUEST toire and so forth. Caution him against Registration,” bv Dr. George A. Audsley. _ The dances, he would not have acquired in the father. discouragement, as most of us do not find latter work however is more of a dictionary In this nesting book is presented the study of early fundamental probh just what we should like at the outset of of Organ Stops than n treatise on registration, formative period of his life a taste for Like Father Like Son ? olved from ivities centered around Middle C. Notes are introduced by their relal onr careers, and we must expect gradual You might also find useful “The Art of Trans- Jazz at the expense of his appreciation of CCORDING TO recent press dis¬ , by their “neighborly” relation to Middle C. increase in success as we gradually increase erihine for the Organ ” bv II F. Ellmgfora. A S' PlayTng’ i at once, naturally involving rhythm, note values, in the works of the great composers. If he STUDENT DORMITORIES b,talS° a',viba!'le h‘“ t0 For information in reference to the Frtlo-fh'P patches, Roger Kahn, son of Otto key signatures, simple phrasing, etc.—the study of each prop< promote social intercourse both with fellow Examination of The American Guild of Or had been kept at his music lessons, in¬ Kahn, leads a jazz orchestra in his own troduced a its need arises. Attractive words, supplied with each little piece, as musicians and with non-professional -‘ ganists, address Frank Wright. Mus. Bac. in aenmng tne rhythm and suggesting the melody line. Finger exercises, covering ec cians, as a wide acquaintance, with the con¬ Grace Court, Brooklyn, New York. Howe^eh stead of being permitted to earn easy night club. Gerald M. Warberg, son of fundamental principles, are interspersed. sequent widened knowledge of the character no candidate can take the Fellowship ®xa”!!,IL money to waste on amusements, at seven¬ Felix M. Warberg, will become a profes¬ The book is beautifully illustrated throughout. of his work, may be of much advantage to lion without having first passed the Associate Ship Examination, details of which may also teen he would be able to discriminate be- sional ’cellist. ROBERT J. RING, the author of “LITTLE HANON,” gives anothe be had from Mr Wright. ThP Na¬ ween the good and the bad, and then, if Arthur Brisbane, in commenting upon important work entitled l you please describe (r) Homo- he decided on a musical career, he would ste (2) Polyphonic Music.—J. R. T. tional Association of Organists, address the the career of young Kahn, recently said: Homophonic Music. Wo quote choose a real career as a teacher, organ- “If you have it in you to make money, you EXERCISES FOR HAND EXPANSION CHICAGO n’s “Music Dictionary,” “Unison; lst or concert pianist. Summy “Edition” No. I2S, Price, $1.00 make money. Young Roger Kahn, son of ore voices singing in unison. In Auditorium, N Exercises, that if used carefully, will assuredly increase the span of any hand ti usic, a style in which one melody an able financial father, took to music. Adaptable to all types of hands and as applicable in the advanced as in the lo’ rchestration would be valuaMe t People said, 'too bad, he might have made nection with your study of ors several directions. First, it is informil himself a rich man.’ But wait! Now he MUSICAL which different i ^ ^ A feature of the book is. the^ provision for the necessary relaxation of the mus .1. The following are some wor is organizing to distribute innumerable n the subject: th ,°se us wh° have presumed th (2) Polyphonic Mm From the same “Orchestn.....-Cecil Forsytlb .^ f()r It» ,,e TJazz hound” is peculiarly native jazz bands to bring in an income of MUSIC NOTE GAME, by Louise Stuart Holman source we quote "Polyphonic.. ls many “The Orchestra and How ti three million a ytfar, and young Mr. Kahn voiced or plum’ • -, — is formed F. Corder. , .. _ „nd tl>e United States. ible recreation that promotes accuracy in sight reading. Price COLLEGE todies going on siniul- “Treatise on Modern Instrumentation t will also be enlightening to us expects to have one million a year profit. SEND FOR CIRCULAR ntrapuntal music which Orchestration,”stration,” Heetor Berlioz. nrcbes- That isn’t much in these days, but it will * **•“ year 1200 and • ■ -Praetical - - Guide- - -. to the Modern urt .?at tlle love and pursuit of ja was developed into a science by the earlv a.” James .Lyon. , in- d be the cause of keeping a youi do for a start.” CLAYTON F. SUMMY CO., Publishers 60 East Van Buren St. (gESfiSS) Chicago, Ill. Flemish composers, in the fourteenth fif¬ (The last named book is a short 0f So, you see. if you have it in you to teenth and sixteenth centuries. It preceded nded as a guide to general characteri- let" °Ut °f business and away from cc 429 South Wabash Avenue Chicago, HI. itory Pledged too the HighestHight homophonic music by many centuries, for chestral instruments.) , that make money, you make money, despite tablished 1867 the first attempt at a method of harmonic Polyphonic playing is difficult, and tm musical ability. . should he well grounded As I analyze this gentleman’s arguniei practical method playing. n with your organ s' rttaerK always mention T1IE ETUDE. It identities yon as one in touch with the higher ideals of art anid Ufe. m THE ETUDE when addressing our advertisers, JULY 1927 Page 5J>1 THE ETUDE THE etude Page 51i0 JULY 1927 thrust so far forward that the stick, and re apt to be genuine and that, in case Where the advance in price of the best not the hair strikes the strings. ^should be found otherwise, the firm will specimens of Stradivarius and Guarnerius VIOLIN LESSONS, when the teacher make the matter right. will end, it is hard to say. Prices have is a man of skill and reputation, are “Drumming” The owner of a violin who wishes to sell doubled and quadrupled within thirty high priced, and it is to the great it can often make an arrangement with a years. The $5,000 Strad of thirty years THE SOUNDS produced by . this interest of the pupil to make every minute The Violinist’s Etude “drumming” of the stick violin dealer to sell the instrument for a ago brings $20,000 today, and violin deal¬ of the lesson count, both from a financial the strings is not loud, so that the accompani¬ commission of ten per cent, or so, and ers are talking of another quadrupling The Famous as well as an educational standpoint, i he Edited by ROBERT BRA1NE ment must be very soft if the violin is to through fixing the selling price himself, within ten or fifteen years, which will truth of the matter is, however that not realize more in some cases than he take the same violin to $80,000. A demand one pupil out of a dozen, especially during be heard. Passages of this character are It is the Ambition of TUB ETUDE to make this Department either in single notes or chords, but are would if he sold it outright to the dealer. for first-class Cremonas is coming in from the first two or three years of violin study, In selling violins, as in everything else, the most unlooked-for sources. Henry PAGANINI STRAD “A Violinist's Magazine Complete in ltsen more effective in chord form owing to,, gets the full value out of his lessons and “there is always room at the top;” there the faint tone which the strings give out Ford, the Detroit auto billionaire, is said this is not through any fault of his teach¬ is always someone waiting to buy a first- to have recently invested $300,000 more in er's but entirely through his own neg- when struck with the stick. They are is now on view in our new used in orchestra and in solo work. rate Cremona, no matter what it costs. famous old Cremonas to add to his al¬ The reason is that there is only a certain Leonard, the French violinist and’com¬ ready large collection. and commodious quarters at *A few hints which will enable the pupil number of these instruments in existence, Value Received poser, uses the “col legno” very freely in A well-known violin authority in New to get the fullest value from his lesson and can never be any more, since the Pay your bills promptly whether you the Serenade of the Martial Rabbit, from York predicts that all the best specimens hour will no doubt be of interest and show makers are dead. Moreover the floating re valuable than his time a “ pay by the lesson, month or quarter. hig. “Scenes Humoristiques,” for violin and of Stradivarius and Guarnerius will sell him how he has been losing valuable time Take all your instrument ti supply is getting less and less all the time, 150 West 57th Street Teachers are human. It is hard for them piano_ in this composition an accompani- for more than $100,000 each within ten in many ways in the past. since there is a constantly increasing de¬ arrive bles to a competent repairer. take interest in a slow-paying pupil. ment 0f chords played col legno is given years, and says it would not surprise him NEW YORK CITY Be punctual. Make it a point Do not risk having your strings break Ke in iciest in - - - " .1 mand for violins of the highest class, from to see as high as $200,000 paid for the the good-paying pupils''- who,t,~ get thpt e to the solo violin, while the piano plays "the* studio five or ten minutes.ahead of the Wesson “period. violinists and collectors. greatest of them eventually. This, of course, and the extra favors. the melody. A measure of this part of that you will be ready to start llpfnrp vou s Concert violinists are getting more and seems preposterous, but we must remember right on the dot, or a little before, if there orc.'"J tfbreaCp^ ~Do 'not' continually miss lessons the composition follows: With it is also on display the ™ more to recognize what a great asset it is the craze for tulips in Holland, when the • -o pupil playing when you arrive. You str“gJs - - • • —- new on, Carefulness in thisregard man°y pupils do. Yuu cannot ^l^make for them to play on a really famous violin. choicest bulbs sold for ridiculous prices. largest collection of other this manner if‘your teacher will preven^ ^dls^ For goodjrogress a lesson, The possession of such a violin adds to It is also true that paintings like The instruction *>, «... -- - the artist’s fame, and also has a distinct Transfiguration by Raphael could not be rare violins we have ever is good natured and starts the lesson a little you to get the proper length of string arrange to make it up at another tune box-office value, in that many people who bought for five million dollars, with other had the pleasure of showing ahead of time. , from your case and for you or your teach- else pay for it. If you are constantly are interested in famous violins will go to great pictures in proportion. This being But when you come early do not. put er to put it on. If the string proves ihg lessons for which you do not p y, Novelty the artist's concert, simply to hear and see the case, the authority reasons, why should your violin case and music satchel in a false it must be taken off and another y0ur teacher feels that he is being V his violin. Thus the violin draws money not the greatest violin in existence, made corner and read a magazine. Get your one put on After the new string is on posed on and loses interest in you. '"I"'HE USE of the bow col legno offers to the box-office as well as the player. by the greatest violin maker of all time, W. R. FORD COMPANY, Inc. musmmusic uuvout «u~and unfold-.-. it, so that it _will lie.. it will keep stretching more or less during Do not beg for a piece or exercise which 1 no special difficulties and is used Imitation Cremonas are harder to sell bring the sum of $200,000 ? perfectly flat on the music stand. Have it t; hour iesson, thus leading your teacher considers too difficult for you principally as a novelty. It usually has Successors to Gittelson & Howard than the genuine, except in the case of imi¬ It is said that the great advance which opened to the right page. Get your violin w the delay of frequent tunings. at the present time. He may grant your a great effect on audiences who know tations which have been made by eminent has taken place in Cremona violins within out and run your fingers over the strings to everything else, do not be guilty request to the great injury of your prog- little a|,out violin technic and are inclined makers. Such violins sell, of course, for the past few years has been caused by the DEALERS IN warm them. Screw up your bow and rosm "country fiddler” habit of letting ress. Trust your teacher: take what he t0„ exaggerate itsi difficulty. I have often only a fraction of the cost of the originals RARE, OLD AND MODERN VIOLINS seen this particular composition by Leonard vast increase in wealth in the United ., Then, the instant y0“r al, your stringS down every day after you gjves y0u; do not argue the matter, from which they were copied; but if they rea y — , i,o- with the idea of vm, lose ronfid him, change teach- wjn much greater applause than some other States, and the rapid increase in the num¬ through playing, with the, idea ' of you lose confidence i are of fine quality there is often a good „ .s most’’important, especially in cold saving a few cents. Nothing is more ers; but, while you : under his charge, composition of many times its difficulty but ber of American millionaires. Much of it weather, to take your violin out as soon . market for them. is due to our national trait that nothing Mr. Lionel Gittelson & Mr. Frank IV. Howard „ teacher than to have a pupil cbey orders like a good soldier. . lacking novel effects and tricks, Cheap imitations by “factory fiddle- as you arrive so that the strings will get will satisfy us but “the best.” Europe is hand him a violin to tune, which has all Get a good violin if you can, with a Audiences can safely be relied upon to makers,” obscure workmen who, instead remain associated with Mr. W. R. Ford in accustomed to the warm atmosphere of its strings down and flapping loose around tone of sympathetic quality. It is torture sbow enthusiasm over novelties in violin being drained of its great old fiddles to of taking infinite pains with their work, the conduct of the business the studio. Otherwise your lesson will be the fingerboard (at the same time volun- to your teacher, with his sensitive ear, to technic, such as left hand pizzicato, artifi- satisfy the desire of American violinists delayed and shortened by repeated tunings. strive only to see how many fiddles they juaycu «um -a * . teering the informationmtormation thatmat mothermown oru» listen,_ to a five dollar fiddle_ with a rasping. c—;ai harmonics,. passages in flageolet n can turn out in a week, bring only com¬ and millionaires to own a Stradivarius or a Some pupils invariably neglect tnese ae {ather or Aunt Sue sa;d t0 let the strings tone- He will dislike seeing you come in coi ]cgn0 passagcs and combinations of paratively nominal prices, of course. Guarnerius. tails with a consequent loss.of ten mmu es after playing to prevent their break- the studio door with such an instrument, melodies played with the bow to an ac- caused by the delay of getting started an r|nrl-ng the njgbt). When the strings ju such a state of mind he cannot possibly COmpaniment of left hand pizzicato. Many frequent stops for tuning. If you take ha a violin are continUally let down, the gjve you a good lesson. a violinist has built up a big reputation by Getting the Most Out of the Violin hour lessons and pay three o. ars eac v;0[jn will never stand in tune more than ;s an excellent plan to keep a little choosing for his repertoire showy pieces HUGU5T GEMUNDER H 50N5 Credit VVIOLINS for them, a ten minute delay wi mean a ^ m;nutes at a time after it has been note book in which you can jot down containing technical novelties, By Dexter W. Allis Makers of the World Famous cash loss of one dollar each lesson, vv t taned A lesson wherein the pupil brings a questions which puzzle you concerning your Critics often sneer at and belittle show is worse, you will lose the means of pro¬ violin of that description degenerates into violin. playing. pieces of the type that Paganini composed ruinous not only to this instrument but “GEMUNDER ART” VIOLINS gress which this ten minutes would have To do its best work, the violin, like a The Violins With the Soulful Tone appr'ciaWd a tuning match. . Get some good works on violin playing and played, such as the Witches Dance, the delicate scientific instrument, needs tender also to any instrument having wood in its given you. Illustrated catalog free Keep your violin in good repair with and study them at home. This will make Variations on the Carnival of I'cnicc, the handling and careful adjusting. It is construction. Do not take time during the lesson rt the pegs well adjusted, the fingerboard you intelligent in matters pertaining to / Palpiti Fantasia, and other- of like char- The tone quality of a violin is affected REAL AND RARE OLD VIOLINS likely to be damaged if it is carried in a Illustrated catalog free rosin your bow. It is entirelyLy upnecessaryvunnecessary. ^ {ree of creases under the strings, the violin and violin playing and will save acteri but such pieces invariably “go big” by atmospheric conditions. On a hot, bag; it will also be injured if rosin is Finest Strings Artistic Repairs You can rosin your bow a t ome e tj,e bridge perpendicular, the strings in your teacher the trouble of explaining with the general public, even in this age allowed to collect and form a thick coat¬ humid day, the beauty of tone is much you start or at the studio before it i good order and the bow well rehaired things which you can learn for yourself 0f musical “high-brows.” impaired. The quality of sound is also Send for our chart and we will fit your individuality ing beneath the bridge, for here the wood s f°r y°ur lcsson- anour toojs jn perfect order spells delay dred dollars’ worth of the teacher’s time - by the position the player takes in the rbe “Amplitone” Violin __ _ r- the wrong piece, affected by any accumulation upon the wrong exercise book or- the wrong P'ece, dur;ng the lesson hour. to tell you facts which you can get your¬ room. This is due to varying conditions World, a Bi-Monthl surface. r, Single Copies 15c r with only part of your music—the violin self from a book costing only a dollar of sound-reflection from walls, furniture Offerings Selling Cremonas The top edge of the bridge should be r piano parts to your pieces missing. This “Small” Talk at Lessons or so. and upholstery. Soft hangings, rugs, bric- often spoils your lesson. For the parts People writing to the Etude in regard to watched that it does not gradually shift \Q NOT indulge in useless conversation Read good musical magazines and go to a-brac, padding and cushions have an ab¬ you have forgotten probably have had the T~\U finding customers for their violins when its position beneath the strings. When a * but keep your mind closely concen- concerts. Buy a radio and phonograph, , g. . ,c. * °r sorbing and deadening action upon music Profit-Free Offer Violin Bow! fingering and bowing marked by your ingly possessed new string is put in place, the bridge will teacher” Then, even'd feWth^ copies trated on your lesson. Your teacher ap- if you canafford it and some records by - y. ’ usually be drawn slightly forward. A of all kinds. of the idea that it is very difficult to sell a Since the combined tension of the strings For a limited time . of the music that are unmarked, you cannot predate close attention. After the lesson the great violinists of today. Keep abreast thin, narrow strip of wood or cardboard A Violin Bow Worth all genuine old Cremona because of the large is over eighty pounds it is well to keep r do not linger at the studio talking of the times. Become musically intelligent, cut to proper length, about thirteen inches, (plus postage). This iB a fii do them justice. price involved, are very much mistaken. an eye on the fastening of the tail piece hink it worth 26.00 o your teacher if he has no lesson imme- This will all help you to get the may be kept in the case and used fre¬ ey will be refunded. As a matter of fact, it is easier to sell a to its peg; and, when it appears worn, re¬ Carefully Kept Music . lately following yours. He is a busy ma it of your lessons. Remember that if you k's a ™auer. ° la«’ 11 15 eas er. T J quently to measure from the nut to the OrTthe^anie' \ er rns° w ARTHUR HARTMANN •e tw,Yp the firSt daSS Vlohn tha» 0,le °f ”ldlffer.e“; place it with a new one before it breaks strictly $15.00 Violin B. ir only2 *7^20 (pUis y . , , and cannot afford to spend a quarter of a are making twice the progress of another .. _. bridge that the latter may always be in postage). Only one bow O NOT let your music get ragged and to vou on a subject of n always customers tor On His European Tour pupil, you are getting your lessons at half exact position. As small a change as one- and, possibly, causes damage. privilege of withdrawing t first class violins. There arc a number of No more string should be wound around D price compared to him. sixteenth of an inch in the position of up or lose some of them. Fix up your large dealers in old violins in the larger a tuning peg than is necessary for a the bridge will cause the playing to be in the hands of et music in an orderly condition with library cities of the United States who are pre- secure grip. It is well to see that the slightly off pitch. paste and mending tape. It will save time n . T pared to buy no matter what the cost, and string does not crowd against the sides After fingers (especially damp ones) and you will gain the respect of your COI Legno pay immediately for good specimens ot of the wood as it winds around the peg - the art of Stradivarius, Guarnerius, Ber- have been touched to the rosined part of teacher thereby. and also to see that the direction of pull Catalog No. 13025 _ Price, 55 cents By Robert Braine gonzi,.and the other great Cremona mak- the strings, the bow will be likely to slip If the teacher skips pages in assigning of the string upon its peg is not such Variations for G String Solo (Prayer from - ers, as well as those of the most famous and squeak. A violin subjected alternately technical studies, write the numbers of the that the peg tends to come out as it is Moses in Egypt—Rossini) N. Paganini READER of the Etude writes to instead of plucking them with the fingers, makers of France and Germany. to damp and very dry air will soon begin exercises assigned on the fly-leaf at the A turned. Arranged and Edited by Arthur Hartmano inquire the meaning of the words, giving an entirely different effect. The dealer will naturally offer the owner to open up at the joints. Dry heat is front of the book and later memorize them A novelty, yet one of the most beautiful offerings Col Legno, when placed over a pas- In the same manner when we “drum” old violin a smaller pricev- than- he tko rnnlln X/fw Hart------so that you can find them at a minute * sage of violin music. The words are Italian on the strings of the violin with the stick expects to get from a collector-or violinis, Six Maxims for Young Violin Students ic point! notice. Your teacher gets a very bad itn and mean “with the wood,” or “with the 0f the bow, a novel effect is produced, ^or 'le >s entitled to a fair profit; but even Catalog No. 13027 pression if you spend two or three min¬ stick.” differing entirely from effects when the at tllat t,1e owner will likely get a bette By J. C. Langley Send for folder listing c utes trying to find your exercise. The No^ ^.instrument. ris_ capable__ of. as.. many hair ;s ^ Qr even ‘ fw)m thc ord; price than if he tried to sell it at pnv* ments for Tiolin and | it . ... a T must clay scales slowly, using whole MASTER REPRODUCTIONS natural inference is that you either have rove..ovel| and bizarre effects as the violin, . . te. . . .. y sale himself.t,;mo„if o-1„People buyingi.:, very L I MUST stand as straight as a soldier. A 1 must p. and other Vega Violin Modela and Violin Veachers. not practiced have practiced the wrong and this js one 0f them. “Playing with P to J,) 14 shghtly resembles. ' re violins naturally prefer to deal wi ^ The left foot must be straight and the bows from the heel to the tip. $50 and Up 1C. me.the. stick,”suck, means thatKuu Wthe player is to~ , W.« en . eol ..legno passages' are— played,•"-•>"*> a firm having a rating of hundreds ° tight turned slightly outward. 5. I must watch the whole and the half . also manufacturers of the famous Vega and Vega- THEODORE PRESSER CO. Do not make a repairman out of your str;ke the strings with the stick of the ™ b™ Is either held upside down with thousands of dollars rather than with a 2. I must hold the violin on a level with gteps ;n the left hand, phone Banjos, and other Orchestra and Band Music Publishers and Dealers teacher, asking him to cut down your bow instead of the hair. We have all seen the stick towards the strings instead of the private individual having little or no finan- Instruments. Write for catalogs! 1712 - 1714 Chestnut Street ffly shoulders . . , 6 Ab0ve all, I must strive to improve The VEGA Co. 159-80 Columbus Are., Boston PHILADELPHIA ss PENNA. bridge, put on a new tail gut, or glue on guitarists “drum” on the strings of the hair, or else with the fingers grasping the cial standing. With such a firm’s guarantee, A 1 must keep the bow straight and °- ™uvc . the fingerboard. His time as a teacher is guitar by striking them with the thumb bow in the usual way but with the wrist they feel that the violin they have bought'3 Watch that m,. rounded, each piece every time 1 play it. itch with the higher ideals of a THE ETUD, THE etude JULY 1927 ' Page 64$ Page 542 JULY 1927 Department of Public School Music Know the thrill (Continued from page 505) Class Instruction Violin Questions Answered up to the high standard of service for cess is the most highly organized club, of owning and By MR. BRAINS_ which they are intended . The pupils of Pupils must be elected to the offices of playing a violin this age are capable of doing surprisingly president, business manager, librarians, fine work in interpretation under proper solo leaders and chairmen and members made by a V /;_.Vo question will be answered in The Etude unless aecornPMieij «>? tul1 address uf the inquirer. Only initials, or pseudonym given, will b l leadership. of committees for social activities. Space famous master— will not permit of a discussion of Senior Pianoff Men and Women as Conductors High School club activities. They are fl J. L.—For learning the various forms ore SS&aTmhST the larger ■ato bowing, ricochet, spiccato, arpeg- The “ fes, and%nly a r»«"v comnetent r IS CUSTOMARY to assign the qu‘te similar t0 those of the Junior Heinrich ' - forth, you would no *"»»«* fin‘’ AK,t' . , Variatior-’tiSns for*— fijgjjjViolin,’' Op. 3, Violinist stands a show of ge generous, male teachers to lead the orchestras ,bc“°o1- The modern senior school em- Plagiig Th. Heberlein, Jr. I 0. Sevcik, extrr'mely'interesting and useful, salaries paid at present a the high schools because oodles many of the activities in the elec¬ es are very melodious, and a piano especially in New Vorkis andespecially hard t and bands . ,. t . be obtained, if you wish it. The on account of that, it ia esp of the advantage in experience that they tive music courses and provides credit text is in English^FtTnch, Ger- Jota tteuni.>n in ttoje cities^ toward graduation. Italian and Russian. These A Host of . have enjoyed as professionals in or¬ chestras and bands or in the study of Se-s arsas-MUSs.’vb ; Vocal Artists string and wind instruments and also be¬ “Gleeful” Clubs Trade-Marked “Germany.” cause of their adaptability in escorting HpHE SOCIAL value of the club idea the musical organizations when they par- -a is nearly lost sight of when work is 0. L. J.—Starting a t twenty- :wo, I would E. W. II.—As a rule, violins which ar^ Have Placed on ngly advise you ni i, and make vio- branded or marked in any way £ac£ory ticipate in evening affairs or in gatherings offered on this basis and playing your pro u It is entirely word “Germany” are rio11"8 the1‘ their of business men’ss civic organizations. be made to maintain s— ?Ladl »”d iar„taSsfenthefr export trade. Ger- inic to hold positions in orcu rers have made it a rule, for Their Programs Many women who have had experience clubs in the Senior High School on a compensation is worth-while^ mark their goodsJJGermany^ in playing in civic orchestras have there- purely extra-curricular and social basis, many yea __J|H ial products, fore developed splendid school orchestras. A club should be a club and the pupils you HighU'class“ German “violin makers P™'“cl£'f a could learn enough f< bat. artistic hand-made violins whicn sen i Others have done so despite their lack of have a right to object when it becomes a high prices do. not brand^beir vmli in experience in the work, by taking courses cut and dried study course. TEACHERS will find it possible to attract many beginners Widening the Notches. -„.e labels and The Roses to classes when it would not be possible to get them I. L.—The trouble you hav strings the violin, givi; which are given for the training of teach¬ This is exemplified by the naive defense failing to respond readilyL „ — -- :ion of the place when ers in this field. Sound musicianship of a large group of seventh grade pupils interested in starting individually. Each class beginner . pegs in tuning__ _ probably- due to the iS impossible t( is an excellent prospect for private instruction later. iches in the nut being too narrow.. If without seeing in THE the key-note of success. Experience who were invited to join a “glee” club would be wedged gained by personal effort in the work. In- for the first They met the teacher ! groo es so that they BnyinL ing. The notches E. N.—The n tensive study of the methods of others and she proceeded > put them through the expert judge of Garden ■e successful school-orchestra lead- regular paces of a school choral period, Suggestions as to Material and Procedure violins "yourself, it would be wise t°j£l'« most helpful. The possibility of Great objection arose and a committee of T. Y.. H.—For„ your__„_ pupils \_ just the violin selected by some good violinist developing splendid ensembles only. _pupils . waited on the principal. The •ed a knowledge of the third position, or violin teacher whom you leel you ( SONG you might use the following violin and piano trust. 2. Buy as high-priced an it* limited by the ability and experience of spokes pieces: Forget-Me-Not, by Macbeth, and La as you can afford. _/Man" people ^ the teacher and also by methods of or- of the Cinquantaine, by Gabriel Marie. These will mistake of buying^ a in recital work. _ a “firstfWJ instrument.instrn. Doj t~- * Words by ganization. what they thought was to be a fifty _ dollars, ' -* The club that achieves the greatest suc- club and not a chorus class. i violin •th fron J. WILL CALLAHAN „. c.—You ought not to buy a bow cost¬ ie hundred to three hunc. 1 dollars. ing less than ten dollars, if you are playing concert violinists Music by Fiorillo and Bode. For that price you can run into the thousands, Combined Course in History, App bow with Pernambuco stick, with — advertisers The Etude c FRANK H. GREY Part VIII IUrLI3HED IN TWO KETS (Continued from page 479, June, 1927, issue) LOW on MEDIUM VOICE- KEY OF B 4»t Page numbers referring to Musical History study are those in “The Standard History of Music” (Cooke); those aligned with Appreciation listings are pages in HIGH VOICE- KEY OF D flat “Standard History Record Supplement;” and the book for Harmony study, to which reference is made, is "Harmony Book for Beginners” (Orem). In each issue is pub¬ lished enough of tins course for study during one month. PRICE, 40 CENTS Part II, No 3 Week Subject Chapter Topic Page Alphabetical List of Some of the 9 History 29 Anton Rubinstein .165-168 Prominent Singers LYing 9 Appreciation 29 Kammenoi-Ostrow, Molto Lento (String Quartet). 13 This Song 9 Harmony 12 Harmonization of Basses in Major and Minor. 94-97 10 History 30 Berlioz, Gounod and Modern French Composers.. .169-175 FREDERIC BAER p 10 Appreciation 30 Carnaval Romain, Selections from Faust.. 14-15 MABEL BAGLEY 10 Harmony 13 Harmonization of Basses Using Inversions. 98-102 ELSIE BAKER 11 History 31 Brahms, Tchaikovsky, Grieg, Dvorak .177-181 11 Appreciation 29-30 Hungarian Dances, Pathetic Symphony . 14-15 MERLE CULLEN 11 Harmony 14 Harmonic Analysis .103-105 NELL GWYNN 12 History 32 Lowe, Franz, Wolf, Jensen, Lassen .183-187 LEWIS JAMES HOWELL 12 Appreciation — Songs by the Above Writers. 12 Harmony 15 Freer Use of Chords and Inversions .106-112 FRANCESKA KASPAR LAWSON RALPH LEIGH Sight Readin MARIA LISZT WALTER MALLORY By Frederick A. 'Willi ALLEN McQUHAE 5srtf£EttM! The art of reading music at sight seems Carel FRED PATTON to be a great stumbling-block to many ing wel u, di*,, on GEORGE REIMHERR Piano pupils. Some possess it naturally, pupil tl BETSY LANE SHEPARD while others seem never to attain it. There his wa are several causes for poor sight reading, hy pi EDWIN SWAIN some of which may be corrected by careful caref, MARIE TIFFANY study along the right lines. ^omi JOHN BARNES WELLS natural tendency toward slow percep- ion often makes sight-reading difficult. , This type of pupil is deliberate in all his pupl1 w. motions. It takes him a week or two to the V/URuIzER “THE ROSES IN THE GARDEN” is alsc fe a k°°k ^at others read through in a hie and Published in a Fine Quartette for Men’s .A uyS- In beginning a musical educa- read bet Voices—Price, 12 Cents a Copy 1hewever, he is taking up a study ' is a ca Sunk require? Quickness of perception, glasses evervtrainmg in his case is excellent; but But fi . PUBLISHED BY with n,m0Ve atleacl must be accomplished f0llowin Mayyas 1 5 ^e greatest difficulty j ReJ THEODORE PRESSER CO. raniH '* ”ever likely to become a really ? Do I 1712-1714 CHESTNUT STREET asPan fght-readcr and is rarely a success * at memC°-m-PaniSt' however, if he is good ' PHILADELPHIA thhk °tr?mg ,(°ften the case with slow Duets a repert • W'" 1)e at,le to acquire quite one or t THEODORE PRESSER CO. chest® st. PHILA., PA. Snd sati°rire and 'l105 derive much pleasure form of - - . s aetl0n from his music study. - learning JULY 1927 Page 5Jf5 the etude THE ETUDE Page 5U JULY 1927 Singer’s Etude (Continued from page 535) ■ up and down the intervals, it is ad- late flashlight starts." “Fruit grew s< (Tl to practice short sentences as: in Troon.” “Man nodded knowingly.” s made Madam glad.” “This (Parts V” to X" will. follow.) American Conservatory '■‘These gifts * CHICAGO A Teacher-Inventor middle C. The D, E flat, E and even F may be taken by the tenor quite “open” if they CHICAGO’S FOREMOST SCHOOL OF MUSIC By Harry Hull Everitt are correctly produced. But the baritone voice begins to sound very labored c j) and E flat. The tenor, too, will very soon o achieve a considerable fame on the ll\rsta'ge would seem enough for one able to produce the real “mixed voice” MUSICAL 42nd Session Commences September 8,1927 °?i To become the teacher and mentor sharP 311,1 G> thouSh the baritone cannot. “f Tenny Lind, and of Adolphe Nourrit, Offers superior courses in all branches of music and dramatic art, ^^nreparadon for concert, i7greatest of French tenors, should sat- The only exception to this rule is the Lfv another. To invent an instrument voice the French call a Baryton Martin. Degrees and Teachers’ Certificates granted by authority State of Illinois Thor g P P lectures, etc. We call it a lyric baritone or, sometimes, “ych has been a boon to many a singer, a opera and teaching positions. Many special features, recitals, concerts with full orchestra, lectures, a baritone tenor. This voice has baritone COLLEGE priceless legacy to the medical profession notes at the bottom and a few t through which it has saved numerous lives, Excellent Dormitories Offer Accommodations at Moderate Rates at the top. Sometimes this voice is very HERBERT WITHERSPOON, President would have been the pride of many an in¬ beautiful but a great puzzle to the teacher, dividual. Yet Manuel Garcia, who lived to UNSURPASSED FACULTY OF ONE HUNDRED TWENTY ARTIST-INSTRUCTORS for it is almost impossible to develop depth the ripe old age of one hundred and one, Among,hese might be mentioned puBLICS0H00LMUSI(>_o.E.Rolinl0„. enough to serve as a baritone and equally garnered- all these honors unto himself ORGAN—Wilhelm Middelschulte, Frank Van difficult to develop enough tenor notes t PIANO — Heniot Levy, Allen Spencer, Silvio CLASS PIANO METHODS — Charles J. * In his own words he shall tell how he FALL TERM OPENS SEPTEMBER 12 serve as a tenor, as the voice fatigues Scionti, Henry Purmort Eames, Louise Robyn, discovered the laryngoscope: MUSICAL THEORY, COMPOS1TION- Haake. easily at the top. Great care is necessary Kurt Wanieck, Earl Blair, May Doelling, SCHOOL OF OPERA—Eduardo Sacerdote. •‘One day in the autumn of 2854 I was stroll- Mr. and Mrs. Charles J. Haake. Adolf Weidig, Arthur O. Andersen, John ma in the Palais ltoyul, preoccupied, with the in classifying such voices and the greatest Palmer, Leo Sowerby. DRAMATIC ART, PUBLIC READING— ZZlurring wish, when 1 saw the two mir- More than 125 teachers of world-wide reputation. Private VOICE—Karleton Hackett, E. Warren, K. Walton Pyre, Louise K. Willhour. of teachers sometimes go wrong in trying VIOLONCELLO—Hans Hess. of the laryngoscope in their respective Howe, Eduardo Sacerdote, Charles La Berge, DANCING—Louise K. Willhour. muttions as if actually before my eyes. I to make tenors of them. It is almost im¬ lessons only or courses leading to Teachers Certificates, Elaine De Sellem, John T. Read. ORCHESTRAL INSTRUMENTS—Mem¬ Imtrtmight to Ohaniere, the surgical instru¬ possible to make a career with this kind bers Chicago Symphony Orchestra. THEATRE ORGAN SCHOOL —Frank ment matter, and. ashing him i) he happened Graduation and Degrees in Piano, Voice, Violin, Cello, VIOLIN—Jacques. Gordon, Herbert Butler Van Dusen. iopossess a small mirror withalong handle. of a voice, even if it is very lovely i Adolf Weidig, Scott A. Willits. and others of equal importance JSSSA «'i,h a ih'ntist’a mirror. Retunu quality, for it is not entirely satisfactory Church Organ, Movie Organ, Theory, Public School Music, GUEST INSTRUCTORS, 1927—Josef Lhevinne, Oscar Saenger. either as a baritone or as a tenor. How- ,,,,11 carefully dried), then flanking on its sur- ever, it is a fine voice for songs and most Dramatic Art and Expression, Toe, Ballet, Interpretative Admission to Teachers’ Normal Training School; Students’ Orchestra; Vocal Sight Reading. Admission S useful as a teacher’s voice. If it is well- and Classical Dancing, School of Opera, all Orchestral In¬ Free Advantages: Conservatory Recitals; Lectures; Musical Bureau for securing positions. so fully exposed that I could see a portion of trained, the teacher can illustrate for both THIRTY FREE SCHOLARSHIPS AWARDED was easy to concludeJnZ'ff'Wt that the theory attribut¬ tenors and baritones. struments, Chautauqua, Lyceum, Concert and Languages. EXAMINATIONS FROM SEPT. 2 TO SEPT. 6. (APPLY FOR EXAMINATION BLANK) ing to the glottis alone the power of engender¬ ing sound was continued, from which « fol¬ Lyceum and Chautauqua engagements secured lowed that the differ I positions taken by the larynx in tf~ of the throat have no "I agree that many translations are action whate formation of sound.” Examinations Free - Catalog mailed free on application Moderate Tuition Rates ridiculously poor, and that even in the best 85 of them some of the ‘inner meaning’ of AMERICAN CONSERVATORY, 571 KIMBALL HALL, CHICAGO the words may be lost; but I ask whether How to Tell a Tenor from a it is better to lose some of this precious JOHN J. HATTSTAEDT, President. Karleton Hackett, Adolf Weidig. Heniot Levy, Associate Directors Baritone 'inner meaning,’ or to lose all the me FREE FELLOWSHIPS ing?”—David Bispham. By Perley Dunn Aldrich _ t (Two Private Lessons Weekly) to be awarded to the students who Do not think it is easy to classify voices after an open competitive examination, are found to possess the DEPARTMENT OF correctly at one hearing. Most voices can greatest gift for playing or singing. ARE YOU SAVING FOR FUTURE STUDY AT SOME LEADING SCHOOL COSMOPOLITAN Answers to OR COLLEGE OF MUSIC? You can hasten the goal of your ambitions by seeking be classified easily of course, because out all nearby homes where there are music lovers, and interesting them in a subscription Theatre Organ Playing “sr mu sic they belong so decidedly to this or that Fan Ton '{jell?§R™P to The Etude. Write the circulation department as to how you can become an author¬ Francis T. York, M. A., Director DR. CARVER WILLIAMS-Pxesident diss that it would he difficult to make an PROFESSIONAL DEBUTS, (3EB PAGE 500, THI8 IS3UE) ized Etude agent and earn money securing subscriptions in your spare time. FACULTY COMPOSED OF DETROIT’S SUMMER SCHOOL June 27-July 30 error. But there nre other voices less dis¬ LEADING THEATRE ORGANISTS tinguishable—like mezzo-sopranos with good ilty of 6C 1. Coda, from the Latin cauda, ENGAGEMENTS and SITUATIONS . Stude. s’ Orchcst . fr.uci s, Lectur head notes and baritones who can sing meaning a tail. The con¬ Diplomas, Degrees and Teachers’ Certificates. fairly high. These baritones are often cluding portion of a musical Departments—Piano, Voice. Violin, Music Public debuts are given artist students in Central Theatre, Chi¬ Theory. Composition, Violoncello, Orches¬ tenors who sing high notes so “thick” or composition. tral Instruments, Public School Mus gutteral that the real mixed voice is smoth¬ 2. A change of “spelling” cago, whenYhey are ready to commence their public careers. A Dramatic Art, etc. without a change of sound. special bureau established in the College assists artist students For Detailed Information Address Many Free Advantsps and h "Aarskips ered. Singing as they do, it is a little dif¬ Piano Prizej ficult to tell where to place the voice. 3. The art of passing from one DETROIT CONSERVATORY in obtaining professional engagements. Graduates who have quali¬ For particulars address—Edwin I.. Stephen, Mgr. Years of experience has led me to be¬ key to another in the course James H. Bell, Secy. OF MUSIC fied as teachers will be assisted in securing situations without charge ’cosmopolitan school op music lieve that one test is almost sure. If the of a musical composition. Box .70, 5035 Woodward Ave., Detroit, Mich. Box E, 16th Floor Kimball Hail Bldg., Chica-" teal voice stops sounding on C (second 4. A group of three equal notes to teacher or employer. space, bass clef) or even B natural or B to be played in the time or¬ One of America’s Finest Institutions Devoted to Education in Music flat, the voice is probably a tenor. If there dinarily allotted to two of the same kind. FULLY ACCREDITED COURSES LEADING TO are notes below this, and they have a hol¬ low, windy sound that is not really vocal, 5. Henry Purcell. CERTIFICATES, DIPLOMAS AND DEGREES STUDENT DORMITORIES 6. Dr. Lowell Mason. the probability is that the voice is tenor and Artistic and comfortable dormitory accommodations for men and women in by authority of the State of Illinois not baritone. High notes can he developed 7. Scales having a Tetrachord For the college building. Piano furnished with each room. Prices reasonable. m these voices but low notes cannot. in Common are called Re¬ ®lf? §>tarrptt §>rhmil Make reservations now. Another phenomenon occurs in these lated Scales. The Related A School for CONSERVATORY of MUSIC Thirtieth Year voices, which is rather interesting. The first Scales of any Major Scale are those found on its Franklin Stead, Director few notes above the C are liable to sound The Mature Musician The Public School Teacher Fourth and Fifth Degrees; COMPLETE WINTER CATALOG ON REQUEST Mrs. Fletcher - Copp announces worn and tired. Sbriglia told me that when the Relative Minor Scales of The Young Artist The Ambitious Amateur Jean de Reszke first studied with him, each of these are included Summer Term, Ji to July 25 her Summer Normal Course in The Teacher of Music The Talented Child after singing baritone for some years, that in the related group. the Fletcher Music Method—this and Advanced Students. Courses in his middle notes were strangely weak. After 8. Unity, Variety and Pro¬ :, Violin, Organ, Theory, ” year at the Gunn School of Music, n>s voice has been replaced as a tenor, they portion. Summer Master School became very beautiful and sure. In chang- Training in the following departments: Fine Arts Building, Chicago, 9. The difference in pitch be¬ 'hg a so-called baritone to a tenor, one tween any two musical June 27 to August 6 (Six Weeks) Piano, Voice, Violin, Theory, Violoncello, Normal Training, Public School' opening June 27th. ! ouid bear in mind that the lower octave, dd s the Direct—‘— Urd year. Forcatalogue sounds. Music, Chorus Singing, Correlated Arts, History of Music, Ensemble, Or¬ Jbst as much as the high notes, must be 10. Intervals are named from SUMMER CATALOG ON REQUEST chestra, Professional Accompanying, Conducting, Harp, Brass and Wood Wind The Starrett School Conservatory of Music "The Fletcher Music Method—A '•nor and not baritone. These notes being the number of letters in¬ Box E, 4515 Drexel Blvd., Chicago. Instruments, Dramatic Expression, English and Psychology. lovely art taught in a lovely way • ell established in the true tenor quality, cluded; but the kind of in¬ Address the higher notes follow on as a matter of terval is governed by the ®urse. But bear in mind that if the notes number of half-steps in¬ Send for complete catalog CARL D. KINSEY, Manager N Musicr"ty °w G arp false notes, husky and breathy, cluded. N.U.r e probability is that they cannot be de- WATCH TOR THESE TESTS OF YOUR STORE 60 E. Van Buren St. Chicago Every Teacher Will Find Valuable Material I»°» SCHOOL»f“£SiiS"|i THEMATIC EXCERPTS OF THE VERT BEST °Ped and the voice must be replaced as Or KNOWLEDGE, APPEARING IN EACH Columbia School of Music TEACHING PIECES FOR THE PIANOFORTt a tenor. "the etude music magazine. MUSIC !a.Ss£S A Conservatory Pledged to the Highest Artistic Standards Box E, 509 South Wabash Avenue, Chicago, Ill. widely ...-'fourcatalog.used and pop thing that must be taken into •SSTI Booklet cheerfully jc»> a,a iwLde™ion in classifying a tenor voice Theodore Presser Co. 1712 Chestnut e character of the notes just above Please met THE ETUDE when addressing advertisers. When you write t a THE ETUDE. It Identifies uch with the higher fllE ETUDE THE ETUDE JULY 1927 Page 51,7 Page 51,6 JULY 1927 ■ Band and Orchestra Department (Continued from page 506) hand men of his day i John Philip A great many individuals who are inter- Sousa now, but the public of his day knew ested in music are inclined to look askance absolutely nothing of him. the' brass band,‘ especially. the “town (Ancitmati (fonserbatorig ^iUusic When we think of George D. Barnard, band,” or amateur organization. But, if l0U?np«Ofn tone, easiest to blow. putting in time in the training of an they are, open-minded- enough to inves- BERTHA BAUR, President and Director AFFILIATED WITH THE UNIVERSITY OF CINCINNATI You will profit by his example. be converted to the FREE TRIAL, Easy Payments on isolated community band-great though ‘lgate.’ \hey twlU s knowledge that much has been and is be- any Conn for the band or orchestra. this work is-we wonder how it is possible knowIedsre that m F-: .. ■OBB-MiamtMO&gL S3&K1I __ ,T / .1 v Send for free literature and details. a . , -• -• *• 7 ing accomplished in these activities and' For Sixty Years Noted for the Highest .^no^e^CoanBldg. ^ ertcan people to neglect such that tile potentialities for development of genius I He has to his credit maybe Standards of Attainment real American music are greater here than thousand excellent compositions s in any other field of art. Certificates, Diplomas and Degrees which are as good in their class It would be a very interesting study to Offers courses in Piano, Voice, String written. Such a— . one^ should be '-A*-en- AVJVJIV U yj LAIC AAV CS U1 LllCOC WU1 R.CJ 3 Cl 1 ILL 1 CclU and Wind Instruments, Organ, Theory, Awarded, . look up the lives of these workers and read Faculty of distinguished artists. abled to devote all his time to creative of their achievements, modestly accom- Opera, Dramatic Art, Languages and Beautifully situated within a ten-acre activity; yet he is compelled, it seems, Dancing. Public School Music (Ac¬ .. CORNETISTS— SAXOPHONISTS plished, but of real worth. True Amer¬ campus, all dormitories and buildings are CLARINETISTS—TROMBONISTS have an avocation of routine work. icans may well experience a thrill of credited). Teachers’ Training School, owned and operated by this Conservatory. -‘FREE POINTERS" - Master School for Artist Pupils, - ^ > but t long list of ‘pride when the solid excellence of their Purest expression of composers similarly situated. I could compositions is realized. Address Registrar Dept. E for Catalogue and Information. f <* tion the “boys’’ of to-day—E. Chennette, But few of the names of this group your artistic ability- au main cuuuuig Highland and Burnet Aves. at Oak Street, Cincinnati. “Bill” English, Fred Jewell, Bamhouse, have been touched upon here. It would be Burnet C. Tuthill, General Manager For 2 Full Orchestrations Dalbey—none of them needing charity, of ‘ teresting to compile a list of “American assured with a Martin course, and some quite abundantly supplied composers” who have successfully written with this world’s goods, but few of them for the American band and orchestra. •*- tone and pitch, you can always look for DANA’S MUSICAL INSTITUTE with time the process Such a list would be a revelation masterful performance from your Trombone, of actual _ __ _I ___ Saxophone, Trumpet, Cornet, or other band in¬ WARREN, OHIO average club woman, especially with the strument, if it is one of the famous -jlos, trios,- ... r . The gist and moral of all this is that it realization that those with a musical The Only University of Music in the World ILL ALSO RECEIVE: would be well if the aforementioned clubs tering” would not be given a place All branches taught on the daily lesson plan : : Special Music Supervisors Course School Music, Grades I to VIII, Smith would search the fields close to them— They—' r t know that to be recognized WhaTsh“ .. _ _ ith the Banjo?.Fisher discover, proclaim and foster this talent, thus one need be a “real” musician, __ MARTIN Catalogue on application to LYNN B. DANA, Pres. Desk E. The Photoplay COrganist and Pianist.del Castillo 2(gndc*q/£ Jazz—the New ‘ -n Trade Mark.Specht if they would advance the cause of the thoroughly understand harmony, must be Band Instruments Public School Voc. al Music Department. Byrn ocuuui v...... Banda—Pictures and Fccta “American Composer” and “indigenous clever in counterpoint and must have prac- Built by hand by true artist craftsmen, Martin The Notebook of a Strolling Player.y.Rachejt American music.” Too exclusively and tical technical knowledge of the various Handcraft Instruments are rightfully proclaimed .del Castillo too continuously have they centered their instruments. Such a one is a “composer” “The World’s Finest.” Used by members of g)hp Qlffolanb Institute The Violinist The Flutist.Powell Lf awrence The Saxophonist Bar roll TheTe"" Banjoist.. Weidt eyes upon the pianist and song writer and by right. Through him has the greater in w?” the music‘ceent«sProf\She°wirliganlZatl0nS The Clarinetist ..Toll The Di.. have been blind t Conservatory of Music The Trumpet PL. ;■ Uach The Dance Orchestra Reisr, this plant of lusty part of the advances i Old Violins $75 up Get Our Catalog r»f (Qusir Yea-all the al ve for 20c postpaid. ^ This growth. been accomplished. We guarantee the A veritable encyclopedia oAppleton, Wisconsin our method of inti r friends Jacobs’ Orches Offers Complete Courses for af“ty^ndvT‘,lLe of over .7,000 different Students of all Grades e. students, professiona A Department of Lawrence College Voice - Piano - Strings - Theory - Orchestra 54th YEAR or coin) With this ad t Quips from the Band Room Log Walter Jacobs , Inc., 120 Boylston Finest Conservatory in the West If you prefer 2 bdnd nt Old Violins in all parts would pay in any of Piano, Voice, Violin, Cello, Organ, Public School Music Supervisors Course check here □; if 5 pi of the world. Send for our stores. Explains de- leads to Bachelor of Education degree con¬ Offers to earnest students courses of study based upon the most .pecial catalog. ferred payment plan. ferred by Western Reserve University. modern educational principles. Renowned faculty of 80. Students’ Don’t seek a better part to play. Strive your instrument will change pitch with the Band Instruments, Public School Music, Excellent dormitory quarters orchestra, concerts and recitals. Diplomas and Degrees conferred. earnestly to play better that part to which temperature of the room and after you Send for catalogue outlining courses and fees Teachers’ certificates. Desirable boarding accommodations you are assigned. have blown 20 or 30 minutes. WuruIzer Public School Art, Dramatic Art. Mrs. Franklyn B. Sanders, Director Do come to immediate attention at the Don’t think because you are assigned 2827 Euclid Avenue, Cleveland, Ohio Faust School of Tuning The World’s Largest Music House Fall Term Opens September 12,1927 signal of the baton. Sit well in your to a third cornet part that you are not get¬ Stores and Dealers In Principal Cities Orchestral and Choral Training, chair, .both feet on the floor, shoulders ting much of a chance. You are learning The Rudolph Wueutzer Co.. Dept.B265 \ Unrivaled Free Advantages back, head up, instrument in position. more real reading than you would if given Music Festival, Artist Recitals. Don’t blow while your neighbor is tun¬ the first part. Piano—Francis L. York. M. A.; Elizabeth J< Please send me without obligation y son, Georgia Richardson Baskerville, Allt ing up his instrument. Zuidema, Mus. Doc.; Helen ‘ ” Do practice' your long tones at home complete 1927 catalog of Martin, Vs Oleane Doty, Wilhelmina Sutt [rs. Ethlyn Briggs Mann. Do watch intonation all the time, for whether or not you practice anything else. litzer, and other musical instruments.. □ \ additional instructors. Dancing—Mrs. Ethlyn Briggs Mann. Please send me catalog of Old Violins. □ 1 tt—Francis L.Tork, M. A. ;Alle D. Zuidema. "lire* (Malaawfti*'''!' Bennett. Fred H. Protheroe, Carl: Theory, Har, Letters from Etude Friends ment. Francis L. York, M. A. ‘ Braun, Paul Bukantis, Mai Roguckl, Mre. Normal Training for Piano Teachers— Raymond Brown. MUSICAL Wind or Wynd? I would like also to express my appreciation of the value of The Etude. I look forward 200 Sheets .oo Examinations Free. For Catalog and Other Information, Address To The Etude : to its coming as it adds considerably to one’s Might I be allowed to express an opinion musical knowledge, especially in regard to 100 Envelopes and 25 Cards JAMES H. BELL, Secretary — 5035 Woodward Ave., Box 7,Detroit, Mich. MERCHANDISE in regard to the question raised !.—‘ the various articles as given by the most PRINTED NAME AND ADDRESS _ Etude, wherein i agree that the word able expo] High grade dear white bond paper; size6x7in.;’1 envelopes “Wind” should T. W. Brown. to match. Name and Address Printed on every sheet, ' words as mind and hind and s it is used envelope and card in dark blue ink. To order send 21.00. AND STRINGS lniSPhave always understood that it is the Agents Wanted Everywhere. #■##4 H* fHr HHHF b b 'u b b b b b l-1-b b’b ]~ 1 object of every singer to give each word its Test Games ELITE STATIONERY PRESS right meaning by usii-f--— 410 W. College St. Brownsviile, Tennessee PROMPT MAIL ORDER SERVICE To the Etude : Then why single out ,_e word “wind,” rnean- I realize that you, like our good friend, TO ALL PARTS OF THE COUNTRY! ing the wind **.....t■"* |blows, and change it to the late Mr. Presser, are very much in¬ Drake University “wynd,” ■hich means something totally dif- terested in the work and welfare of the modest little music teachers, as well as the more pre¬ DES MOINES, IA, DUNNING SYSTEM Take the following first four lines of the tentious ones. At present I have four musical V^IN strings, Violin bows, cases, well-known hymn, Lead Kindly Light: Will Be Held history classes meeting regularly, each class The Demand for Dunning Teachers Cannot be Supplied—Why? Lead kindly Light, amid the encircling gloom; doing very good work. July 28th, Chicago, Bis. bridges. Violin fingerlpo'ard^cha'rts^pitch MUSIC DRAMA Other places. Indianapolis, Pipes, tuning forks, Mandolin picks, Lead Thou me on. I am using the “Standard History of Music” Savannah, Ga.,Mlaml, Jackson¬ NORMAL CLASSES AS FOLLOWS: Uuttar picks. Ukulele picks, Saxophone The night is dark, and l am far from home. (Cooke) and consider it admirably adapted ville, Fla., Wichita,Kane., Pasadena, Calif., StfLonls, Mo. MRS. CARRE LOUISE DUNNING, Originator, 8 Wed 40th St., New YorkorK v-ny,City JulyJulv 14th14th. rceas, Llannet reeds, batons, kinder- Lead Thou me on. to teaching purposes. The first part of the AXEL CHRISTENSEN ART For Information and Booklet. Address -'Katharine ■t : “M. Arnold,* —” “ - St.. Tiffin. Ohio. Arnold School If :. M...New YorkV..L City Address,. 16 East 11th S symphony instruments and many other Obviously the last word in the third line, lesson period is devoted exelusivelv to the (Famous Vaudeville and Radio Star) Allie Edward Barcus,__ . —“ T—'as; August, Chicago, in. . items of musical merchandise are car- though presumably a rhyme with “gloom, ’ history assignment, and the second.part to the Will Teach You MISS ADDA EDDY Eiizette Reed Barlow, Cor. Central Barlow School of Music, Normal rendition of a short musical program, followed Full courses in Music and 136 W. Sandusky Ave., Bellefontaine, Ohio Classes, Asheville, N. C., July. is not sung “hoorn.” Then why insist on immedia^teli^r^^'orders.'6 ‘° by a musical game. JAZZ PIANO PLAYING Dramatic Art Catherine Gertrude Bird, 658 CoMingwood 1 te, Detroit, Mich. 'Will'another example: though Wordsworth My games are arranged to meet the especial IN 20 LESSONS Grace A. Bryant, 201 10th Ave. N., Twin Fa..„,.. placed the words, “Ghost,” ‘ most and needs of the various classes. For instance, Mrs. Jean Warren Carrick, 160 East 68th St., Portland, Oregon—Normal Classes “Pentecost” fts the ending of three lines of a I use a game called Musical Spelling Game, JSltlSts'smSlStB83 mad“ << Degrees: Bachelor of Music; MILLIKIN CONSERVATORY OF MUSIC M“rVioL°Teaechdernsgu?erCh'StraS ^ one in which the pupils pronounce and spell re is a “CHRISTENSEN SCHOOL” in nei DECATUR, ILLINOIS St. Louis, 1 hymn, nobody ever heard the last word al- Bachelor of the Science of Music Chicago, July. ETUDE BRAND VIOLIN STRINGS tered to “I’entecoast.” names of various musicians. Then, again, I Offers thoro training in music. Courses leading to 5 quoted. In fact, have a game which I call Musical Definition (Music Supervisors) Bachelor of Music Degree. Diploma, and Certifi¬ Adda C. Eddy, 136 W. Sandusky Are., Bellefontaim Ohio; Spring, May 16th, Indianapolis, Ind.; July 28th, 0 Many instances can 1 Game. In this one the pupils define names Early Fall, Columbus, Ohio. Three Length E Strings.. 15c net ... .. similar c ir local teacher oTsent^wstpaid^or t Bachelor of Expression cate in Piano, Voice, Violin, Organ, Public School Two Length A Strings... 15c net amples can be found.. question is evi and terms. Then, too, I use the various styles Music Methods and Music Kindergarten Methods. Beatrice S. Eikel, Kidd-Key College, Sherman, Texas. Two Length D Strings... 15c net of compositions of the masters, such as operas, PIANO TEACHERS: Ida Gardner, 17 East 6th Street, Tulsa, Okla. raised about altering ttthe pronunciatlo;. rity—write quick for lucrative propositlor.. Bulletin sent free upon request G Strings, each . 15c net Wouldoulu ittr not beoe as well to he coi... ; symphonies and oratorios, as the basis for W. ST. CLARE MINTURN, Director. Gladys Marsalis Glenn, 1605 Tyler St., Amarillo, Tea inly 15th, Albuquerque, N. M. 30 Strings (1 bundle), E, ,et a definite standard for the word wind? other games. I find that the games form a very (CHRISTENSEN SCHOOLS OF POPULAR MUSIC For full particulars write Elizabeth Grasle, Lansing Conservatory of Music, Lansing, Mich. interesting means of review. Of course. I Harriet Bacon MacDonald’Oonald—13434 Detroit A-™" ••• • A or D .4.00 net From the above I ttlnt I, Ohio; Fayetteville, Arkansas, July 5th; Cleve we have both ea- ...e rhymes, and. usually give some little prize to the winners HOLMES COWPER poetict)!nopticat licence utuf allow the a!tomt.. .. at the close of a game. Mrs. Wesley Po J? H.?‘ Or Damp Climates Use Press- the pronunciation of a word, I do not think Receive my kind regards and very best Dean College of Fine Arts PLAN NOW FOR YOUR FALL 3212 E. Dougla Prospect Are.; July, Wkh singers■ -e are justified in doing so. wishes for the continued success of The Etude Robin Ogden, Box 544, Waterbury, Conn. Strings Baniero” Waterproof Violin I might add that several of our leading Music Magazine, and gratitude for your ef¬ MUSIC COURSES AND DON’T adjudicators in music in New South Wales forts to assist the music teachers. have taken the same stand. Jessie Zobel. OVERLOOK THE ETUDE AS MUSICAL LITERATURE Virginiaftirginia RyanRyan, 1070 Madison Ave., New York City h - **• 1 Stellalella H. SpvmnnpSey ,1219DU) Garden St., Sa..c_» . ■ re- Theodore Presser Co. Ask for "Descriptive Catalog of A MEDIUM TO MAKE YOUR Isabel M. Tone, 6 6 s. Catalina St., Los Angeles, Calif «All musical people are predominantly more judicious appreciation of the Mrs. H. R. Watki Musical Literature Works.” ANNOUNCEMENTS s, 124 Eaat 11th St., Oklahoma City, Okla singers or instrumentalists. Both the in¬ are inevitably colored by this distinction. THEODORE PRESSER CO. PHILA,, PA. INFORMATION BOOKLET UPON REQUEST stinctive enjoyment of the audience and the —Erik Brewerton. t Identifies yon as one in touch with thi higher ideals of art and life. write t 5 alsvn ion THE ETUDE. It identifies touch with the higher ideals of t THE ETUDE THE etude JULY 1927 Page 549 Page 548 JULY 1927 NEW YORK. SCHOOL OF MUSIC ARTSsterner, PLEASANT 26 WEST 86th STREET New York's Oldest Music ^ oo by this inst;tution. MOMENTS AT THE

Same ~ “ R“ber8 PIANO

Album or Two of Melodious Individual Instruction. adohtps OPEN FOR COMPETITION SEVERAL FREE AND PARTIAL FREE SCHOLARSHIPS OPEM *U* ^ students. Dormitories in School Building. Thursdav night. Vocal, Piano, Violin and all Instruments. Public School Many Free Classes and Lectures. Diploma» Da”** ”* *"*'“*"' _ verage Players as Well illustrated catalogue o s Accomplished l

—College of Fine Arts— VIRGIL SCHOOL OF MUSIC COMBS Syracuse University Founded by the late A. K. VIRGIL (Originator of the Virgil Method, Inventor of the Virgil Practice Clavier) Conservatory o/Music Har°Syracu«e. N. Y. . . fy, For Teachers, Players and Earnest PHILADELPHIA MUSIC, ART, ARCHITECTURE Spe Cial Courses Students of All Grades 900 STUDENTS 42 INSTRUCTORS For all particulars address: ™E A. K VIRGIL CLAViER CO., or FORTY-THIRD YEAR MRS. A. K. VIRGIL, Director . A School for the Beginner, Ambitious Amateur and the Professional Musician TWO NEW .COURSES Instruction in all branches. Orchestral and Band Departments. Two Complete INSTITUTE OF MUSICAL ART Student Symphony Orchestras. Peda¬ GRANBERRY FRANK DAMROSCH, Director gogy and Normal Training. Approved 120 Claremont Avenue New York, N. Y. and Accredited Courses in Public School PIANO SCHOOL Music. Degrees Conferred. 149 East 61st St., New York, N. Y. CRITICAL AND PEDAGOGIC COURSE for Teachers and Advanced Pianists under CARL FRIEDBERG SIX SPACIOUS BUILDINGS For PIANISTS, NORMAL COURSE FOR TEACHERS DORMITORIES FOR WOMEN ACCOMPANISTS and TEACHERS Methods of interrelating all theoretic subjects and correlating them with the study of piano, violin, voice, etc. Send for Illustrated Catalog Sight-Touch-Hearing-System. Send for Booklet. TUITION FEES VERY MODERATE. CATALOGUE UPON REQUEST, ADDRESS DEPT. U Mr Cranberry willcontinueto directtheUnivoreityofGeorjia Gilbert Raynolds Combs, Director Summer sSl of Muaic. June 20th to July 30th. Athens.Ga. Administration Building 1331 South Broad Street Effa Ellis Perfield OVER 250 PIANO PIECES AND STUDIES Classes in Musicianship Trinity Principle Pedagogy Zeckwer-Hahn c. (not “Do-re-mi” Sight J .. ..Intervals” ey A. M. VIRGIL Philadelphia Musical Academy Wonderfully successful and attractive. Largely used by “Up-to-Date” Teachers 57 years of continued success in training musicians JUST OFF THE PRESS ! Highest Standards of Musical Instruction Address: 121 Madison Ave., I Romance 75c A Poetic Fancy, 60c Second Nocturne, 75c For year book, address Romance, 75^ ^ To a Nightingale, 90c Charlton Lewis Murphy, Managing Director CELEBRATED 1617 Spruce Street LIGHT OVERTURES Music sent on Selection—Thematic Catalog on Request r VIRGIL PIANO CONSERVATORY, 139 W. 72nd Street, New York City SUMMER gSMS&i TERM classes for music teachers. Also Church and Concert Engagements AMERICAN INSTITUTE OF APPLIED MUSIC Pittsburgh Musical Institute, Inc. CARNEGIE HALL, NEW YORK MtTKOPOLITAN COLLEGE OF MUSIC 212 West Fifty-ninth Street, New York City THE NATIONAL CONSERVATORY A SCHOOL FOR THE STUDENT AND TEACHER OF MUSIC OF AMERICA KATE S. CHITTENDEN, Dean of the Faculty I3t§ Founded 1885 by Jeannette M^ Tharber Summer Session, July 5th to August 12th, 1927 rnrrfiH Private and Class Instruction in Piano and Theory Sunmer and Fall Normal Training Course Leading to a Teacher s Certificate For Booklet mite ETHEL McINTOSH, Manning Director 'directors sl

The Courtright System of Musical to .pecim Kindergarten Jrrhpoo', Permanently Adopted by Foremost Teachers Mrs.Lillian Courtright Card,116 Edna Av "KS11 and' five* ^ - STANDARD HISTORY OF MUSIC Virgil Portable Keyboard By JAMES FRANCIS COOKE_PRICE, $1.50_ PIANO PLAYERS' For Pianists and Piano Students REPERTOIRE Keep Up Repertoire A FIRST HISTORY OF MUSIC FOR STUDENTS AT ALL AGES Perfect Your Technic sSfs*- Strengthen Fingers on this Instrument hoioughly practical textbook toid in story form. So clear a child cani understand every wi Key Action Perfect sorbing that adults are charmed with it. Ah difficult words ( Touch Light to Heavy ations, map of musical Europe, 400 test questions, 2a0 pages,IS. vStrongly bound in maroon doth, lamped. Any teacher may use it without previous experience. Catalog on request PHILADELPHIA, PENNA. VIRGIL PIANO SCHOOL CO. THEODORE PRESSER COMPANY 137-139 West 72nd Street New York City

When you write t r advertisers always mention THE ETUDE. It identifies 2 touch with the higher ideals of a THE ETUDE THE ETUDE JULY 1927 Page 551 Page 550 JULY 1927 ITHACA CONSERVATORY New Books Reviewed -June - July - August— Guide to Radio Music. oles. Cloth bound; 208 THREE SUMMER ISSUES OF ofT-firiono. Bibliographical list. Publ- knowledge on^piHS'SS'llSten^SS BIG of MUSIC 1 "mford Cniversity Press. Price ?2.00. fnl0l!in0fi+Pa.Ul ,En|lan(i’,s ls eminently success- llftvin itsrefill task 1 . 0of,.i, outlining1 the plots , , of the W. GRANT EGBERT, Musical Director ■ by and under the The Etude Music Magazine »« •& with a solemn waggingV heads and ?over possessi»“ f°r or music- PIANO. Leon Sampaix, Director ^ P- • t d Pedugogui Only 35c NORMAL PIANO METHODS. Louise Tewksbury,

h THE ETUDE MUSIC MAGAZINE VIOLIN. W. Grant Egbert, Director Pupil of Sevcik, Joachim. VIOLONCELLO. Dr. Wallingford Riegger 50 EXCELLENT PIECES OF MUSIC Pupil of Hecking. VOICE. ^Bert Rogers Lyon. Direrto^^^ ^ ) INSPIRING EDUCATIONAL ARTICLES FOR ONLY 35c THEORY AND COMPOSITION. Dr. W Only Americ, ' ' it Sym You would think nothing of spending s to please a good musical friend—why not give these friends a musical treat by introducing them to the world’s most widely demanded musi¬ ©Peabody Conservatory cal magazine at an expenditure of only a few cents. BALTIMORE, MD. HAROLD RANDOLPH, Director Simply send the names and addresses with remittance of 35c each The Registrar 1 DeWitt Park Ithaca, N. Y. to cover and we will do the rest. Summer Session “67th THE ETUDE MUSIC MAGAZINE CONWAY 1712-14 Chestnut Street Philadelphia, Pa. ssMaar«afsras-sssas gjOGEOal^ The Biggest Musical Buy of the Time!

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letters like the f ITHACA INSTITUTION PUBLIC SCHOOL MUSIC Mastering the Scales and Arpeggios Ask for Catalog for Your Branch 301 DeWitt Park, Ithaca, N. Y. By JAMES FRANCIS COOKE

THE ETUDE, 1712 Chestnut Street, Philadelphia, Pa IS; Why Scales Are So Important book has been a life-saver for me and l am proud to say that I have. Mrs. A. S. F B,Edg^M.dd™ ,s“!“ iV". tifk Gabrilowitch, Rosenthal, Lhevinne, Jonas, Goodson, Bachaus and

?SaglVenBut we could and made of music the d'vineSt °f 311 the t raany years , „ , the time before continuing^ many others in the highest ranks of the great virtuoso

MOuf to°reefathersladid Why the Need of Practice ? ki the 'trouble ofle" imhat" the ajncop^on Jwhfch. SlTo”"the6 human By Lee W. Dixon B to tor, died in Cairo? . _ _st admit that the play an instrument through practice may 2. Henriette Sontag was ( _ habet of twenty-six simple characters, be illustrated by the following “stunt.” world’s greatest soprano before Jenny Lind amateurs?” attWlgatee Forever, by J. rked out sometime during the eighth Draw, free-hand, with pencil, a straight and that she died in Mexico City? 8. Carl Tausig, the famous Liszt pupjl tury, B. C, is the greatest invention of line between two dots five or six inches 3. Francesco Tamagno, a poor inn-keep- had such a wide stretch that he could time. apart. Then, from the mid-point, draw a er’s son of Torino, was considered the play double thirds with both hands? ' musical alphabet, the scales, follow line of i " " - ”-- THEODORE PRESSER GO. as a close second for the scale is the first. Next, beginning again at one of the of Caruso? jn h;s roon: , • ;nter evenings foundation of our’entire musical system, dots, draw (free-hand^stilO a^hal^cirde. J.Jenh was refused entrance into a in order to keep from freezing?

BoVnrusCes0rsdo’mrSle tfl basIsTsfas c^cro^es The vertical lumat its' exact abditTTaTheldTrb^bdow6 n^rmTlT'' THE ETUDE 0E ETUDE JULY 1927 Page 553

Page 552 JULY 1927 Heart Songs aiss Polly’s Patch- Album of CroSS-Hand Position. Some very popular composers The World of Music Light, More Light Every day some great business organi¬ Work Quilt Operetta (Continued from page 489) Pieces for. the, Pianoforte . somefor the very vio fineiin arearrangers. rePresent A4ed partial a"d alist’s° By James Francis Cooke zation is investing thousands of dollars The Prize oi One Thousand Dollars, in quantity productions of something that gy R* StUltS , . I^al the Album of Thirds and 0f the pieces includes the following: This note is being written while Mr. The writer of this note, just the evening offered by the National Opera Club of Amer¬ Cooke is in Europe where he spent the the best of judgments feel the public „ „°n the market, we are going right Golden Wedding, Karganoff-Hartmann— ica, through the National Federation of Music , writing it, had the great satisfac- on with the Sixth Volume of the Series of First Mazurka, Lehrer—An Old Air, Clubs, for. the young woman singer best months of March, April, May and June. wants and will be willing to buy if 5 very o{ witnessing a very delightful and reasonable price can be made upon it. btudy Pieces for Special Purposes. In the Haesche — Cantilena, Tolhurst — Grazioso, equipped for grand opera, has been divided During his absence we are taking advan¬ entertaining performance of an operetta between, Kathryn Wltwer, of Chicago, and tage of the opportunity to call to the at¬ That reasonable price is possible only new volume will be found pieces introduc- Bohm. There are many others equally Hilda Hopkins Burke, of Baltimore. Oper¬ tention of our friends and readers a book through the quantity production, so until f o irroup of amateurs who only a few mg all sorts of cross-hand effects and also g00d. atic debuts and other honors promised the from the pen of James Francis Cooke, the public hears of the article and re¬ Ireeks prior felt that it was impossible passages for alternating-hands. Just as The special introductory price in ad- winner have not yet been decided, since the fr them successfully to go through with a winner happens to be “twins.” published by Dorrance & Co. This is not sponds, it is a one-sided venture. The in the preceding volumes of the series, vance 0f publication is 50 cents per copy, a musical literature work m any way but Performance of a musical play. Almost these pieces will be of intermediate grade, postpaid. The Cincinnati May Mnsical Festival, marvelous thing of all business is that the Pe one person of good intelligence with everyone will find something satisfying in I he pieces in all cases are very attractive from May 3rd to 7th, upheld its brilliant tra¬ public is quick to sense these things, even musically, so that the practice of each ditions. The chief offerings were Piernd's ora¬ what they read in “Light, More Light. lt though they are not analyzed from this Sing and playing ability could take the Himalayan Sketches verage group of young people found m torio, “St. Francis of Assisi,” Beethoven's means so much to everyone^ particularly viewpoint, and it is most appreciative. technical device proves a real pleasure. Suite for Piano “Missa Solemnis,” supplemented by selections !nv church or community and in a very those in professional walks of life, The publishers of a very interesting vol¬ from “Fidelio,” and a final program of scenes from Russian works. Frank Van der Stucken, velop attractive characteristics and ability ume entitled “Heart Songs” made one of Sort time work up a very satisfying en¬ Sy, “v [Stt“and tertainment with some of the amateur - *’ ^ ** Lily Strickland is a very successful the veteran leader of these great events, again to keep life “sweetened” through adher¬ these great investments in a gigantic edi¬ woman composer. Of late years she has held the baton ; and among the leading solo¬ ence to those fundamental principles that tion of this appealing book and the Theo¬ Sustofi plays available. “Miss Polly’s ists were Forence Austral, Dan Beddoe, Ed¬ Melodious Study Album been residing in India where she has had ward Johnson, Richard Crooks, Fred Patton, dore Presser Co. has made arrangements Patchwork Quilt” is one of the. latest returns or settlement until the close of next an‘a"al^os^eve^ything* to thTgreat tri¬ offerings along these lines and while the For Young Players abundant opportunity for absorbing local Marie Sundelius and Nevada Van der Veer. season’s work. While most orders of this meant “ ^ ‘^n arfd women to see that its patrons have an opportu¬ color. One of the direct results of this nity to obtain their share of this excellent Lvs and weeks are rolling by, necessary By A. Sartorio Tlie First Orchestra organized in the. NEW WORKS kind are On Sale, that is, returnable if ^fworid of ours. The tn the engraving, editing, printing and experience is her Himalayan Sketches for volume. These folk songs and love songs, Sartorio is one of the most successful the Pianoforte. This delightful character- Japanese community of Honolulu, for the in¬ not used, it is also possible to get regular Ml! ____ nf literarv and edi- Wading of this new operetta, orders will terpretation of classical occidental music, gave author in his years of literary and edi¬ together with the most famous patriotic composers of pianoforte teaching material, istic suite is now in the hands of our Advance of Publication Offers non-returnable supplies sent at trie si he accepted for single copies at 45 cents, on April 22nd its initial concert in the Nuuanu torial work has had remarkable oppor¬ songs of the world, and particularly of His studies, pieces and arrangements, both engravers. It is founded upon native In- Y. M. C. A. It is composed entirely of young time. Many teachers anticipate their ” tnaid. Delivery of copies to those who tunities to discover these principles m h’= the United States, along with some of the solo and ensemble, have met with much sue- dian themes and although not difficult to Americans of Japanese ancestry. Its aim is July, 1927 tire season'sseasons neeasneeds in thistms manner, ana are world’s in Advance of Publication should be to counteract jazz and to interest young people most beloved sacred songs and hymns, S cess. Therefore, we are greatly pleased to play it is very unusual in many ways, relieved of all worry as regards the raa- These principles are made sometime in the late Summer; and in standard compositions. M. Motoyama is in reality do form a fine group of “heart include in our catalog this, the latest set This set of pieces would make a splendid the conductor, and on the first program were therefore, there will be ample time to ex¬ ‘Cl.r.tl: s ”S„,A" a l. i» songs,” because the sentiments and pas¬ of studies from his prolific pen. These program novelty. The book will be made in Schubert’s, ...... “ ‘Unfinished’__Rnn irrisfp_” Symphony.” flnri .Tnoanese Tchai- mn- ™ sions about which they tell or recall have amine it and give consideration to order¬ melodious studies are somewhat easier than handsome style and will be a most attrac- endeared them to the souls of many. Al¬ ing quantities necessary to any produc¬ the Sartorio studies we have heretofore tive addition to the library of any pianist, B°<* 12 S°T y • :. . . .30 teacher who does tion planned for the Fall months. The rdfm’V TfrstV-Jwo*- ' StepsSt-pna ‘ for ' VoUDCYoungr PiailOPiano „ay obtain1 ' o“ne- on^appHcation or may send ers * ^torj^acrri coverfoftt^book together there are 394 numbers in this published and may safely be given to stu- The special introductory price in ad- The Societe des Concerts dn Conser¬ volume and it is a remarkable bargain at words and lyrics of “Miss Polly’s Patch- dents early in the second grade. Their vance of publication is 60 cents per copy, vatoire, of Paris, was founded on April 24. iff.35 toin an order,order,simply^saying simply saying wnatWhat is wanreuwanted « taxationinspiration and work Quilt” are by Lida Larrimore 1828, and thus is nearing its centenary. In its Eclectic Piano •75 and mentioning the fact that it is an Early a ventab linn,.eLonablv will direct to $1.25. It is cloth bound and of a conveni¬ melodious qualities are sure to attract the postpaid. Portv Negro Spirituals—wmte. Turner, who is very clever and combines appreciation of the great genius of Beethoven HM. S.Pinafore—Sullivan...... *60 Order” subject to delivery at a specified and peace ent size that could be placed upon the pupils interest and the clever introduction n. ^ r. . n._ and the celebration of the centennial of his Himalayan Sketches—Piano— Strickland. IS date. The transportation is always pre- the secret of real u e irations arul regular library shelf with the average lit¬ an interesting little plot with a good meas¬ of the desired technical figures will sup- Twenty-five Primary Pieces death, the Soeifitfi des Concerts is combining ure of humor and action. After saying its celebration with that of the great master. paid, one-half of the amount being added ot mind, rea““t10 ™ ? _ beautiful erature volume. Anyone who has any ply the requisite amount of training. For the Pianoforte •so to the bill. The teacher is not required courage erf, spint aThere is a sentiment at all should have a volume like that the music is by R. M. Stults it seems spiritual background ^cTthis volume, but it Teachers who use Sartorio studies have no By N. Louise Wright Mrs. Dorothy Benjamin Caruso has Melodiou's8 Study Xm'for Young Play- o make any advance cash outlay what- this at hand, all those who love the simple a redundancy to state that both perform¬ presented to Edward Johnson, American tenor does not work at cross purposes with the ers and audiences will enjoy the catchy, di*P,ultI-in ge,“n? fihldent\t0 Practice. This is neither an instruction book nor Miss^Polly^^Patch Work Quilt—Operetta melodies that everyone can sing should Mliile tins work is in preparation teachers stud book. It is just as described in of the Metropolitan Opera Company, the op¬ tenets of any denomination, nor does it have it and beyond a doubt parents should melodious music, because everything that eratic costumes worn by her husband as Des embrace any new school of thought that may order copies at the specia pre-publi- jts titl(f a get of Primary Pieces. These New S Collection of Favorite Songs and .io Help for the Less have this book in the home as one of the R. M. Stults writes lias that flow of mel¬ cation price of 30 cents, postpaid. are short and tuneful, juSt right for rec- Choruses for AU Occasions ■••••••••• will set any faiths aside If assets of the home. This book is not a ody and rhythmic enticement that satis¬ New First and Third Position Album— bo Experienced Teacher book dealer_ cannot supply you with this de luxe volume, but nevertheless it is suf¬ fies. Needless ' > say the music is not dif¬ Six Recreation Pieces for reation purposes but at the same time Violin and Piano.■••••• ••• • •3° Anyone taking up the music teaching book, order from — Price $1.50. Frmr Hands fnr very instructive. They are in contrasting Piano Dialogs1—Pour Hands—Cramm... . ficiently attractive and well bound to be ficult, despite its effectiveness. styles covering a wide melodic and Playtime^ Book-_ _—Adair...tA‘ir . |o profession is confronted by a great many Four Hands for Secular ^Two-Part Song Collection used as a gift volume. Every now and Teacher and Pupil rhythmic range. Both clefs are employed ' Hands then one has occasion to seek something Violin Method garo” and “Elopement from the Seraglio,” and Six Recreation vianes—Pour throughout and the pieces lie in various CS?.EbIi“. .JaVliaSS. Ud A Book of Indoor Marches suitable as a little courtesy expression to By Georges Bernard Puccini’s “Madame Butterfly,” were the operas TOTpntv-five Primary Pieces—Wright. . . . For Beginners This is one of the best little sets of easy keys. This is an excellent supplement presented. All were given in English, and *35 through special training, since such train- For the• Pianoforte1 a hostess or friend and this volume will with such success that already a movement is Twenty-four Melodious and Progressive .30 ing is necessarily, to a large extent, of a By Ann Hathaway Teacher and Pupil duets that we have to any Instruction book or to the First Studies—Gurlitt ...... Indoor marching presents some problems. aid one to put a little touch of the un¬ started to establish a permanent New York Violin Method for Beginners—Hathaway. •10 theoretical character. It is the practical Owing to the comparatively limited space usual in using it as a gift of this char- With such successful violin methods for seen in a long time. Although the pupil’s Grade of any Graded Course M.ss Wright organization, with influential backing, f ** side of the work that presents the dif¬ young students in our catalog as the Bel part lies in the first grade as it should, 18 wel1 kn?w" as a successful writer for The a : of in which it has to be done, necessitating s pur- ficulties, some fancied and some real. frequent turns and often with covered Canto Method by Mabel Madison Watson the teacher’s part is more than usually students.. . , You Spend Nothing Now Every difficulty, however, may be mastered, floors, it is impossible to use the ordinary Junior Anthem Book for and Practical Mil hod by K. H. Aiqouni, interesting. The use of this book will be The sPecIal. introductory price in ad- But Save in Getting _u a—uio tirrre at 120 steps teachers must surely realize that any new a relief from some of the more conven- vance of publication is 35 cents per copy, Unison Voices with Piano work offered would have to possess much igraphed by Rich- Teaching Material Early marching one tional Teacher and Pupil duets that are postpaid, ard Wagner___ don at the Ameri- a good fundamental training and knows ™ Tm Or Organ Accompaniment- intrinsic merit even to he considered by us One of the most successful features of ' Jf, hr. l-„,ii,rWln» nr information muStmust USeuse marlmarches with four counts to the so often heard. Georges Bernard is a Brehm’s First Steps can Art Galleries of New Yoirk, on April 26th, , music teachers, particularly how to impart knowlectge or miormauuu measure> a step to each count, and the Selected, Edited and for publication. That this work will be contemporary French writer who special- F y . Piano to Dr. A. S. W. Rosenbach, __-Liladi' , * * our service tc with the On Sale plan, is the to others, yet it is easy to go astray in the rate q( ress is about 96 steps to one of the world’s greatest collectors of in connection whh «.*«- —- x—- * Composed by of much value to teachers and eagerly izes in Teaching and Drawing-Room J'Or XOUng Piano books. This is the only original - booking of “Early Orders” for fall sup¬ sought by them we haven’t the least doubt. pieces. He has the rare gift of original Beginners Wagner opera in America, and it brought a Edward Shippen Barnes Several experienced and successful teach¬ price of sixteen thousand and foi plies of teaching" material...” This was first SyS&JiS 3SS?^J3S Many of the Standard Anthems lend melody. Teachers like to have a variety of ma- dollars. ers, to whom we have shown the manu¬ The special introductory price in ad- terial from which to select studies for their tried as an experiment several years ago s'MTIX regards ofano^eachinfandpiano teaching and1 livelyrelatively wiU ansWer the purpose. ^ In themselves very readily to adaptations for and it was such an instantaneous success this new book we have assembled a number script, have expressed the opinion that it is vance of publication is 35 cents per copy, pupils. Especially is this true with young The Orgaz 3 as regards other branches of study. unison* singing. In unison singing, one >f the Trocadero, consid- and gave so much satisfaction to teachers a work of exceptional merit The work is postpaid. beginners. Sometimes a teacher is called ered by many_...._* _concert _organ in looks for breadth of style and a strong entirely in the first position and the stu¬ Europe, which had become practical.._* illy un- that the plan lias been continued and _ „, . ,. upon to start, at the same time, two or more playable, has been recently put into complete ZaSif^r^^ variety of ^^d use- = ll all eL__ organ part affording good support to the dent is given a thorough training in the Twenty-Four Melodious children of one family in the study of the singers. In this new work Mr. Barnes has repair, thanks to a fund started by an Ameri- realize {-he importance of being able to fill works, ™a"y of fW.l’^hb tt established only those themes in each march which are fundamentals, thus properly preparing for and Progressive Studies piano, and to give each the same book might -~ — s originally built for the start their work in the fall without being demand, and most of th® be“®r suitable for the purpose are incorporated, selected a number of very fine anthems the more advanced studies and work in and brought them within the reach of the For the Pianoforte lead to unsatisfactory results. As an al- handicapped by lack of a ready supply works of this kind can1 ba Undesirable portions in any march are the higher positions. In selecting material tj n fin 111 ternate beginners’ book this little work COMPETITIONS of music covering thejnticip^ted needs^of and inte/- omitted The hook has been prepared by average unison choir. All of the numbers for next season's teaching it is suggested By U. LrUriltt, up. should prove most helpful, especially to of music covering ---- . , „ are of sterling merit, there is nothing A $1,000 Prize for a Composition for students and, of course, most teachers that teachers of the violin obtain a copy This excellent work will soon be Placed |eacbers wbo prefer to have the beginning ested pupils and parents bring more pupils trashy or commonplace in the book yet all Irgan and Orchestra, is offered by the Na- know in advance that they may expect to of this work by ordering now while it may on the market and this will probably be student’s work for the first few lessons to lonal Association of Organists, through the the anthems are easy to sing and interest¬ enroll a certain number of pupils at that be had at a special advance of publication the last month in which it may be obtained ke devoted entirely to the treble clef. This -iity of the Estey Organ Company. ing to study. It is needless to expatiate at the special advance of publication price. little book was very popular with teacliers Contest closes December-- 1,, __1927. Particulars cash price, 40 cents a copy, postpaid. from the National Associatic.. ...of Organists, upon the usefulness of the unison anthem, This edition will appear in the attractive wben formerly published by Brehm Bros., For years we have been publishing elemen- Wanamaker Auditorium, New York City. classes and must do their best to get n there are many occasions when it is ab¬ Two-Part Song Collection new garb of the Presser Collection, artis- and tbe new revised and enlarged edition solutely indispensable. A most excellent collection of two-part tically and substantially bound, printed wil| be qUqe attractive. The advance of it* freauentlv happeJ^that” the “ordering use'in musical instruction and we have com- piaytime Book for The special introductory price in ad¬ from brand new plates on a superior pubijCation cash price is 25 cents a copy, vance of publication is 20 cents per copy, material, the selections being carefully . _ Association of Santa Barbara, California. Teachers^on'^eaching Urn PUmo” that lists the Pianoforte chosen and skillfully edited. quality of paper and carefully e“ited by p0Stpaid. The cometition is open to composers of the °stu“^s,eete! is ““looked until the Teachers on T\acbi^tb^ postpaid. exnerienced, practical musicians. Teachers world, and doses February IS, 1928. Par¬ By Mildred Adair Melodious and worth-while music, such ticulars from George W. McLennan, Santa Young beginners are in luck these days as one finds in this book, is a pleasure to who are familiar with the Gurlitt studies H. M. S. Pinafore Barbara, California, U. S. A. Forty Negro Spirituals should become acquainted with this excel- (]omjc Opera to have such attractive material upon which hear and sing; it is acceptable wherever A Prize of Five Hundred Dollars for mation as to our On Sale plan and other to work. We take pleasure in announcing By Clarence Cameron White music is heard and loved. The grade of By cubeS and sum** a male chorus is offered by the Associated but the pupils are obliged to wait and their One of the most interesting phenomena Glee Clubs of America. The competition progress is retarded. To make a good start attractive features identified with our the publication of a new book by Mildred difficulty is not great, neither is the tes¬ Adair whose Five Little Tunes for Left of the musical world during the last ten trial and see how readily the pupils take to H. M. S. Pinafore, first produced in closes December 1, 1927. Particulars may be the ""teacher should have everything ready service, situra (voice range) too extended for the them because of their tunefulness and in- 1878, is considered the most successful of had from the Secretary of the sponsoring or¬ Hand Alone has proven so popular. The years is the interest everywhere displayed average singer. for the pupil when the lessons begin. To teresting qualities. The special price at all the long series of remarkable light ganization, 113 West 57th Street, New York new work is entitled Playtime Book and in Negro “Spirituals.” The wonderful City. induce teachers to anticipate their wants New Collection of Special advance of publication cash price, which the studies may be ordered in ad- operas written by Sir Arthur Sullivan. It it is one of those little books that may be beauty and pathos of these songs has Pe"e~ 20 cents, postpaid. in advance of the opening of the school favorite Songs and Choruses trated to the very heart of the world vance of nublication is 30 cents, postpaid, is a genial satire on English officialdom; year, it is our custom to solicit and fill „ ... o i taken up as soon as the pupil can locate 1 1 and interspersed with the delightfully hu- such orders subject to delivery at any spec- * UCCaSlOnSj Middle C on the staff and on the key- and so today there is hardly a singer of Eclectic Piano Studies Friends of Music Society. The contest doses <>r All New First and Third morous lines of the “book” are sparkling November 1. 1927. Full particulars may be ified date, and we also assume at least half This will probably be the- last month of board. After the rudiments have been importance who does not program one or Compiled by -!.i «rjce on this new learned this book can be used almost like more “spirituals” during his or her season. Position Album for melodies, many of which are universally had from Richard Copley, 10 East Forty-third of the transportation costs, thus saving the the special introductory price Louis G. Heinze ... ,. p;„nn whistled and loved. Street, New York City. teacher a considerable amount in that way, DOOK. ""JL lie worn. 15. 11UW UIIn thecut press.1HLOO. As an --instruction book or it can be carried Included in the present volume are forty Violin and nano When th.s opera was flrst given in Eng_ we have said before we are still convinced along with any simple Instruction book or of the finest of these melodies, compiled S. ?h?s,is a short collection of studies A First Prize of $5,000, a Second to say nothing of the comfort and satis- ■ This new Album will prove exceeding y jand ran for seven hundred consecutive Prize of $3,000, and a Third Prize of faction experienced hv a teacher when de- that this will prove to be the best all Kindergarten Method. According to mod- and arranged by one of the foremost ected chiefly from the works of standard 1 ers and suitable for linking together attractive. It is designed to sup] y ni kts—a remarkable run. But great as $2,000 are offered by the Musical Fund So¬ 1 of this kind aree eliminated.eliminated EachF.acb around oomm.ir.itncommunity hoolrbook overe.i. iacnod Wo-• ^ ern ,doooideas it startsct„-Oo.. —-I,,right-*e«. off_with—-o. theu two authorities on the music of his race, Mr. ciety, of Philadelphia, for compositions in lays of this kind Two and Three. Each of the material for the student who is g was tbe popularity which the piece en- year we get an increased number of “Early have endeavored to include all those favo- clefs, beginning with Middle C and one note Clarence Cameron White, violinist, com¬ emancipated from the First Position a^^^. joyed in England, it was America that wel- Orders” of this kind. They are promptly rites, old and new, sacred and secular, above and one note below. Each little tune poser and teacher. Mr. White is a very ana Iv? "as some practical technical value Next to the First Position, the Third corned it most delightedly and most ecstat- filled and either shipped at once or held grp™ and that will anneal to ever"- w* appropriate text and a little line skillful harmonist indeed, and in adapting has 8re careful*y graded. Mr. Heinze tion is probably the most u8eta* on ically; and ever since then it has consist- Street, Philadelphia, Pennsylvania. ing- drawing accompanying it. The book works these spirituals he has provided for them of v i Cn ver>r successful in the compilation violin and a combination of these ently gained in popularity throughout The Swift Prize of One Hundred Dol¬ music. In any case, it is sure to be at its ing, but many_^ of_ the_are songs sa urraugcuiged noits way along gradually throughtnruugn tnethe easy an exceptionally fine harmonic back¬ bnni? UI?!?S ^milar nature and this little positions gives the player a wide range. Amer;ca and the world. This opera is well har- keys, finally intrndnpimr iu ri— c... lars is offered this year for a setting for male destination before it is actually needed, that they may be sung in four-part har- keys, finally introducing the One Octave ground, as rich in soft colorings as a love y anvr !. be f°und useful to supplement In this Volume will be found several pie sulted to amateur production, voices, with piano accompaniment, of Blow, / instruction Book or the early volumes AnyAnv teacher who has not taken advantage mrairmony. Scale tapestry. which may be played either in the Firs advance of publication cash price Blow, Thou Winter Wind, from Shakespeare’s The special introductory price in ad- 0t any Graded Course. “As You Like It.” Tbe contest closes Sep¬ of this plan should try it this year. Get The special introductory price The advance of publication, cash Pric ’ or Third Position, other pieces m wn‘.. is 50 cents, postpaid, tember 15th, and full particulars mav be had your fall On Sale supplies during the va- vance ofof‘ publication* ” is 10 cents per copy, vance of publication is 30 cents per copy, Is 75 cents, postpaid. This is an oppo- van e special introductory price in ad- both positions thendThkd (Continued c from D. A. Clippinger, Kimball Building, Chi¬ cation period without obligation to make postpaid.>' postpaid. tunity which no one should miss. P°stpaid publication is 35 cents per copy. (Continued on page 554) cago, Illinois. Advertisement 0E ETUDE THE ETUDE JULY 1927 Page 555 Page 55k JULY 1927 patrons an opportunity to secure a copy Fine Rewards for ;D15115]I^=5][|* of the first edition at the very reasonable ^ew Etude Subscriptions price of 40 cents, postpaid. Note below the specially selected articles The Presser Personnel which we will give for the next six weeks Book of Part Songs to our musical friends who send to us new For Boys With Etude Music Magazine subscriptions (not Changing Voices their own). All articles carry the manufac- This book represents the solution of turer’s guarantee and we are delighted to problem which has confronted school music be, able, , to offer«. them to the nrwell oil wishers supervisors for years. It is splendidly of XlIE Etude. Just interview a musical adapted to the needs of the boys who, un- friend) collect $2.00, make your selection dergoing such an interesting and critical und we wjH do the rest, period of their growth, are eager to sing Envelope Change Purse, in blue, green, JUNIOR- but are seldom furnished with anything like tan, brown or black leather, one new sub- suitable material. These numbers may be scrjption. . sung either in unison, two, three or four Pocket Comb and Nail File, packed in a parts, thus being practicable for use In neat black leather case. Just the thing exude: classes, boys’ clubs, camps, etc. The ad- for milady’s hand bag, one subscription, vance of publication cash price is 30 cents, Vanity Case, in gold or silver cloth with Miss Golze, like a number Matilda B. vlduals holding the importa: postpaid. mirror and comb, one subscription. Dositions in our organization,n, startedi It is always a fortunate thing _. p.. | , Lingerie Pins, gold front, one subscnp- wneu a uuaiucoo uvUBC secures as a Piano Dialogs Uon J Ufe\nd through years of faithful, new employee, an individual whose painstaking--paiuBLtiivA—e> — accumula¬ CONDUCTED BY ELIZABETH A.GEST jj^£ By Helen L. Cramm Friendship Pin, with four pearls, solid tion of knowledge, deservedly gained of theb,estC°Xn 19lTwfsecured>the We advocate the use of four-hand pieces gold w;th safety catch, four subscriptions, a position of responsibility. services of a young lady who had at as early a stage as possible as there Ladies’ Tourist Case, containing brush Miss Golze is Assistant to the started as a stenographer with a is nothing so well adapted to inculcate and comb, nail file, tooth brush holder with Head of the Bookkeeping and super¬ ???Ask Another??? Printing and Publishing Co., and vises all the girls in this depart¬ Glenn’s Airplane Ride Tone Fairies gained promotion to the head of the steadiness of rhythm and the idea of play- tooth brush, soap cup and shoe buttoner. ment. There is a great amount of 1. How many piano sonatas did Bee¬ office force of that company. Such ing together, so useful in all branches of ()njy sjx subscriptions, (For Very Little Juniors) responsibility resting upon anyone thoven write? were the good credentials held by music. Miss Helen L. Cramm has been Celluloid Tooth Brush Holder, an in- having a position toward which By Rena Idella Carver Miss Matilda B. Rhettenbock when there focuses the work of a great 2. When was Bach born ? she entered our employ. extremely successful in her writing for dispensable article at times, one subscrip- number of others handling the tre¬ By Elizabeth Blackburn Martin For a very short time Miss Rhet¬ the young student. In this, her latest tion. mendous amount of bookkeeping de¬ 3. What is meant by poco a poco strin- Glenn had been watching the airplanes, staccato and legato, loudly and softly, tenbock was temporarily attached book, she has made a set of very easy « tail in our large business. gendof and it was with reluctance that he went heavily and lightly, slowly and swiftly. (Teacher) to The Etude Subscription Depart¬ duets. In these both players are well taken ClUDS Miss Golze is able to fill her ment later being added to the office Etude position the more efficiently be¬ 4. Of what nationality is Paderewski? indoors to practice. But suddenly a lovely Starting the metronome he said, “Guess “Five little Brownies, one by one, care of and the attractive little pieces are Note the splendid combination of high- force of the Retail Department cause of a complete understanding 5. What is a spinet ? thought came to him and he began work I’ll see how she works. Just a little Danced about in noonday sun, where in Cashiering and Billing well balanced throughout. class magazines with Etude on the inside of every side of the duties placed with vigor. work for about five years, consider¬ upon ^ tier, due to the experience 6. Who wrote "Aida?” velocity work next, and then some real fly¬ As E, G, B, and D, and F, able experience was gained that The special introductory price in ad- third cover. Here is an opportunity to 7. In what opera does Hans Sachs ap¬ He would play he was a “bird-man” and vance of publication is 30 cents per copy, stock- up for. the balance of4 the" summer- ing. This is great fun! There’s fun in Hopped to lines on the treble clef. stood her in excellent stead when go for a ride. He must don an aviation assigned to the Bookkeeping Dept, postpaid. and early fall with the best the publishing pear? most everything if one can only find it.” Now, name the lines of treble clef.” of our national Mail Order business. world produces. Write to us_ for prices of Although Miss Golze came with 8. What is a triad ? suit and get into position with straps in Now he was truly taking the air, for (Children) For a number of years in the Advance of Publication us in 1906 as a Bookkeeper, from 9. What is the Italian term for "becom¬ place. Bookkeeping Department. Miss Rhet¬ other magazines in combination with the years of 1907 to 1922 she read scales were played very slowly and care¬ “E, G, B, and D and F.” tenbock had full charge of the sec¬ Offers Withdrawn Etude__ not shown in the advertisement mail in the Mail Order department, ing softer?” “Let’s see, he said, ‘I would better find fully in different touches; then a little tion doing the accounting work on Three works have been withdrawn from and save money. We will be glad to give sorting it for delivery to the proper 10. From what melody is this? out if my machinery is well oiled and test the business given us by schools and departments and individuals and faster, then faster still, and finally he -olleges (which include all the Sister the Advance of Publication offers and inquiries quick attention, eventually had- charge of quite a fairly flew up and down the keyboard as accounts) and the Foreign accounts. they are named and described in the fol- t force of workers, necessary to the The development of business made lowing paragraphs. Look Out for Swindier8 reading of a large volume of incom¬ he climbed and dived and climbed and it imperative that our Publicity ing mail. There also were several came down. Department be better organized in Beginner’s Voice Book, by Frantz Pro- Every day letters of complaint come to years spent as head of the Complaint the management of our gigantic schowski. This is one of the greatest con- ug from our musical friends that copies are and Adjustment Department. Setting the metronome down a notch, he mailing lists and Miss Rhettenbock tributions along educational lines ever nQt reacbing them even though they have Miss Golze and the large corps of played in contrary motion, pretending that was selected for this important posi- made to the vocal world. It will he a won- id an affable stranger $2.00 or more for capable bookkeepers in our Account¬ (Do not send in answers to these ques¬ he was racing with the other planes, for ing Department nre well able to care tions. Answers will appear next month.) derful teaching help for all voice teach- year>s subscription. Beware of the so- for their share of the work incident there were five in the city that day. (Teacher) ers and it is unlike other vocal methods, called “ex-service man,” the slick chap tell- to our handling the business with Answers to Last Month’s Questions “I shall play a piece I have memorized “Four little Fairies danced with glee, industry and Miss Rhettenbock in 'that in addition to taking the student j a sad story about the hardships of which we are favored and they will interest in having her force keep it never object to our having increased 1. A tone is heard by the ear and a note and watch the beautiful cloud effects as F, and A, and C, and E; up to the peak of perfection never step by step upward in the vocal art, it working his way through college, widows mding w also gives much information upon the ru- with a large family to support, etc. 2. HandeFwrote the “Messiah." I glide high up in this gentle breeze,” said As each one 'showed a smiling face 3. An opera is » composition for solo voices Glenn. Peeping through a treble space. diments of music, developing a knowledge Etcde does not require a sympathetic, [S][|Il|[===[]p and chorus, produc' d with notion, scenery and of musicianship along with progress in “sob-sister” story to enlist the interest of costumes, and necouipniiled by full orchestra. “Why not throw ribbon bombs over the Now children, say their names to me.” the vocal art. There is much illuminating a music lover_ Therefore, beware of the 4. A chord is I h roe or more .tones played parade!” he exclaimed. (Children) information upon the physical equipment jjlib-tongued stranger with a hard luck WHAT THE VOCAL STUDENT simultaneous^}- in intervals of thirds (or He was heard playing “skips”—one oc¬ “F, and A, and C, and E.” The Manger and the Star- of the singer along with clearly explained taje pa„ no money to anyone unless you 5. Crescendo moans increasing in volume tave—two octaves—three octaves—climb¬ Choral Cantata for Christmas illustrations. In all, this is a very sub- are convjnced 0f his or her responsibility, SHOULD KNOW ing and dropping through the air. By R. M. Stults stantial volume and is cloth bound. Those cannot be responsible for the work of outy Price, $1.00 _ . , ,_, . _ who ordered in Advancezxavance uiof Publicationr uuutiiuuu swindlers. “Now for some stunts,” he said. He dipped and swung and curved with “broken There is always a deman obtained a real bargain, because the ad- ion to the art of singing, with Christmas Cantatas. We have “ vance price was much too' low’ for* so costly Changes of Address • all voices selected fr vaksMifRh aft'i' l "nt,> ,pnSthens the time arpeggios.” He made a staff in the air preparation a very good one and we can book as this The i and wrote some chords and a “tune” that , - io. The Advance of Publica- When changing your address be careful works of the great masters of . This book voiced or1” on rft' ' ' colnposlt,on for four ^r0rdvtntcea^fhtiier of course’ was withdrawn im- to 'a'dvTsV__’ ' at least four weeks in advance, tells in an interesting manner 9. Repthoven « horn* in 1770 was running through his mind. unnecessary Although not difficult to mediately upon publication, the regular riving both your old and addresses. ciples that will guide the v al student aright. a wA?&°0%;' “AU Through the Night.” Just then the dinner gong sounded and (Teacher) my motor.” As he played some chords he jumped up with a shout of joy. “Four other Fairies danced with glee THEODORE PRESSER CO. » «... he was careful to relax thoroughly. Theh “Whew! It must be dinner time and I A, and C, and E, and G, Th* rbrktmns Storv is told in Weiss. This is a famous collection of ing an address is not sufficient. Second July Anniversaries 1712-1714 Chestnut St. Philadelphia, Pa. he did octave studies to further loosen up practiced all that time. The airplanes will As each one proudly took her place TVhiiVnl nimtations and in selections from easy v^in s°l°s *n first position. Prepa- class mail matter will not be forwarded Anniversaries of the following musi- the playing mechanism, after which he be up soon again. How I shall enjoy Peeping through a bass-clef space. ^RrThe m^c is weU UD to ration of this superb new edition which is and failure to advise us will mean loss of cians are celebrated in July. Perhaps Mr. Stults’Rtandard and it is perhaps the appearing in the new matchless Presser subsequent numbers going to the old ad- diligently practiced finger exercises, both watching them.” Now, children, tell their names to me.’ some of you can honor their days by play¬ (Children) SSfSh” "rk&T.hfC.at mmmmss ing one of their compositions at your July “A, and C, and E, and G.” b meetings. You might also look up A Boy’s View of Music s- —* — eThe 'special introductory price in ad- has been published in the Presser Collec- By Newell Bush (Age 13) vance of publication is 30 cents per copy, ton -n two ways for violin and piano, July second, Christoph Willibald von FUNDAMENTAL STUDIES IN tinue them. I have regretted this since, I” . -j 1 r $1.25, and for violin only, 75 cents. ,ck was born in Germany, 1714. The first that I ever thought about Pos P ' A Ragbag, Six American Pieces for but for two years my musical education July fourth, Stephen C. Foster, corn- isic was when my mother told me that „ _Piano, by Henry F. Gilbert. These novel- VIOLONCELLO TECHNIC was to begin to take piano lessons. was practically at a standstill. The year a c r a Beginner S Method ties are 'written in the modern American ?! “Suwanec River,” “My Old Ken- I entered the seventh grade in school, I de¬ For the Saxophone manner in such a style as to make excel- ucky Home,” and other famous plantation [ do not remember clearly my sensa- By GEORGE F. SCHWARTZ ns then, except that I thought that cided to begin again in the school piano (Teacher) The saxophone is the most popular in- lent and unusual numbers for the recitalist s°ngs, was born in Pittsburgh, 1826. “Five other Brownies came that way, isic was a necessary part of my educa- classes. I enjoyed the class work; and, strument of the day, particularly in radio, and interesting study material for the Ft a fifteenth’ Karl Czerny, composer of G, B, D, and F, and A, theatre and cafe orchestras, and the de- piano student in the fifth grade or there- n; for it seemed to me that everyone as it was not permitted to get dull, I have Ideal Material for Use in Teaching ’Cello Playing—Superb ”7s and studies- died in Vienna, 1857. mand for good players far exceeds the sup- abouts. The price of this work is $1.00. idled music. I continued these lessons been studying ever since. As each dark fellow found a line for Musicians Undertaking "Self - Study” on the ’Cello July twenty-eighth, Johann Sebastian Very near the bass-clef sign. ply. The comparative ease with which one _. , 0 r about two years, making, as my teacher Now I consider music part of my life. TCh. dled in Leipzig, Germany, 1750. can learn to play a few tunes on this in- Special Summer Although my education in this line is far Now, what new Brownies came that day?” HE text matter in this volume alone is worth the price of the j.-'j Y twenty-ninth, Robert Schumann d, rapid progress. . . , (Children) strument has led to the publication of Short Term T Mean while, my mother had joined the from complete, I feel that I have accom¬ many so-called “self-instructors.” Some of rfj-jal Subscription book. Careful explanation is given of many things in the care 7 ln Germany, 1856. “G, B, D, and F and A.” mmer Opera chorus, which opened up plished much. these give a modicum of satisfaction but Offer—Only 35 Cents of the instrument; correct position of arm, wrist, hand and -■ R thirty-first, Franz Liszt, Hungarian ither phase of musical experience for our vast experience with the musical pub- * __ fingers, correct bowing position; the three clefs; intonation; etc., etc. tst and composer, died in Bayreuth, Another thing about music that always lie indicates that there is a demand for a To introduce The Etude Music Maga- Detailed guidance is given with a number of the studies and alto¬ Germany, 1886. as I was thus enabled to attend the thrills me is that it is'the pictures to any saxophone instructor that a practical to those music lovers not already gether all that will help in mastering the fundamentals of ’cello play- »ra nearly every night. I heard many book and the life to any story. Many teacher can use in giving an ambitious stu- familiar with our publication, we offer the mg is given. Certainly this set of studies with the illuminating text ^sterpieces of the best composers, such times as I have been investigating the dent a good foundational training in the June, July and August issues for the small matter accompanying them should do much toward giving many first¬ •yn.t lul' <:oracr Verdi Wagner and others. The gay, playing of the instrument. This Beginner’s price of only 35 cents. This is less than hand opportunity of appreciating the possibilities of the ’cello. mysteries of Sherlock Holmes, or fighting <3 G -D F Pi. Method for the Saxophone is being pre- cost. Everyone interested in music has called thp\arfaniz,,'l a music club which is luettish and wild opera “Carmen, Indians in Cooper’s “Leatherstocking *,re two em,rian Junior Music Club. There ed me with delight; while the tragic pared under the personal supervision of here an opportunity to become acquainted PRICE, ONE DOLLAR J'inior °»i?™up8’ the senior group and the Tales,” I have been thrilled by someone Sfi'at comnJJ’' U<’ study the lives of the i sad operas, “Rigoletto and Tann- Mr. II. BenneHenton, a recognized author- with The Etude Music Magazine, tell turning on the radio so that it received a ity on the instrument, 'and when pub- your friends about the offer. As these '»• historPv Tv,and k,,'‘p note-books for musi- > Werc sources of emotions that If one little finger tlle eomnnL. hen *e have a program of wild tale of love and adventure from some lished will be the most comprehensive three numbers will contain about 60 selec- THEODORE PRESSER CO. chm&SPSW PHILA., PA. e2n|es. \v«rK ,w°rks. Then wc play musical Makes a mistake. of Muku n£ to the National Federation orchestra or pianist. Lots of time to correct it. work of its kind. Prior to the publication tions of music, 35 cents is a mighty small

Page 556 JULY 1927 The Choir Master

Each Month Under This Hc.dins We Shall Give a List I'llllC/ivMATE Summer’s discomforts with Solos and Voluntaries Appropriate for Morning and Evening A Boy’s View of Music Services Throughout the Year. Junior Etude Contest Oppesite "a" are anthems of moderate difficulty, opposite "6" those of a simple type. (Continued from page 555) these splendid magazines'—NOW obtainable combined U be had for examination. Our retail prices As usual, theuit Junior Etude- contestsj A A few weeks ago my mother had tickets best obtainable. will be discontinued during July an u- ^ «« gymphony Concert. A foreign CHOIR MASTER'S GUIDE FOR SEPTEMBER, 1927 —gust. - Therefore,- -; the_. essays‘^‘“Sr. aooear was directing, and some with THE ETUDE at BARGAIN PRICES! , „ answers that were due to appear 3n- of his own compositions were on the pro- SUNDAY MORNING, September 4 SUNDAY MORNING, September 18 will appear in September wheni th e^ 7 "found myself wondering what PRELUDE Organ: Pensee d’Autumne ...5trang -SPECIALS- Piano: Lullaby .Jarnefelt .,.-*5 ETUDE MUSIC MAGAZINE (One Full Year). $2.00 TE DEUM _ ■ , ; , (For liturgical services).. Woodward AN(flHEPraise. My Sou., ft. Kin* ^wSTsTS.’U‘^.f^lSSS’ft.? £d”S With McCALL’S (Regular Price $1.00). 2.35 ANTHEMS . With WOMAN’S HOME COMPANION (Regular Price $1.00) 2.75 (a) By Cool Siloam’s Shady what it was all about, With MODERN PRISCILLA (Regular Price $2.00). 3.40 Rill .'.Day Blessing .Dressier (b) Near Thy Side.Bike portraying children at play beneath the With CHRISTIAN HERALD (Regular Price $2.00) . 3.00 OFFERTORY , pines of a Roman village; and so well OFFERTORY Be Still .Wooler With COSMOPOLITAN (Regular Price $3.00) . 4.50 When I Survey the Wondrous was it being done that I laughed as every¬ (Alto Solo) PRICES DO NOT INCLUDE CANADIAN NOR FOREIGN POSTAGE Cross .Hope POSTLUDE „ „ ,r . one else was doing. Suddenly my laughter (Baritone Solo) Organ: Finale .Cuthbert Harris POSTLUDE ceased. What was that? The orchestra Piano: War March of the had died down to a low monotone, while Organ: Grand Chceur Priests .Mendelssohn r PICTORIAL REVIEW TO ANY Cuthbert Harris one of the instruments began a chant to r LADIES HOME JOURNAL r SATURDAY EVENING POST CLUB Piano: Jesus, Lover of My Soul illustrate the murmuring of the pines be¬ rs COUNTRY GENTLEMAN LISTED Goerdeler gjjNDAY EVENING, September 18 Dear Junior Etude fore the catacombs. Thus it went—once PRELUDE—w— . . „ „ Having‘gleaned "inspiration frorn^ The ^ght’andf airy dance, and then a tragical SUNDAY EVENING, September 4 PRELUDE ?T:: gSST.-. --which held me breathless with sus- Organ: Vox Angelica ...... Hennch Piano: Hark, Vesper Bells. .Johnson MAGNIFICAT AND NUNC DIMITTIS IN F ANTHEMS(ViOlinandPian0) ‘Tusic is always like that-showing (For liturgical services)...Simper (а) Give Ear-Unto My Words, fo'thf^w England Con- every phase of life from the beggar s cup ANTHEMS O Lord .de Leone servatory, where my program Is piano and tQ the merry dancing and feasting m a (а) Blessed are the Merciful...Reed (б) Seek Ye the Lord.FMer .voice 7 castle. I hope that ^music will always (б) I Think of Thee, My God.Marks OFFERTORY , su es. °P From your friend, play a part in my life, and I wish that OFFERTORY Search Me, O God.Marks Mildred H. V. Nichols (Age 17). every American boy and girl would also Ye Must Be Born Again.Forman (Duet for B. and A.) (Tenor Solo) Dear Junior Etude appreciate the enjoyment and education POSTLUDE , ,, We have been getting The Etude for o’ POSTLUDE Organ: Coronation March.Meyerbeer in Music. Organ: Postlude in D Minor.Hosmer a year and like i Piano : Processional March.... Verne Although I an Piano: Triumphal March junior contests, I^enjoy1 reading them just C. C. White the same.Inioy music very much, but ha\~ ~~ -Letter Box SUNDAY MORNING, September 25 SUNDAY MORNING, September 11 Since6reading "the EtiLo I Dear certainlyJunior Etudeenjoy’ The Etude. I ■ PRELUDE PRELUDE „ . learned a great„- deal— about fingering, raaeu about three*years and find n Organ : Meditation .Hosmer Organ: Emmaus .Fry singer hat Piano: Chant du Voyageur tinj rn a iraige and have not *** Piano: Dream of an Angel. . .d’Orso letters from around here m Xhb j have takcn musle £or about three and ANTHEMS Paderewski ANTHEMS „ Junior El- ^ ^ one-half years. One of the public school (a) O Love that Casts Out Fear teachers in music said I had very good Huerter (a) Blessed Jesu .Dvorak LTIDB MUSIC MAGAZINE... ETUDE MUSIC MAGAZINE. 2 00 Sabah Hank talent and was the best sight reader she had PEOPLE’S HOME JOURNAL .. $ . ^ (b) Be Thou My Guide.Dale (b) If the Lord Himself.Dicks ever seen. I have been in many recitals and "23 $2.35 $2.25 OFFERTORY OFFERTORY have had many teachers. I hope to compose The Lord is My Light.Ambrose Teach Me Thy Will.Saar Letter Box List and be a great musician some day. (Soprano Solo) Here is my slogan: “Practice regularly. ETUDE MUSIC MAGAZINE.$2.00) ETUDE music magazine... (Duet for S. and T.) AMERICAN BOY .2.001 POSTLUDE POSTLUDE . • . uig, wind! wc w6iv. ”77, r $5.25 Organ: March of the Noble Organ: Hosanna in Excelsis to print: Mary Irving, Claude C =!} Kcats-Barrell Armstrong Miller Simpson, Lida Eoliin^ Turnf Wyoming. ETUDE MUSIC MAGAZINE. ETUDE MUSIC MAGAZINE...$2.00 ) March of the Acolytes Piano: Procession March .Clark PHYSICAL. CULTURE .. Pitcher $3.85 SUNDAY EVENING, September 25 Helen H. Kirkmaster, Roberta Reed, Margaret Dear Junior Etude F McKeever, Beryl Harriman, Evelyn Putney, r »i~ f»r awav > ETUDE MUSIC MAGAZINE....$2,001 Both ETUDE MUSIC MAGAZINE... SUNDAY EVENING, September 11 i might like t PRELUDE PRELUDE Emma Lillian Clement, Mary Matousek, Ruth a Thf. Etude ; and YOUTH’S COMPANION (52 isa Organ: Twilight in Autumn Carney, Pauline Benvenati, Robert Nelson, > $3.50 Organ: Tender Thoughts Marjorie L. Cross and Fern Pettett. Engelmann-Mans field Felton-Mansfield S2F&'XVSijWUS Sgjg Piano: 0 Sanctissima .Thomas Piano: Peace of Evening.. .Foerstcr ETUDE MUSIC MAGAZINE.$2.00 ) ANTHEMS AMERICAN MAGAZINE .2.50 f ANTHEMS therefore I feel very important. We meei (а) Come, Thou Almighty King (a) The Day is Past and Over once a month and have games, competition^ Marshal-Loepke Gillette and a short program. I should bei glad if ETUDE MUSIC MAGAZINE.$2.00) Both ETUDE MUSIC MAGAZINE.$2.00 ) (б) The Lord is My Shepherd (b) The Lord is My Shepherd some of The Etude Juniors would v COLLIER’S NATIONAL WEEKLY. 2.00 L Gillette REVIEW OF REVIEWS. 4.00 Uj r MacFarren From your friend, OFFERTORY , OFFERTORY More Love to Thee.Day Alberta Pople (Age 13), There is No Unbelief.Wooler 19 Turama Road, Onenunga, ETUDE MUSIC MAGAZINE... ETUDE MUSIC MAGAZINE. (Tenor Solo) Auckland, New Zealand. NATURE MAGAZINE. FASHIONABLE DRESS . (Soprano Solo) POSTLUDE "23 $4.50 POSTLUDE Regular price . Regular price .$5.00, Organ: Pilgrims’ Chorus Organ: Sursum Corda .Diggle Modern Priscilla Wagner-Orem Piano: Gloria from the Twelfth Dear Junior Etude : ^ rou ETUDE MUSIC MAGAZINE.$2.0fl) Both ETUDE MUSIC M Piano: Torchlight March.Clark Mass .Mozart I am writing for the first time to you. MUSIC & YOUTH... I live in the land of the Noa; and I mo $3.50 been learning music for a year. My lives at Onehunga, and after school °» J> ETUDE MUSIC MAGAZINE... ..$2.00) days and Thursdays I go there for my sons. My school is a mile away from wner | $4.25 I live. There are no children here in “J ■ •$5.00/ P FIRST YEAR AT THE PIANO town who study music, that I know, would like to hear from some children wno ETUDE MUSIC MAGAZINE.... A Progressive and Modern Beginners’ Book .UODiLU.N 1 ItlJSLUjLiA . £.W I ^ live on ranches or in distant towns in Am CHRISTIAN HERALD .2JX) > ica, who love music. modern Priscilla". $4.05 $4.75 By JOHN M. WILLIAMS From your friend, Save 95c David Wallace (Age 14), Regular price . Church Street, Penrose, ETUDE MUSIC MAGAZINE.$2.00' THERE are many teachers who will welcome this noteworthy Auckland, New Zealand. WOMAN’S HOME COMPANION... ’ ™ piano method. Some of the features are: The introduction YOUTH’S COMPANION . of the bass clef from the beginning; the hands play in the five Regular price . finger position throughout the entire first part; little rhymes are Club Comer-Continued used to give the correct idea of phrasing, phrasing is taught as Dear Junior Etude : . m-oble the basis of piano playing and elementary scale work and pedal I am going to tell you about Ttkree SEND YOUR ORDERS WITH CHECK OR MONEY ORDER DIRECT TO. work are covered with attractive study material. Price, $1.00 Clef Club which was organized about t d Music Lovers Attention! years ago. We have sixteen membe:rs Write to us for prices are federated. We pay ten cents a Take subscriptions for ETUDE and for dues and meet every Saturday r on any magazines Etude Music Magazine add to your income. St r teacher. We open with $2.00 Yearly Theodore Presser Co., Publishers 2 Years $3.50 for particular s meeting and then have i not listed. THEODORE PRESSER CO. ■e an open meeting once “ parents and friends i 1712-1714 Chestnut Street, Philadelphia, Pa. Music Publishers and Dealers A Junior Etude reader, Yoshito Ik 1712-1714 Chestnut Street :his picture with her letter which appears From your friend, t . .. \pril, but there was no sp**''*'space €for— the -*-picture■ Jane Alice Hall (Age^ to be used in that Etude. < -7-

T-Lou gave him life. Can him a piano and let him learn to play it. about you. Those homes where the making of you deny him this simple, 'wonderful gift Through his teens, through his college years, music is a part of each day are the homes that of worthwhile living? through early manhood, in fact, throughout are happiest. life, a knowledge of the piano will be an un¬ Your boy depends on you to equip him to failing inspiration. Piano Study Aiade Easier meet the tasks that come with manhood. Of Above all, it will help your boy to become Boys and girls are quick to learn to play the all musical instruments none is so closely allied the man you want him to be, and some day piano under the new and pleasant methods of with his material, social and moral progress as he will look back and thank you. study. Your boy will enjoy learning to play is the piano. this new way. Send your boy out into the world with the Is There a Piano in Your Home? Write us today for literature about the piano gift of music—music played by himself upon The bonds of home life, now and in the years and its study that will interest both you and the most wonderful of all musical instruments, to come, are all-important to your boy. The your boy—or your girl. the piano. Open wide this portal that leads to piano strengthens these ties because it is the National Piano Manufacturers Association character, clean-living and leadership. Give heart-instrument of the American home. Look 247 Park Avenue New York, N. Y.

THE BASIC MUSICAL »PIANO INSTRUMENT