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

3-1-1920 Volume 38, Number 03 (March 1920) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 38, Number 03 (March 1920)." , (1920). https://digitalcommons.gardner-webb.edu/etude/666

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THE ETUDE MARCH 1920 Page 11#

Four Hand Cele¬ new Exhibition brated music Book Pieces FOR THE Recital Publications PIANOFORTE These Works Present the Best , By Various Composers Price, $1.25 Songs of the Newest and Most Practical Material for ONE hundred and ten pages of the best four- Teachers and Music hand music published. The contents are Lovers tremely well selected and a number of specially arranged duets are included. Among the composers represented by both original four-hand compositions or transcriptions are Cui, Brahms, Moszkowski, The Arts That Make Your Tschaikowsky, Gottschalk, Jenson, Grieg, Raff, Dvorak, and Rachmaninoff. Twenty-Five Melodies W- House A Cultured Home for Eye, Ear and Hand Pictures from Holiday Land FORTY-SIX MASTER SONGS HHHE subtle magic that changes a house into a home where 1111® FOR THE PIANOFORTE THE most notable collection of songs, ancient you love to dwell is found largely in two arts, music and and modern, made in recent years. Training By DAVID DICK SLATER Bispham personally supervised the preparation furniture. When you choose your phonograph, choose it 'for FOR THE PIANOFORTE Price, $1.00 of these songs and there are copious notes, revisions, English translations, breathing marks, teaching direc¬ what it can give you of both. By MATHILDE BILBRO THESE tuneful teaching pieces have a vein of originality, and tions prepared with the view of making this work Price, 75 Cents are thoroughly practical. Take of the widest possible use for the Music Lover, A phonograph’s value as a musical instrument can be measured EACH one of the twenty-five melodies is, in any one _ of the twelve two-page Student and Teacher. There are three complete only by its realism. Thomas A. Edison spent three million dollars reality, a study of a special nature. Every one pieces in this collection, and the analytical lessons upon three song masterpieces; experienced teacher will soon is devoted to some particular point in connec¬ a 2,000 word, introduction giving advice upon how 1 note the convenient “lay of the in research work to develop a phonograph so realistic that its re¬ tion with ej'e, ear or hand training. Particular at¬ to select songs for recitals. Substantially and at¬ tention is given to the matter of sight-reading and hand” that seems to fit the tractively bound. ; The French-Gothic lines of the production of an artist’s singing or playing cannot be detected the consideration of the leger lines. The melodies ' , fingering in such a way that there are few, if any, stum¬ posts, and the French-Gothic grille tend to develop true musicianship in the early ’ with its Chinese cord-cut frieze from the original, when heard in direct comparison. The result is mediate grades. bling blocks. They “play ” right off” and do not combine to give an effect of stately put obstacles in the beauty. way of the child in *■ the second and Pedal Book third grade. Old Rhymes With Foundation Studies for Acquir¬ New Tunes ing Artistic Piano Effects 2/fcNEW EDISON ‘The Phonograph with a Soul” SIX PIANOFORTE COMPOSITIONS By DR. J. M. BLOSE By GEO. F. HAMER IT literally “RE-CREATES” ance and the New Edison’s RE¬ most luxurious days, or the es¬ Price, $1.00 music, and the United States CREATION of it. These re¬ thetic beauty of Italy’s inspired Price, 60 Cents Government has given Mr. markable tests have been reported furniture art. Edison’s designers IN this interesting set of teaching pieces by the THIS is an excellent work that can be taken up Edison the exclusive right to in more than five hundred of went to the original sources of popular writer, Mr. Geo. F. Hamer, some of the by a student in the second year of study and use the word “RE-CREATION” America’s leading newspapers. every representative period and popular old rhymes, such as “Little Jack Hor¬ chose its finest examples. They it is at about this point in the pupil’s work that in connection with the reproduc¬ If you love music, you probably ner,” “Jack and Jill,” “Hickery, Dickery, Dock,” tion of all forms of music. established seventeen different disagreeable and unmusical effects, arising from incor¬ appreciate good furniture. The have been used as the basis for some excellent writ¬ The absolute realism of this New Edison not only gives you designs in all. ing in characteristic style. The pieces lie in the rect use of the pedal, should be avoided by a clear new phonograph has been estab¬ the literal RE-CREATION of an Whichever Cabinet you select, second or early third grade. The text is ad Kb. understanding of the purpose of the pedal, and then lished by tests with fifty different artist’s voice or instrumental per¬ your choice will have the en¬ adequate drill such as that for which this book en¬ artists before three million peo¬ formance, but it also adds to dorsement of Miss El- ie de Wolfe deavors to provide a foundation. Remember that ple, who were unable to detect your home an exquisite piece of and Lady Randolph Churchill. a difference between any artist’s period furniture. In the minds of these two women, although it has been said, “The pedal- is the soul of voice or instrumental perform¬ The entire wealth of furniture’s considered the greatest furniture American the piano,” a student should not depend on “soul” Golden Age is yours to choose authorities in the world, the New or “inspiration,” but be guided in using the pedal by from. You can have a New Edison Edison stands supreme. Composers, Album systematic and intelligent practice. Cabinet which expresses the dig¬ The New Edison gives all that nity of England's best periods, cr is in music and all that is in fur¬ FOR THE PIANOFORTE the elegance of France in its niture art. Price, $1.25 AN examination of ' this volume re¬ veals twenty-two Mail Order Write today for your copy meritorious composi¬ of “Edison and Music” tions that are the ef¬ forts of a number of 7"ERDI” is the title of the latest biography Music Supply House NE of Thomas A. the best American V added to Child’s Own Book of Great Mu¬ O composers. The pub¬ sicians series. These clever biographies in¬ Edison’s right-hand lishers were fortunate struct the children, and, due to the combination of men has written a book about in having excellent play and study, impress the “high lights” in the Edison. The book paints material available for lives of great masters upon their minds. After read¬ Theodore Presser Co. a fascinating word picture the compilation of this ing the facts given and pasting in the pictures sup¬ Lady I 1710-1712-1714 Chestnut St., of Mr Edison. It also con¬ album which stands as plied, the child writes a story of the master and ••rpHE period cabinets which a credit to American Churchill then binds the book with the needle and cord sup¬ Philadelphia, Pa. 1 Mr.Edison has adopted for tains 17 exquisite plates and music. No difficult plied. Thus the child practically makes his or her his phonographs are in pleas¬ invaluable information about pieces have been in¬ "Own Book.” _ The series is the work of Mr. Thomas cluded, but only those Music Publishers and ant contrast to the rather Historic Furniture. Wehave Tapper, and in addition to Verdi, the lives of the grotesque cases one so fre¬ of medium grade and of exceptional worth. There following may be had: Bach, Mozart, Schubert, HIS (Edison’s) designers have issued a special paper-cov¬ are over one hundred pages in this album and every Dealers quently sees. From the dim¬ succeeded in putting the char¬ Schumann, Handel, Chopin, Beethoven, Mendels¬ inutive Heppelwhite to the ered edition for free distri¬ page represents American musical ability. sohn, Haydn and Wagner. acter and feeling of the best periods costly replicas of historic into his phonograph cases. These bution. pieces, the superior furniture graceful and artistic productions will Address Thomas A. Edison, value of Edison cabinets can be received in many homes where less Inc., Orange, N. J. scarcely fail to impress the worthy machines have not been wel¬ lover of good furniture.” come heretofore.” il*. On vill t d be addressed to »• Pa* - ,-r- subscription. iipt for your Ml i H and cash di Liberal premiums will be sent on application. ADVERTISING RATES receipt if RENEWAL.—No . .. , of the next is the wrapper dal printed the is taken the publishers are not Although every pOosible care and music-study are solicited. tributiona on music-teaching or photographs either while in responsible for manuscripts - Cooke Edited by James Francis ALL MUSIC LOVERS. MUSIC STUDENT, AND MAGAZINE MUSICAL PRESSER’S FOR THE MUSICIAN, THE A MONTHLY JOURNAL . MARCH 1820 V,l. XXXVIII No. 3 Music The World of H§IPSS Simses and the Citj n, Tutuila, Price, $2 Subscription be made by po«t-office o REMITTANCES should Single copy. Price 25 cents. Cuba, Por States, Alaska, Panama, Gua Philippines, are always received for < United States postage stamps In Canada, J of Shanghai. or draft, or registered if press money orders, bank check and we are not respon Money sent in letters is dangerous, Pa. ETUDE THE PHILADELPHIA, PENNA. PHILADELPHIA, PA. mmmi LIEBLING Annotations, by EMIL Fingered, with Copious Revised, Edited and LESSON NOTES IN PERMANENT FORM OF STUDIES COURSE A GRADED By JAMES FRANCIS COOKE PRICE, $1.50 This work represents a ture of the pianoforte. of of material from the entire works ing and careful selection FOR PRESERVING IMPORTANT ADVICE AND “Czerny” Studies Selected By ALBERTO JONAS 4 FIRST HISTORY OF MUSIC FOR STUDENTS AT ALL AGES AS ARRANGED GEMS OF CZERNY THE noteworthy addition to the tec! A VALUABLE and opus num¬ all the popular Czerny, including known, but with < jrfjRx many less bers together Liebling’s studies. Mr. equally meritorious sides; the annotations and interpretative of the most exact and editorial work has been jME J' ■ ' 'tmgk mj value and musical in¬ are of real practical VmLa' from both the technical painstaking character tfll'-. volumes, which arc terest. The three .Wk JgggL gressive order, range ing arranged in pro- graded, the studies be¬ carefully and closely early second to the sev¬ in difficulty from the mastery of technical de¬ enth grade. Czerny’s W/ fW ' musical expression arc tail and his mastery of WjimW was a most voluminous truly remarkable; he czerny of all grades in attractive and tion is to present his very best studies this present compila¬ writer. The object of success of this work has been convenient form for general use. The is the best work of the kind of the most flattering character. It =S=S=ssSi>‘-- engraved special plates ever offered. It is printed from beautifully in heavy paper. and substantially and thoroughly bound CO. THEODORE PRESSER Permanently Adopted by Foremost Teachers j STANDARD HISTORY OF MUSIC BOOK^ =PIANOSCRIPT f r EASTER ANTHEMS EH* low God H°hGK;'nt [I , iolSI 3£g 65 MEN’S VOICES WOMEN’S VOICES EASTER CANTATAS List for Choirmasters A Selected Hope. | hAuVhWs MUSIC EASTER is a gem. Every number from our catalogue. numbers ring Anthems all have the true festal Solos, Duets and LIANT EASTER ANTHEMS zzzxm *1- .. 0 , IMMORTALITY THEO. PRESSER CO. THE GREATEST LOVE ' I VICTORY DIVINE DAWN OF THE KINGDOM [ THE WONDROUS CROSS new and standard is made up of following selection THE we have large and comprehensive catalogue In addition to our own will gladly of the music of all publishers. We a complete stock have. copies of any music we send for your examination i 11 IP i f I IlSill! 11 i 6 I III 11 i 111 1111 11111 il I HI Any of the above Publications will gladly be sent for examination By H. W. Petrie 75 cents By J. C. Marks $1.00 By J. T. Wolcott 60 cents By I. Berge 60 cents By R. M. Stults __ 60 cenU 1712 Chestnut Street :: Philadelphia. Pa. 1920 MARCH U6 Page Page 148 MARCH 1920 THE ETUDE -ANNUAL SUBSCRIPTION, $2.00-

Under Searching Eyes-

A N unexpected meeting—a battery Do you ever wince inwardly ? can guard against any reappearance of r-\ of eyes focused upon your face the blemishes. —Can you meet it with'com¬ The booklet containing full direc¬ posure? Is your skin flawless ? Clear, tions for each one of the famous Wood¬ lovely in coloring? bury treatments is wrapped around each Or is there some blemish that stands cake. Get a cake to-day and begin out mercilessly in your own conscious- THE ETUDE using it to-night. Single Copies 25 Cents VOL. XXXVIII, No. 3 You will find Woodbury’s Facial MARCH, 1920 There is nothing that so destroys a Soap on sale at any drug store or toilet man’s or woman’s poise and self-con¬ two famous prizes, valued at $10,000 each, with his operas, goods counter in the United States or The Test of Time fidence as the consciousness of a com¬ Mona and Fairyland. Canada. A 25-cent cake lasts for a To have written one masterpiece in a lifetime is an accom¬ plexion at fault. Reginald De Koven, born in 1861, was two years the senior month or six weeks of any treatment, plishment given to so few men that those favored few are well Blackheads are such a disfigurement. of Parker. His father was an Episcopal clergyman who took ¥;i or for general cleansing use. entitled to all the honors that mankind can bestow upon them. Enlarged nose pores, a skin that will a great interest in his son’s musical work. The boy was edu¬ The poet Grey has been belittled because his one claim to fame get shiny—But these things can be cor¬ Would you like to have a trial cated in America and at St. John’s College, Oxford, England, was his “Elegy in a Country Churchyard.” On the other hand, rected. where he took his degree. In Europe he studied music under size cake? when we consider the awe-inspiring, never-ending procession of Take care of the new skin that is Speidel, Lebert, Pruckner, Dr. Hauff, Vannucini, Genee and bacteria and parasites that are carried and rub them on the cake of Wood¬ For 6 cents we will send you a souls down through the centuries, we have had but one Grey. forming every day as old skin dies. Delibes. His romantic comic opera, Robin Hood, produced in into the pores from outside, through bury’s until they are covered with a trial size cake (enough for a week of In music there are numberless masters whose fame rests Give it every night the right treatment dust and fine particles in the air. 1890, became, without question, the most popular of all light heavy cream-like lather. Cover each any Woodbury facial treatment), to¬ upon one full outpouring of the soul into immortal chalices. for your particular trouble, and within operas ever written by an American. It was given over a thou¬ blemish with a thick coat of this and gether with the booklet of treatments, Indeed when we scan the catalog of musical art we find only a week or ten days you will notice a How to remove skin sand times and is still popular in many ways. His opera, The leave it on for ten minutes. Then rinse “A Skin You Love to Touch.” Or for a very few who have left more than a mere handful of works marked improvement. blemishes Canterbury Pilgrims, produced at the Metropolitan Opera very carefully, first with clear, hot 15 cents we will send you the treat¬ destined to stand the test of time. We know Adam because Take one of the most common skin By using the Woodbury method of House in New York in 1917, marked the result of a new am¬ water, then with cold. ment booklet and samples of Wood¬ of Noel; Auber for Fra Diavolo; Balfe for the Bohemian Girl; troubles. Perhaps your skin is con¬ cleansing your skin, you can free it Use this special treatment until the bury’s Facial Soap, Facial Powder, Borodin for Prince Igor; Cramer for a few etudes; David for bition, as did the Masque of the Drama, produced in Philadel¬ stantly being marred by unsightly little from such blemishes. blemishes have disappeared, then con¬ Facial Cream and Cold Cream. Ad¬ Le Desert; Ernst for the Elegie; Field for a few nocturnes; phia shortly thereafter. His death at this time, however, is blemishes. No doubt you attribute Just before retiring, wash in your tinue to give your face, every night, a dress The Andrew Jergens Co., 5603 Flotow for Martha; Gottschalk for The Last Hope; Halevy peculiarly pathetic, as it was not until this year that his genius them to something wrong in your usual way with warm water and thorough bath in the regular Wood¬ Spring Grove Ave., Cincinnati, Ohio. for La Juive; Kullak for the Octave Studies; Leoncavallo for rose to its highest powers, as manifested in his folk opera, Rip blood—but authorities on the skin now Woodbury’s Facial Soap, finishing bury way, with Woodbury’s Facial If you live in Canada, address The V Pagliacci; Litolff for Robespierre Overture; Mascagni for Van Winkle, recently given in Chicago by the Chicago Grand agree that in the great majority of with a dash of cold water. Then dip Soap and warm water, ending with a Andrew Jergens Co., Limited, 5603 Cavalleria Rusticana; Nicolai for The Merry Wives of Windsor; Opera Company. This was at once recognized as a spon¬ cases these blemishes are caused by the tips of your fingers in warm water dash of cold water. In this way you Sherbrooke Street, Perth, Ontario. Offenbach for The Tales of Hoffman; Ponchielli for La Gio- taneously beautiful and characteristic work. Many of the dis¬ conda; Scharwenka for the Polish Dance; Thomas for Mignon. tinctive De Koven harmonies and melodic touches are evident, Yet the works of these composers, taken as a whole, would make but on the whole he has struck a new and natural method of treatment far in advance of anything lie had previously pro¬ ST’™ | ^ . catalogs running up into the thousands. Probably the composer whose complete works have best duced. This is particularly noticeable, not so much in the stood the test of time is Chopin. That is, Chopin could claim thrilling arrival of the apparition of Hendrick Hudson, or the lg | Harmony Book for Beginners delicate Katy-did-Katy-didn’t chorus, which opens the second The Jesse French & a larger proportion of his compositions that have remained in scene of Act II, as in the sustained musical interest which the Sons Baby Grand N{nrMrr«ATE I By PRESTON WARE OREM I ADMIRABLE FOR I demand than any other composer. Of his eighty-six works —SUCCESS I I SELF-HELP (twelve without opus numbers) there are very, very few that composer gave to the masterly text by Percy Mackaye. The artists would consent to have thrown into the discard as they opera bears the opus number “414.” Among these were many | Brief> Simple, Vital, Practical, New and Distinctive readily would push aside some of the less inspired compositions works which became enormously popular, but there is none = Lays a strong foundation for future musicianship by giving the main of some of the other great masters. Consider, for instance, his which stands so greatly to the credit of the composer as Rip essentials of the subject in such simple, understandable and interesting manner that incomparable Opus 10-—the Twelve Etudes. All of these works Van Winkle. Fortunately he was able to witness the success of it will prove invaluable in the class or for self-help work. are played by present-day pianists—some more frequently than the work, presented for the first time just a few days before his others, of course, but not one of this set could be sacrificed. death. Read this letter from JOHN PHILIP SOUSA, Famous Composer and Conductor: Some of these deserve more frequent performance—the beautiful Mr. De Koven was a great admirer of The Etude, and 0. ctl, JU system adopted in your Harmony Book is admirably adapted for the Number Three, really an exquisite nocturne; the fairy-like Num¬ told its editor many times personally, that he felt that of all student who requires an instruction book that is “ as plain as a pike ” The text is so lucid that he who runs may lead”—a decided virtue in any text book ber Seven; the dramatic Number Nine; the intricate Number the influences in American musical education, The Etude stood I congratulate you on your work and commend it to the student of harmony.’ Eleven. The same might be said of the second set of Etudes, in the very front rank. Opus 25. Indeed, one might go through the entire Chopin 5S= | THEO. PRESSER CO. SHEET MUSIC MUSIC BOOKS PHILADELPHIA, PA. catalog and only here and there could one find a work which Making Money Work might be dispensed with. Chopin certainly mastered the art of From time to time we venture a little thrift suggestion' to avoiding that mediocrity which leads to oblivion. our teacher-readers. Money is the most worthless thingii the world until it is swung into proper action. Merely hoarding fjf Mastering the Scales and Arpeggios A Loss to American Musical Art money for the sake of having money is one of the lowest of human traits. Yet, as a matter of providence, every professional represents the supreme By James Francis Cooke January, 1920, marked two of the greatest of losses to A. effort of our 40 years of American musical art in the passing of Horatio W. Parker and musician should learn the art of saving all that he consistently Covers the entire subject from beginning to end , . ftno, manufacturing. It is the instrument Reginald De Koven. can. It takes a great big lump of money to provide a fund big Read these unusual testimonials from the finished player is justly entitled to. It is the ideal Both Parker and De Koven were splendidly educated for enough to make old age secure—a lump far bigger than many piano for all. World Famous Teachers and Virtuosos: their work. Parker, a pupil in America of Emery, Orth and people imagine. When you spend a dollar you may think of Chadwick, studied in Europe with Rheinberger and Abel. Most it as a small amount, but a dollar is the Savings Bank interest for one day on $10,000.00. That is, if you had $10,000 put “»td,piana Easy of his early life, was spent as a teacher and organist. In 1894 he was called to the Chair of Music at Yale University, where by in a Saving Bank all your income would total $365.00 a Jesse French & Sons Piano Co. for over a quarter of a century he labored for the uplift of year—surely a small sum for all means in these days. Ideal 1802 Seventh Ave. New Castle, Ind. presentation imaginable of an all important subjS”' M practlcal ' musical art in our country through exceptionally important thrift prompts the worker to strive for a fund that would pay him his annual income if he were obliged to stop work. Very "Jux French, a name well known since 1875" channels. His own works were lofty in conception and perfect I in technical finish. Possibly his most distinguished work is his few musicians ever achieve this. The' next best thing is to Price, $1.50 oratorio, Hora Novissima, recognized here and in England as strive for a principal that would pay the minimum amount I upon which you and your family can exist. Many can get THEO. PRESSER CO. one of the most notable works of its form produced during the T:y;: PHILADELPHIA, PA. last fifty years. Oxford conferred the degree of Mus. Doc. at least this, if they really work for it, and the comfort of hav¬ ing it pays for all the effort of getting it. E ETUDE when addressing our advertisers. upon him in 1902. Dr. Parker was also fortunate in winning .. _ _ i - ' ...... THE ETUDE MARCH 1920 Page 151 .i 1_ ^ vJ

Was Aristotle Right ? The Etude, and was an agreeable correspondent. His pen- Son of a physician and highly educated man, pupil of manship, however, was so microscopically minu e an so t Plato, Aristotle had the best training possible in that amazing cult to read that we were constantly concerne over e p . day when Greek civilization evolved intellectual ideals which bility of misprints. He represents a phase of musical scholar- are still discussed in all the great Universities of the world. ship, combined with practical experience, whic canno ai o In his politics he discussed at measured length the bringing up command a permanent position for his excellent wor s in ic of the ideal citizen. musical history of the future. Just now, when so many people are trying to show that the so-called literary subjects (including drawing) have such Hand Playing utilitarian value, it is well to listen to Aristotle wdio, perhaps, A piano-playing device of truly remarkable character saw further than the moderns in many things. Music, for in¬ [Editor’s Note.—When Dr. Leopold Damroscli, the illus¬ with the orchestra, whose conductor he became in 1883, at men by special invitation advertises “the nearest approach to hand playing.” What a the death of his father. In 1892 he made the New York Italy and Belgium. A t< stance, was to be employed for higher development, not merely trious musician, who came to America in 1871, established Symphony Orchestra a permanent organization, and liter¬ edented and indicates in consummate testimonial to the unequaled worth of real hand the New York Symphony Society in 1878, bis son Walter for pleasure nor for the sake of relaxation. He divided melo-* ally all of its work for thirty-five years has been done under position of America in th< playing! But the value of hand playing is not a matter that was a boy in his teens. It may thus be said that the his experienced baton. This year the orchestra is under¬ mony of Dr. Damrosch’e dies into two classes. First, those which give us pleasure and present conductor of the organization literally grew up taking a tour of Europe with its full complement of 100 desired than this.] ends with the mere approval by the sense of hearing. 1 hat is second, those which give us pain. The first he associated .with noble ideas, and the second with debased ideas. something which is very hard to explain to the unsophisticated “Many warmly colored statements appeared during value of music as to stop long enough to take steps for to Chaumont, was there most politely received by Aristotle attributed to music the power of inculcating music-lover who has never experienced the great joy of hand the war as to the wonderful stimulative effects of the its betterment in the American forces. Colonel Collins, Secretary of the Staff, and invited to dine with General Pershing at his chateau, a few “the habit of forming right judgments and of taking delight playing. world upheaval upon art. Just how and why this “General Pershing, with the splendid vision that has miles outside of the town. The other guest was Gen¬ The Etude has recognized for years the very great educa¬ should be never seemed to be explained. Because the characterized him as a remarkable man and leader, in good dispositions and noble actions.” But the greatest world was turned upside down, the arts were supposed realized the importance of keeping up the morale of eral Omar Bundy, and together we motored through attribute which Aristotle would have us believe music to pos¬ tional value of sound reproducing machines. Music is of course to benefit in some mysterious manner. The truth reallj the soldiers during times of stress, and he knew that the lovely country surrounding Chaumont in the ex¬ sess is “katharsis” or purification. Music was believed by this primarily for the ears. It must be heard to be fully enjoyed, is that art has been suffering a sad eclipse. War is the music could do at times what nothing else could ac¬ quisite twilight of a French July evening, amid scenes great philosopher to rouse in us a compassionate regard for but all instrumentalists know that there is something about monopoly of monopolies. When a country is engaged complish. Colonel Dawes brought me this message on so peaceful and beautiful that it seemed hard to imagine that grim war was stalking only a few miles away. humanity, to raise us out of ourselves, to free us from debasing the use of the hands in making music which gives entirely new in war there is one paramount thought, and that is to the morning of July 14th, and I agreed to go to Chau¬ win the war. Everything else must be brushed aside. mont to meet General Pershing on the following A solitary sentinel guarded the chateau. General temptations, to bring us into touch with higher things. and different understanding to the art, and which conveys a Every art is valuable at such a time only in its relation Wednesday, July 18th. You can imagine with what Pershing had been at the front all day and had not yet Can you imagine Aristotle at a modern Symphony con¬ sense of artistic gratification almost impossible to get in any to the war, and the composers and executive musicians feelings of elation and happiness I looked forward to returned. And so General Bundy and I wandered cert? What would he have thought of the Scheherazade or other way. lying in the trenches cannot serve their art. Fortu¬ this meeting. But I must digress and tell you of an among the lovely gardens awaiting his return. As he L'apres midi d’un Faune? How would he have considered Miss Helen Keller, the modern psychological miracle, who, nately music at this time was able to do something. It occurrence on July 4th, which had an important bear¬ drove up in his motor, he welcomed me with great Salome, or the Fifth Symphony, or the Manzoni Requiem? If despite her total blindness and deafness, has written books that could assist in stimulating enthusiasm ; it could assist ing on my experiences with the Commander-in-Chief. simplicity and courtesy, and altogether made an im¬ in raising funds for war needs; it could relieve “For months the citizens who had remained in Paris pression of such dignity and strength that my heart the primitive music of Athens inspired him with such reverence are now regarded as great literature in their field, says in one anxiety at home, stimulate courage among the men had been continually driven to their cellars for fear of glowed with patriotic pride that such a man should for the art, what might he have thought of the music of 1920? of them (The World 1 Live In) : “My hand is what your hear- on their way to the front and lessen the ennui of raids from the skies; and for months rumors of pos¬ have been found to represent us in the great war. We We have done years of thinking about music, but we do ing and sight together are to you. In large measure we travel those behind the lines. This much it did, and did won¬ sible defeat had been mysteriously afloat, and rumors sat down to dinner almost immediately, the party con¬ not believe that we have come to any wiser conclusions than the same highways, read the same books, speak the same derfully. It must have proved to all but the most of overwhelming German war machinery like the huge sisting, besides ourselves, of all the officers of the those which Aristotle evolved twenty centuries ago. We have language, yet our experiences are different. All my coming obtuse people that, although music is perhaps the most guns which had been terrorizing the city. Then came the General Staff (charming men, all of them). spiritual of arts, its material value in the great crisis parade of the American boys who had fought like “Although this was the evening of the famous day the evidence of thousands who have told us of the refreshing and going turn on the hand as pivot. It is the hand that binds was very great. But after all is said and done, music fiends at Seicheprey. Do you wonder that Paris went when Foch made his first great advance, driving the and purifying effect of music. Some years ago Mr. Edwin me to the world of men and women.” will not fire bullets, fly aeroplanes, or run battleships; wild when they heard that an American parade was Germans back six miles, the talk at table was not of Bok told in The Etude of the wonderfully restful and in¬ It is not until we realize what has been done by the won¬ and since war demands, first of all, those things which to be held there on July 4th? Can you imagine the battles, but of music, its influence on the soldier and vigorating effects of symphony concerts when he found him¬ derful tactual sense of a Helen Keller, that we gain a proper contribute directly to war, music, considerable as was scene? Emotionally this was the most remarkable how it could best serve its purpose. General Pershing, its part, naturally suffered during the war. thing I have ever witnessed. Along the Champs at whose left I sat, plunged immediately into the needs self fagged out on Saturday nights. He was merely retelling respect for the hand. The training of the hand in the art of the theory of “katharsis” so luminous to Aristotle. Elysee everybody was in tears, some women actually of the Army for better training and general improve¬ playing an instrument has such immense possibilities that Creative Work Difficult in Wartime sobbing from very joy. ment of the Army bands. Congress had authorized Volumns have been written about it. Yet its scope has never “Composers may have been fired by the great inci¬ that a lieutenant’s commission be given to the band¬ A Great Musicologist yet been fully comprehended. Let Helen Keller speak again, dents of the war, but it was literally impossible for the An Old Army Custom masters, but General Pershing felt that many of them The passing of Dr. Hugo Riemann, in June, of last year, from the patient beauty of the soul liberated by the hand. creative worker to get his mind down to things. In my “As I stood among the crowd on that great day an needed further training before they were deserving of removed one of the foremost of the world’s musical lexico¬ own case, I found myself past fifty and rather unhappy American bandmaster stood beside me, hollow-eyed a commission, and after some discussion I agreed to “It is the hand that binds me to the world of men and because I was too old to get in line with the boys who and trembling with excitement. It was quite evident graphers. He was also one of the most industrious, if not One examine all the bandmasters in France—some 200 of - - TT , women. The hand is my feeler with which I reach through went to the front; but nevertheless I felt that I must from his appearance and from his nervous state that he them—and the General said he would send them all to of the most profound, musicologists of his time. He was born isolation and darkness and seize every pleasure, every activity make myself of service in some way. War monopo¬ had gone through some terrific strain. He happened Paris for this purpose. in Thiiringen, July 18, 1849, and died in Leipzig. His that mymv fingersfins'ers pncnnntpr.encounter. WJtliWith the rlir,,-,dropping™,,™ of a little_, word lized me as it was monopolizing Americans of all to recognize me, and immediately asked me to use my classes. Good luck sent me to France in June, 1918, A Significant Opportunity father was a man of means, and he provided his son with tdl from another’s hand into mine, a slight flutter of the fingers, influence to do something with General Pershing for facilities for an excellent education. He studied philosophy, at the very height of the war. Mr. Harry Harkness the bandsmen with the American Expeditionary Force. “Suddenly, as I sat there, the picture of the hollow¬ began the intelligence, the joy, the fullness of my life. Like Flagler, the generous President of the New York Sym¬ law and history at the LTniversities of Berlin and at Thiiringen. It is an old American army custom to send bandsmen cheeked bandmaster of the Fourth of July parade and Job I feel as if a hand had made me, fashioned me together phony Orchestra, had supplied me with a liberal check, to the front in time of battle as stretcher bearers, with his tragic story came into my mind, and I thought to loiter he entered the Leipzig University and the Leipzig Con¬ round about, and moulded my very soul.” with which I was to engage a French symphony orchestra no weapons and with only Red Cross bands around myself that here was an opportunity to do something servatory, where he became a pupil of Jadassohn and Reinecke. and take them through our American rest camps in their arms, which, alas, in only too many instances practical towards improving the position of the,mu¬ I'tslike many musical theorists, Riemann was a practical worker. France for the purpose of giving orchestral concerts proved no protection whatever from the unscrupulous sicians in the Army. I watched my opportunity and He wrote many compositions, including a symphony, and was “No Music” for our soldiers. I arrived in Paris at perhaps the enemy. This bandmaster told me that he had trained told General Pershing the story of the little band at darkest moment, when the Germans were so near that a band of twenty-eight men in America and had taken Seicheprey, and how it had virtually been destroyed and s' one time a much sought-after teacher of piano as well as Mozart was once asked what he considered the most won¬ we expected to have to evacuate that city. Millions of them overseas, where they had done a great work in its usefulness ended because of these men being used musical history, theory and composition. (Max Reger was derful effect in music. He replied: “No Music,” meaning that its citizens had already fled, air raids were almost daily inspiring the regiment and keeping up the morale. as stretcher-bearers. I assured the General that I probably one of the best known pupils)._ _ . He was engaged„ _ ii the silence, caused by rests, is more impressive at times than the occurrences, and even the Big Berthas recommenced They had a distinct and valuable service to perform did not claim for a minute that a life of a musician many educational institutions in his native land, until in 1908 actual music itself. Very few players pay the proper respect their bombardment on the 19th of July, just after I had which none of the other men in the regiment could was more sacred than that of any other soldier in the he was appointed Professor of Music at the University of to rests. An ingenious English writer, Mr. C. A. Harris has given a big symphony concert for the French Croix do. They were the spirit of the men—the pep, the service, but that their duty in the Army was not to Rouge, at the historic old Salle du Conservatoire, al¬ mental relief, in fact so many things that only the Leipzig. In a recent issue of The Monthly Musical Record devised a very practical way of “holding up” little players for fight, but to cheer the fighters, and that for such pur¬ m though I do not believe that the bombardment was the soldier can tell you what they are. These bandsmen poses as stretcher-bearers other men could perhaps be (London), Dr. Frederick Niecks, Professor of Music emeritus rests, and many students who are studying without the watch- direct result of my concert! At that time every inch of had gone through months of special training to do one found who were not so necessary for special work. of the University of Edinborough, gives a very detailed biogra- ful eye of the teacher might find it a good idea. It is mer 1" available space on the railroads was needed for the specific thing. Yet at the battle of Seicheprey they General Bundy heartily agreed with my standpoint, but phy of Dr. Riemann, recounting many of his noteworthv works that of raising the hand and touching the wood of the mu ~ transportation of soldiers and munitions of war, and were sent to the front as stretcher bearers. Of the General Pershing did not say anything, and I felt that as there were very few of our soldiers in rest camps— twenty-eight, nine were killed outright, two were in theory, history and composition.*-X HisT:--- accomplishments seem ”w lhen“-1-rest one comes to s of more than one or two beats Z perhaps I had talked too passionately, although I com¬ truly enormous when regarded merely from the standpoint of length. Mr. Harris writes: they were all either training feverishly or already at wounded, two were shell-shocked, and the band was forted myself with the reflection that, as I had talked the front—our plan of traveling around with an or¬ thus put out of commission and months of valuable the immense quantity of his output. He is best known to our only as a civilian, the General would not punish me by “This insures that the hand is raised from the keys, and chestra would have been extremely foolish. I had training were wasted. That these men did a noble thing ordering to have me put up against a wall at sunrise friends through his famous Musical Dictionary, which, at one the difficulty of doing so apparently simple a thing will at first again begun to speculate on the uselessness of a middle- in the service of their country, that they made the and shot! m time, had a truly immense sale, but which has now been super- cause considerable amusement. The plan is invaluable, not aged musician in war time, when, like a ray of sun¬ supreme sacrifice, entitles them to an immortal place; “Next morning, while I was at headquarters discus¬ mi shine, I suddenly received a visit from Colonel Dawes, ceded in the homes of many by the larger dictionary of Sir only for securing the observance of the rests, but for acquiring but at the same time there were thousands of other sing the details of my duties with Colonel Collins, an a friend of our Commander-in-Chief, General Pershing, men who were deprived entirely of music because of George Grove. Dr. Riemann contributed valuable articles to independence between the hands. 1 8 orderly brought in an envelope and, as Colonel Col¬ with a message from him asking me if I would come this. The camp became a cheerless, silent camp, and the lins read its contents, he smiled and handed it to me, to General Headquarters, at Chaumont, and consult men, deprived of music to which they had been ac¬ saying, “This will interest you. Dr. Damrosch.” It with him regarding possible improvements of the army customed every day, felt the need woefully. The band¬ was a general order from General Pershing to the MARCH, THE HEIGHT OF THE MUSICAL SEASON—THE BEST EVER! bands of the American Expeditionary Force, which master was sent to Paris to be a purchasing agent of effect that “From now on bandsmen shall not be used were not in particularly goo*d condition, owing to the musical instruments. I was deeply moved by this story, as stretcher-bearers, except in cases of extreme military haste in which they had been assembled, and, above all, but it seemed at that time well-nigh hopeless that I, a urgency.” —__ the scarcity of routined and competent bandmasters. civilian, could do anything to change such a useless and “I returned to Paris and immediately organized the “Consider this for a moment. The commanding gen¬ wasteful tradition. examination of all the band masters of the American _ eral of the American Army thought so highly of the “But to go back to my story. On July 18th I traveled Expeditionary Force who were sent to me, to Paris, Page 152 MARCH 1920 THE ETUDE THE ETUDE MARCH 1920 Page 153 worked out in the school curriculum was that the stu¬ from all the different parts of France where their Paris Conservatoire) as instructors in conducting, com¬ dents should attend once a week a chamber music regiments were quartered, at the rate of about fifty position, instrumentation, oboe, bassoon and French concert, so that their hearing and appreciation of music a week. I examined these men thoroughly, as regarded horn. And while I had to sail for home at the end of their general musical knowledge and capability in con¬ might become refined by listening to the quartettes, trios August, by November first the school was in full opera¬ . « ducting, and was ably assisted by Monsieur Francis tion, with over 200 students working enthusiastically and sonatas of Mozart, Beethoven, Cesar Franck and Casadesus, a distinguished musician and a charming over twelve hours a day at their various tasks. so on. During my two days’ inspection of the school -—- — y ^ ^ Ta”w£eneral Pershing had sent me the band of “I may truthfully say that these six weeks were among last May I heard one of these concerts, which was a the 329th Infantry, on which these young applicants the happiest of my entire thirty-five years of profes¬ very moving spectacle—over 200 men in khaki listen¬ could try their teeth The results were rather mixed. sional life, but it is true that I had to work day and ing breathlessly to an exquisite chamber music con¬ Method versus “Methods” P S 3| Many of them had absolutely no knowledge of the cert, played by the professors and some of the talented night, like a galley slave, in order to get the thing ac¬ ! I technic of beating time properly, and after one week’s complished and to work out the entire curriculum 'of soldier-students, of works by classic and modern mas¬ By OSCAR BERINGER examination I saw that what was needed more than the school in such a way that it could be properly ters. At this time Monsieur Caplet’s place as teacher 'x I anything else was a school in which the most glaring- started and carried through after my leaving for home. of conducting had been taken by a young American lacks could be supplied quickly and properly. General Pershing was kind enough to want me to bandmaster, Lieutenant Albert Stoessel, a very gifted v''"' A Practical Talk to Teachers from a Renowned European Pedagog musician, a splendid violinist and altogether a man of . The School for Bandmasters stay with him, and Colonel Collins, Secretary of the General Staff, asked me what inducements they could greatest promise. I returned to Chaumont and explained to General offer to have me stay. But while the temptation of “The relations between the students and their masters The definition of the word method in its most gen¬ training could be accomplished in a purely mechanical fershmg the necessity of immediately founding such a wearing the uniform of the U. S. A. under the il¬ were peculiarly intimate, Monsieur Casadesus, espe¬ eral sense is the regularity of a process leading grad¬ manner, without any mental effort, and advised theE school, not only for the bandmasters, but also to supply lustrious Commander-in-chief, Pershing, was very cially, having won their affection, not only because of ually up to a certain defined aim. The absence of pupils to put some interesting or amusing book on the the three very important instruments and players for strong, I was not quite vain enough to believe that my his musical ability, but his evident desire to give them method inevitably results in indeterminate drifting at pianoforte desk, and read while going through their series the bands, which were almost totally lacking-oboes, remaining in France would “win the war,” and so, after the mercy of the whims and moods of the moment. of daily technical exercises. The fallacy of this is now bassoons and French horns. The General fell in very six hectic, but ecstatically happy weeks, during which The Greeks separated their method of teaching into proved beyond doubt by physiological experiments made sympathetically with my suggestions, and after further I vibrated continually between Paris and Chaumont, I A Great Need in America three divisions. in modern times. The seat of technique lies in the consultations with Colonel Collins of the staff, I was sailed for home to fulfill my duties at the head of the “On June 1st the school was closed and our musician- 1. The Achromatic, the teacher explaining the sub¬ brain. Unless the mind is alive to every movement, ordered to go ahead and given full power to organize ject to the student who then works out his own inter¬ New York Symphony Orchestra, which meant ninety soldiers began to return to America, to be demobilized and the ear constantly on the alert listening to every a school that should meet the needs of the situation. The pretation. symphony concerts from November to April. and to go back to their respective homes. I am sure note, the practice becomes worthless. As a matter of great difficulty of finding proper instructors I overcame 2. The Dialogic, the interchange of ideas between “The music school at Chaumont was a huge success. that the experience which they gained at the Chaumont fact, it is really harmful. Involuntary movements are by applying to the French Ministry of War for vari¬ teacher and pupil. It began November 1st, with over 200 students, re¬ school will help them in their musical work in the more inclined to weaken the hands than to strengthen ous celebrated French musicians who were at that time 3. The Catechising which was also called the method placed every two months by a new batch, comprising Western and Southern cities, to which many of them them. m the Army, and whom I asked to have detailed as of Socrates. The teacher by questioning the student instructors at this school. I could have accomplished bandmasters, oboes, French horns and bassoons. The have returned. I hope that our Army will continue to Technical exercises are held by many students to be finds out the amount of knowledge possessed by the All these exercises may be played in similar and nothing, if I had not had the assistance of a French French professors included such distinguished musi¬ interest itself in the improvement of its bands, and that a necessary but abominable nuisance. This view lies latter, and also gauges at the same time the extent of contrary movement, and constant change of key is officier, Lieutenant Michel Weill, who was attached to cians as Messieurs Henri Caplet, Francis Casadesus, the inspiration which General Pershing’s authority and his progress. Nothing can be properly or rationally frequently in the fault of the teacher who neglects to advisable. In the examples I show only a very small our General Headquarters at Chaumont, as Officier de Jacques Pillois, and various “first prizes” in oboe, bas¬ encouragement gave in France will be continued over taught without method. That is without gradually explain to the student the special object for which number of possible changes, as the notes always follow Liason. This gentleman, an enthusiastic music lover soon and French horn from the Paris Conservatoire. here. What we need in this country is the encourage¬ building up from the very beginning and going sys¬ each exercise has been framed, or to point out the and amateur musician, was appointed to assist me in my These masters, together with our American soldier stu¬ ment of the study of orchestral instruments, especially tematically on until the student reaches the highest technical improvement which must inevitably be the in regular order from C to G. Changing the order work, and he proved himself so able and so willing a dents, lived together as one happy family in an old the wood-winds and the French horns. We ha\ e not goal allowed by his capabilities. result of conscientious practice. Practice means repe¬ of the notes in every possible way will result in one worker that in spite of the fiercest raging of the war mill, about ten minutes’ walk from General Head¬ nearly enough to properly equip the symphony or¬ We will now consider “Method” in regard to piano¬ tition and repetition implies monotony. Here again the hundred and twenty different exercises. If you now at that time, and the inevitable hampering red'tape quarters, which the Army Engineers had quickly trans¬ chestras already in existence, and most of those we forte teaching. The word has been and is often still teacher is often at fault in not taking any practical imagine in how many different ways these 120 exer¬ sm-rounds all army organizations, all difficulties former into a musical conservatory, consisting of lesson have are of foreign birth and training. There is no misused in a most flagrant manner. steps to prevent this feeling. cises can be practiced with all the dynamic and agogic changes, you will land yourself in many thousands, melted like snow before a summer sun. In five weeks’ rooms, practice rooms, bedrooms and mess rooms. Our reason why these places should not be filled eventually So called new “Methods” are forever growing lux¬ We have already established the fact that no benefit not hundreds. Judging by this, it cannot be so very time I examined over 200 bandmasters; graded them boys were so enthusiastic at the opportunity offered by American-born musicians, and instead of the twelve uriantly. They sprout up like mushrooms in the night. is derived from any amount of practice unless the according to their capability; arranged for the refitting symphony orchestras which we have at present, there They range from the advertised method which guar¬ mind and ear are constantly on the alert. It is there¬ difficult to avoid the monotony. But what is even them that they worked twelve to fourteen hours a day, more important is that the constant change compels °k aIl ° lmi ! near Chaumont as a home and school for and the results were truly remarkable. At General should be at least 100. Every town of 100,000 in¬ antees to teach pianoforte playing in twelve lessons, fore necessary, more especially in technical work, to habitants or over should have an adequate symphony the student to use his brains and to keep his ears wide about 250 of our soldier-musician students; obtained Pershing’s invitation, I returned to France last April to the more serious patent medicines—I beg your find ways and means to prevent this feeling of mo¬ about eight famous musicians from the French Min¬ orchestra of its own, and with the right kind of in¬ pardon, I mean methods!—which profess to have found notony. open during his technical practice. to inspect the workings of the school, and I was amazed So far I have treated pianoforte teaching from a istry of war (all of them first prizes of the famous telligent financial support, and the proper training, this a royal road to pianoforte playing. There are many ways of doing this, both dynamic at the results obtained. One of the points which I had theoretical point of view. We will now consider it seeming miracle could be easily accomplished." and agogic. To name a few: A. A change from No Royal Road from the more practical side. Every workman must similar to contrary movement. B. Rhythmical changes. There is no royal road. The only road that will understand the use of his tools. The tools of the ensure satisfactory artistic results, lies in the method C. Modulation (change of key). D. Dynamic changes. pianist are his fingers, hands and arms. With these he which is based on physical laws, psychological princi¬ Contrary movement is especially useful as the ear has to manipulate the eighty-four or more keys of the The “Catchy ples and common-sense. It is very dangerous to ex¬ can detect unevenness in finger work more easily in pianoforte. On the way in which he operates these periment with some of these patent methods, as they this than in similar movement. keys depends the entire success of his performance. As soon as a piece of music becomes very popular often advocate muscular exercises in opposition to Rhythmical changes imply variations in accentuation, Other famous melodies beginning with the “catchy The keyboard is divided into seven equal divisions, there is always some pseudo-theorist who is ready with Gounod’s Soldier’s Chorus from Faust. physical laws, exercises which may lead (and indeed changes of meter, and alterations in speed. fourth have been cited in the Recollections of the each one containing twelve keys, seven white and five the reason why it is popular. Many contend that its in some instances have led) to the injury of nerves and Modulation implies change of key. Five finger exer¬ popular English conductor, James M. Glover, who for black ones, each division representing the compass of main outlines should be those of the pentatonic muscles, resulting in partial paralysis of hands and many years was the Master of Music at the Drury cises for instance are in most books always in the key an octave from C to B. The only difference is their (Chinese) scale—that is, the black keys of the piano¬ arms. Even if one of these methods has some rational Lane The^er in London, when he became the idol of of C. It is a great mistake to limit these exercises to pitch. Each of these keys is a lever to which a ham¬ forte. Other musicians (particularly some in England) foundation, it is according to my view, unwise to follow one key. The fingers are not on the same level in all mer is attached at their further end. When the key is the English theater-going public. These melodies are it too closely, as it must lead to narrow-mindedness, are superstitious about the so-called “catchy fourth.” the keys. Take the key of B for instance. The sec¬ depressed with sufficient force (only a little more the famous See-Saw Walts, which was all the rage and limit the musical horizon of the student. .The writer knows of one teacher who always taught thirty years ago— 6 ond, third and fifth finger are on a higher level than than the actual overbalancing of the key being re¬ his pupils the intervals by associating them with some These methods usually ignore the pupil’s individual¬ ac5rilghlaIS0,har given 0ver There, with its char- in C; in fact most keys require a change in this re¬ quired) the hammer rises and hits the strings, causing well-known tune. For instance, he taught his pupils to ity, both from the physical and mental point of view. them to vibrate. These vibrations are transmitted to TZTk f °f 3 f°Unh’ La Marseilles, The Pil¬ Common-sense forces us to accept the fact that we all spect. Therefore it becomes a necessity to‘ change the identify the fourth by the well-known hymn grims Chorus from Tannhauser, and many other fa¬ the air and set up so called sound waves. When these differ more or less in seme respect or other. Therefore keys frequently both for technical and musical reasons. Stand up, stand up for Jesus. mous tunes, including the hymn toronaZ* waves reach the ear the drum, a tightly stretched mem¬ Dynamic changes effect the quantity of sound; for The bell song from Chimes of Normandy. to invent a system by which everyone can derive equal brane, is set into sympathetic vibrations. The nerves explode this afly0ne wh?.chose to do so might easily benefit, is a myth and worse than a myth, a gross example, forte and piano, intermediate shades, also explode this theory by citing the number of very popu- in the ear telegraph them to the brain, which trans¬ blunder. increasing and diminishing the sound, etc. lates them into tone. The Alpha and Omega of any rational method lies, ”h‘Ch be§in ^ oth“ than^the Technical exercises must always be played from In regard to the mechanism of the pianoforte, it is of course, in the gradual building up from the founda¬ memory. The modulations must never be written out of great importance that the student should thor¬ tion to the roof. No step should be missed for fear in full. It is better to let the student puzzle them out oughly comprehend the action of key damper and of the structure coming to grief. The details must, for himself. It helps him to fix them more firmly in pedals. The dampers are thick pieces of felt which Getting Ahead in Music however, be elastic and should not be fixed by1 hard- his mind, and to distinguish the different key relation¬ lie on the strings. When a key is depressed the Sets of Habits and-fast rules. The many different qualities of stu¬ Yes, there is a technic of getting ahead in life, just ship. damper is lifted at the same time as the hammer rises, Skill is a constellation of habits. Habits are best dents have to be taken into consideration, and special as there is a technic in all other things. It is a matter thus allowing the strings to vibrate. Directly the key means must be adopted to overcome peculiar defects. The following simple five finger exercises will show of gaining more and more strength of all kinds with formed slowly at first by repeated, well-understood rises the damper falls and stops the vibrations. The But these details must not overthrow the method in some possibility of changes both dynamic and agogic. which to proceed. The athlete can measure his strength well-thought-out actions. The habit of walking, which hammer produces, and the damper stops the sound. with apparatus indicating, in grams or pounds his its broader outlines. Examples: every normal human being employs during the better muscular advance. Every time the indicator advances Before anyone can become proficient in the art of The Action of the Pedals one point, he is just that much ahead in physical power. part of his lifetime, was acquired only through weeks of music, be he vocalist or instrumentalist, a certain The action of the pedals will be explained later on. More than this, the strength acquired gives the means preparatory stumbling when we were little tots. No amount of mechanical training is necessary. The most We now.come to the actual act of touch. In analyzing glorious natural voice cannot be produced effectively whereby one may advance to the acquisition of more one can take pleasure in driving an automobile until he which,In the'hJTbt ^ ”* Certa!n technical habit touch one begins to realize that it is an artificial, not a strength. without this, nor can the most beautiful pianoforte has built up a set of habits in steering, changing the be built no bv ml °P,ni°n °f the writer> «n onl; natural function of the hand, and has therefore to be In music practice the gauge is the triumph over dif¬ hand play artistically without undergoing this mechan¬ gears, etc. The skilled golf player enjoys the game instance. Musical T.ake SCa,es’ fo acquired. As a rule we use our fingers and hands for ficulties. Don’t be afraid of difficulties. George Eliot ical training. The word technique is used to describe grasping, for pressing and for holding on. The rise only when his habits of play are well formed. scale passages. Not to ba Wlth sca1es an< gives this encouraging advice: “The reward for over¬ this mechanical preparation in music, as in all the other and fall of each individual finger is in reality used only formed means that vvheneve ^ 6 babits wel coming one difficulty is the strength to meet another.” In piano practice certain habits must be established ,SCa,e arts. In pianoforte playing the object of technical for pianoforte and organ playing, typewriting and Anyone who has made a serious effort to study the before one really gets any fun out of it. For instance, must study it as an InH' i”6 reads a new piece on< exercises is to train the muscles and nerves of the similar work. Rhythmical changes Forty-eight Fugues of Bach, knows that the chief dif¬ we have the much-discussed subject of scales. There fingers, hands and arms to perform their physical musi¬ In former years the act of touch was limited entirely >*•*.. t::: tra t" r cal functions. The “musical” side must never be lost ficulty lies in mastering the first few fugues. Do these are teachers who insist that all so-called technical as second nature, there i, .ows the sca,e: to finger action, and only finger muscles and nerves sight of. Mere mechanical dexterity must not be the an'd do them well, and the whole system seems to open practice is unnecessary, that one ought to practice by ence, no obstacle. More th- ^ "’ "° interfer' were supposed to be used. To insure this, the arms out before you like a book. Overcoming difficulties aple of the thing atl(i .,thls’ one knows the prin- aim and object of this training, but the means of real were held close to the body in an absolutely rigid state, taking out little passages from any piece to be studied music-making. thoroughly one at a time is the technic of getting ahead. the fingers only being allowed any movement. This and practicing those passages for the required technic only from understand“ * “nfidence comes muscularly. g a pnnciple both mentally and Not so very long ago, even great musicians and was earned so far that a coin was sometimes placed teachers were laboring under the impression that this on the back of the hand, and if you could play a study THE ETUDE Page 154 MARCH 1920 THE ETUDE MARCH 1920 Page 155 through without allowing the coin to fall, you re¬ The Spirit and the Letter in Musical Interpretation ceived extra praise, but alas! the coin was generally re-transferred to the pocket of the teacher. It did not By Arthur S. Garbett wander into that of the student. In attempting to strengthen the finger muscles, The young lady was very young; she wore her dark but he may be all right for all the untrained listener each finger was exerted separately; the fourth and hair braided, and, as the song says, “there was Egypt knows; he is at least impressive. No matter how you fifth being naturally weaker than the second or third in her dreamy eyes.” She had been well taught under play, therefore, you can “get away with it” to a certain had to go through double doses of torturing exercises, a distinguished piano virtuoso of international repu¬ extent. Secrets of the Success of Great Musicians tation, and we awaited with considerable interest what This has led to considerable indifference on the part with the idea of equalizing their strength. This pro¬ she was pleased to call “her own interpretation” of ceeding was hopeless, as by the means adopted it was of many music teachers with regard to musical in¬ By EUGENIO DI PIRANI Grieg’s To Spring. physically impossible to equalize the muscular strength terpretation. Unconsciously they permit themselves to Her interpretation was certainly original. Some¬ of every finger. The actual result produced was a skimp their work. Parents are urgent and want re¬ The previous contributions to this series were: Chopin (February) ; Verdi (April); Rubinstein (May) ; Gounod (June); IAsst (July) ; times we counted three to the measure and sometimes sults ; and it is easier to give a pupil a “repertoire” of Tschaikowshy (August); Berlioz (September); Grieg (Octobei-); Rossini (December) ; hard and an unmusical quality of tone. All this, of Wagner (January), and Schumann (February). four; there were dramatic pauses on unaccented beats, ten or a dozen pieces all carefully learned under the course, was in direct opposition to all physical laws. rests ignored, fortes played piano, and a total mis¬ teacher’s guidance than it is to give him general prin¬ It is now universally acknowledged that even in the understanding of the most elementary laws of musical most primitive act of touch, not only the finger but elocution. Yet one could not altogether ignore the ciples which can be applied to any piece he plays. The Scenes from the Life of Franz Peter Schubert the hand and arm muscles right up to the shoulder poetic intent. She wanted to breathe the spirit of young lady mentioned at the beginning of this article co-operate. had such a repertoire, but had no conception of the spring to us, she yearned to evoke the imagination, to In the beginning of this series of articles I re¬ time with Schubert, had not heard of him until Schubert sequently,” he said, “I cannot be said to have given him There is no doubt that in the past we had some great general principles of musical form, phrasing or elocu¬ hold us with the momentary spell of musical enchant¬ marked that my purpose was not only to find out the was twenty-five years old and had already composed any lessons at all. I merely regarded him with dumb pianists, but that proves only that Nature eventually tion. That was why, despite genuine poetic intentions, ment. In short, she was a good artist gone wrong. reasons for the success, but also of the temporary hundreds of his immortal songs, symphonies, con¬ astonishment.” Schubert showed altogether extraordi¬ triumphs, and that these pianists must consciously or her interpretation of To Spring was a lamentable fail¬ A few moments later we heard another young lady failure of great musicians. From the study of every certos and operas. Not till 1822 did Schubert think nary precocity in music, although he had not the oppor¬ unconsciously have emancipated themselves from those ure. The other young lady had been taught the laws, play; a sprightly young lady this time. She performed individual, from every quality which rendered him of presenting in person to the master he honored so tunity to display it to a crowd of admirers. In 1808 lie vicious academical rules. But a great amount of en¬ and the piece she played was part of her repertoire; but Mendelssohn's Rondo Capriccioso with facile fingers. attractive or unwelcome to society, from his success highly his Variations on a French Song. Beethoven, was appointed to the Imperial Chapel, a position which ergy and time must have been wasted in their studies. the teacher had done nothing to awaken within her the All the notes were there, the time was good, the or failure we can always derive some lesson either then in his fifty-second year and suffering from deaf¬ included the right to admission in the “Stadtconvict.” spontaneous feeling, the sympathy and insight which The art of touch as already stated is a complicated. phrasing accurate, and there was nothing superficially as a model to imitate or as a warning “how not to ness, expressed the wish that Schubert should write It appears that his garb and shape were so unprepos¬ performance in which muscles from finger to shoulder wrong; but fundamentally everything was wrong. are needed for a really interesting interpretation. do things.” the answer to his questions. But Schubert, out of sessing that the competitors jokingly called him “the participate. They can do so only if the arm hangs There was no architecture, no building of effects, no If it is true that “music begins where poetry leaves In the case of Franz Schubert I shall endeavor to sheer nervousness, felt as if his hands were tied and miller’s son.” But Salieri, the conductor of the choir, poetryand the net result was that her listeners lost loosely from the shoulder, the whole arm being in a off,” then every piece of music is an ultra-poem. It disebver what was the cause of the astonishing lack fettered. Some remarks of Beethoven uttered on an quickly recognized young Schubert's ability and gave relaxed condition. interest and broke into audible conversation, which had has a spirit, an essence, for which the interpreter must of recognition from which he had to suffer while liv¬ inaccuracy in the harmonies of his variations discon¬ him the preference. He was soon made leader of the become general by the time she had finished. You will easily understand why it must be so when seek if he is to make a successful interpretation. It ing. He was not the victim of opposition or prejudice certed Schubert the more, and the result was that school orchestra. Here he became acquainted with the These were two extreme cases of types of pupils you realize that the finger alone is not heavy enough has also phrase and sentence, rising and falling ca¬ or envy, but simply of being ignored. His life was never, until Beethoven lay dying, did Schubert see symphonies of Haydn, Mozart and Beethoven. He every teacher knows. The first represented the spirit of to depress a key without some force behind the fingers dences, which the student must study objectively. that of an obscure individual who gained a scanty him again, as he had not the courage to repeat what was enraptured with poetically imaginative works like music unguided by intellectual understanding; the sec¬ to assist. This force can consist of either passive arm The music teacher may think he has earned his fee livelihood, first as a schoolmaster and afterward as had been a nerve-racking experience. Beethoven, on the G Minor Symphony of Mozart, which he declared weight, or of active muscular exertion. The passive ond represented literal obedience to technical laws with¬ when he has taught the pupil to put the right linger in a musician, and who occupied his spare time with the contrary, after the interview, was most favorably was like the song of angels. out the least comprehension of their purpose. weight comes from the whole arm (which must be the right place at the right time; but in reality lie has compositions of all kinds which publishers looked impressed with Schubert, and commenced to study Schubert during his student days was chronically Playing a piece of music so as to give purpose and relaxed from the shoulder) and is exerted downwards only half learned it unless he has taught his pupil the upon with indifference. Schubert was considered only the young composer's works with keen interest. Es¬ short of pocket money and wrote to his brother Ferdi¬ meaning to it is akin to elocution in reciting poetry until it enters the finger tips. The amount of weight objective things about musical interpretation, and has as a negligible quantity. pecially, as Schindler states, Iphigenie, Granzen dcr nand : “You know by experience that a fellow would We all laugh at the young man who literally obeys the regulates the quantity and quality of tone. further done his best to awaken the poetic spirit in Anton Schindler (the biographer of Beethoven), Menschheit, Allmacht, Jungc Nomte, Viola and the like at times a roll and an apple or two, especially if, mandates of the “Orator’s Guide,” raising his arms the heart of his pupil. The latter task is the harder, who, in the last years of his life, was among Schu¬ Miillerlieder impressed him deeply. after a frugal dinner, he has to wait for a meagre Muscular exertion means an alternate tension and with a flail-like motion, modulating his voice with me¬ perhaps. bert’s most intimate friends, was of the opinion that Evidently besides genius, pertinacity and industry, supper for eight hours and a half. The few groschen relaxations of the muscles, the force of tension regu¬ chanical precision. We laugh also at the soap-box We may flatter ourselves that music teaching is a the cause of the obscurity in which Schubert’s tran¬ something else is needed to pave the way to success. that I receive from my father are always gone to the lating the tone. Neither of these functions could be Cicero, who roars and rants and thrashes the air. We profession, but we have no right to call it so unless scending talent remained was to be found in a cer¬ Seclusion and want of manners may prove a serious devil the first day and what am I to do afterwards? performed if the arm were in a stiff and rigid state. have seen and heard first-class actors and lecturers the quality of inspiration enters into our teaching. tain obstinacy, a certain inflexibility which made hindrance to recognition, as in the case of Schubert. 'Those who hope will not be confounded’ says the The fingers having to be in a rounded shape for most at the theater, at church, at Chautauqua. Their atti¬ Apart from inspiration, music teaching is a drill- him deaf to well-meant and practical advice from his Bible, and I firmly believe it. Suppose, for instance, work required, a certain amount of tension of the tudes and cadences are similar to the young elocution¬ master’s job, dull and routine-like. With inspiration it best friends. He was too informal in his manners, Schubert’s Early Education finger muscles is necessary. We call this “fixing the ist, but subtly different. They have the force and you send me a couple of kreutzer (about a cent) a immediately takes place beside that of the priest, the too indifferent to social intercourse. In addition to month ? I don’t think you would notice the difference fingers. But this tension must never extend to the spontaneity of the soap-box Cicero, but use them with The Schuberts were natives of Zuckmantel, in Aus¬ poet, the painter, the pioneer-scientist who boldlv and that, his appearance was far from captivating. He point of making the hand feel rigid, in fact only suffi¬ restraint. They have, in short, given us standards by trian Silesia. Franz Schubert, the father of the com¬ in your own purse and I should live quite content and imaginatively explores the realms beyond exact knowl¬ was short and stooped a little, had curly hair and a poser, held an appointment as the schoolmaster of happy in my cloister. St. Matthew says also that ‘who¬ ciently so as to keep the finger in its rounded shape which to measure a proper balance between the letter edge. The ultimate goal of all musical teaching is puffy face, bushy eyebrows, big round spectacles and after it has played its note. and the spirit of true oratorical eloquence. Lichtenthal. His first wife was a cook, by whom he soever has two coats shall give one to the poor.’ In musical interpretation. During the past four years the a stumpy nose. had fourteen children. Only five of the fourteen sur¬ In music, the average person has no such standards; the meantime I trust you will lend your ear to the voice general public has been musically awakened Anv re¬ Schubert is perhaps the single instance of a great vived, Franz being the fourth, born 1797 at Lichtenthal. Important Observations consequently he is unable to judge. The literally ac¬ crying to you incessantly to remember your brother turned soldier knows that music is nothing unless it artist whose outer life had no affinity or connection curate pianist is not ridiculous, merely uninteresting At the earliest age he manifested a decided predilection In conclusion just a few remarks as to the position has pep,” and that is only his slangy way of express¬ with art. His career was simple and uneventful, so for music. It was evident that nature had endowed him Schubert’s Music Paper at the piano, etc. The pianist who rants may perhaps appear ridiculous, ing an instinctive demand for inspiration. out of all proportion with the works which he created for a musician rather than for a schoolmaster. When One more serious result of his impecuniosity was the It is important to have a firm seat, a stool standing like a heaven-sent genius, that we must at last turn he was seven years old he made friends with an ap¬ impossibility of purchasing music paper for the com¬ on four legs. The old fashioned stool with one leg to them mainly if we would form any estimate of prentice who often took him to a pianoforte warehouse, positions which now commenced to flow in rapid suc¬ and a revolving seat is an abomination. The seat of Murdering Your New Piece the golden treasures concealed in the mine of Schu¬ where little Franz had the opportunity of practicing on course is placed before the center of the keyboard. It cession, but this want was supplied by the generosity of bert’s heart and spirit. the instrument. At eight his father commenced to one of his older schoolmates, Joseph Spaun, who early is not possible to fix the height of the seat, which By Roland Farley It was just his commonplace existence which ob¬ teach him the violin, and then sent him for singing depends on the build of the performer. As a matter recognized his genius. 1810 he wrote a piece for piano¬ scured Schubert’s greatness from the world. lessons to Michael Holzer, the parish choirmaster, who of fact many great pianists vary widely on this point; The other evening father and mother had com¬ forte, to which he gave the curious title of Corpse Fan- pany, and father asked you to play something. So soon found out that whenever he wished to teach the tasie. 1811 he wrote a quintet overture, a quartet, a and it almost appears to be a matter of habit or idio- Schubert’s Convivial Tastes you got out your newest piece, which you had prac¬ boy anything new he had already mastered it. “Con¬ fantasia for piano and his first songs, which drew the syncracy. I have no patent method either, but I might briaMT'd4 ^ ** W°rWng «£ iVsLuld He was also somewhat indifferent to the suggest that the height of the seat be so adjusted as ticed only two or three weeks, and started in. What attention of Salieri to the boy’s talent, and he was a month After il has seasoned for charms of the fair sex, nor, as frequently hap¬ to allow the arms to hang quite loosely. If the seat is happened? Well, perhaps the first page went pass¬ a month or so, work ,t over carefully just as you handed over to Rucizka for harmony lessons. The ably the next page not so well; and you almost pens with those gifted with a vivid tempera¬ experience of this teacher was similar to that of too low, it will prevent this, and if too high it would rrnrleTt T’'^ new piece' You *« stuck when you came to th.e hard part. You bog¬ mental fancy, was Schubert a victim to ex¬ have a similar effect. Let the relaxed arm be the with how 1° , h°W mUch more smoothly and Holzer: “He has learned everything,” said Rucizka. umpire. gled the time, and to cover your mistakes, you put with how much greater ease you can plav it You cessive passion. It may be that his aspect “and God has been his teacher!” The distance of the seat from the keyboard must be your foot on the pedal and forgot to take it off. may have to work the piece over in thifway several and his manner did not meet the sympathy of Afterwards Schubert enjoyed the personal in¬ just far enough to allow each arm to reach its end i hen, in your excitement, you scampered pell-mell, noble women. He had rather plain tastes. He SteV1 “ S"ished’b-* y»« »”;v, \«ii struction of Salieri for many years. Salieri was the of the pianoforte keyboard comfortably. This will per¬ lielter-skclter to the end of the piece, and ended in repaid for all your trouble. loved to be in company with a few merry fel¬ shame and embarassment. eminent of Italian musicians resident in Vi- mit crossing of hands without undue strain or stretch¬ The great pianists never think of playing anything lows, and spend with them hours and hours at He was a man of great ability, and Schu¬ ing. Mother said: "Why Susan, what is the matter with the wine shop. He liked good wine. In spite you? You played that piece so well this afternoon ” sometimeTf ** have "0t sliced Sr months bert derived much benefit from him. Particularly The feet must rest firmly on the ground, cither of the protestations of friends anxious about his his love for sweet melodies, shown in all his com¬ Uf course the company declared it was lovely, beau¬ S Bmt th7earS' 1 iS said of °"<= of our great lightly on the pedals, or just at the side of each. Chif- health he refused to thin the potations with water, positions, was undoubtedly fostered by the Italian tiful. etc because they were too polite to hurt your which she has nT^ *i ^ anythinS at her concerts dren whose feet cannot reach the ground must have a and not having a strong head it happened that he maestro. Characteristic of the chauvinistic ten¬ feelings by telling the truth. You. however knew This is one?r, ? W°rked at for a* least three years. footstool. Dangling legs must never be allowed. Cross¬ would occasionally overshoot the mark and then dencies of German historians is the fact that they ing the legs or curling them round the legs of the just how bad it was. Yet this experience did not ent this is from SeCrC‘ °,[ her succ«s. How differ¬ ent this is from your half baked offerings! become boisterous and violent, or when the wine consider the wonderful and rapid advancement stool (a. frequent bad habit) must be strictly pro- cure you; for, when you were asked to play at the had completely overpowered him, sink off to a hibited. • y school entertainment you insisted upon playing an¬ Remember that perfect repose is necessarv if vou made by Schubert under the leadership of this corner, where not a syllable could be got from distinguished musician not as a logical conse¬ The shape of the hand in playing is another thing other new piece, although your teacher wished you him. There is no exception to the testimony given ST %h£,7”i“,<1 "t " ”7™ Have quence of his tuition, but as ensuing in spite of which cannot be absolutely fixed. This also must vary to play something with which you were thoroughly on this point by all those persons who had plenty the same. Although a composer of genius (he according to the individual performer. For instance familiar. You declared that you were sick of your your piece will m p y are uncertain as to how of opportunity to observe him on such occasions. wrote 40 operas, among which Armida, Semira- it is quite evident that a feminine hand, flexible and old things and you didn’t want to play at all unless One is disposed to attribute to a frequent indul¬ fall into place at t fi"ger shou,<1 be ready to mide and Les Danaides ought to he specially men¬ possibly double-jointed, must require totally different you could have a new piece; so your teacher gave in gence in wine the cause of the pain and rushes of touch Pr°Per thne and with the right tioned) and an eminent conductor, the mere fact shaping and different treatment from a masculine one This time when you came to the ha d part, you blood to the head to which Schubert was subject that Salieri was an Italian was enough in the eyes with hard knuckles and stiff joints. This difference broke down entirely, just as you deserved to do; in the last years of his short life; and even the of these prejudiced critics to deprive him of the tor, you did not know your piece, and you had no about the Injury^hafyoud C t0 the question- What ThThT Pr°P0Se \° ded with in a futurc article. illness to which he so quickly succumbed may, at credit of having contributed to the musical educa¬ The body must not bend over the keyboard, but business to attempt to play it in public. So then half learned pieces?* ^ d° y°Ur teacher by P,ayinS least in part, be ascribed to his fondness for strong tion of Franz Schubert. The latter, however, en¬ must be upright and in a naturally easy position. The there was more embarassment and mortification Play badly itTs usl,f° y°U not k™w that if you liquors. instead of the applause you expected. tertained the most affectionate feelings and sincere result of continually bending over the keys will inevi¬ for it? Your teacher’s y°Ur te.acher wbo is blamed No wonder that the rough, unpolished shell did gratitude towards his teachers, as proved by a Ju¬ tably result in round shoulders Do not imagine that you can learn a piece in two not disclose at once the precious pearl it con¬ measure upon the plavin^*1* depends in ffreat bilee Cantata he wrote in honor of Salieri. Dur¬ or three or even four weeks well enough to play cealed. l»v« no right do'li f„°h‘ ’ “<* ^ ing the same year (1816) Schubert wrote his most Even Beethoven, living in Vienna at the same famous songs. THE ETUDE Page 156 MARCH 1920 THE ETUDE MARCH 1920 Page 157 of my life as a bright, clear and lovely one. Gently The Family Quartet life it is said he entertained the same feelings towards and as from a distance the magic tones of Mozart’s - On holidays his instrumental chamber music was her but they were always hopeless and unreciprocated. music sound in my ears. With what alternate force played at home by the family quartet composed of Of Schubert’s sixteen operas and operettas, very few and tenderness, with what masterly power did Schle- Ferdinand- first violin, Ignaz second, Franz viola, and if any, are known to-day. Song was the life-long singer’s playing (Schlesinger was an excellent violin¬ the father violoncello. Franz’s quick ear detected the object of this true tone poet; for it he strove and above ist) of that music impress it deep, deep in my heart. most trifling blunders. He rebuked his brothers, but all he succeeded. Many may know him by other music Thus do these sweet impressions passing into our would ignore the mistakes of his father or timorously but the world at large knows him more by those in¬ souls work beneficently on our inmost being, and no call his attention to them, saying: “Is not something spiring melodies which express all emotions appertain¬ wrong here, sir?” ing to human nature—love and hatred, joy and sorrow, time, no change of circumstances can obliterate them. The Secret of a Good Musical Memory hope and despair. His six hundred songs form a unique Schubert left the “Stadtconvict” 1813, his residence In the darkness of the life they show a clear beautiful and precious bequest to music. there having lasted five years. The pecuniary circum¬ distance, from which we gather confidence and hope. Successive Steps in Acquiring the Art of Remembering Music Efforts were made from time to time after Schu¬ stances of his father forbade the possibility of Schu¬ O Mozart, immortal Mozart! how many and what bert’s death to arrange for the production of his countless images of a brighter and better world hast By DR. CHARLES WILLIAM PEARCE bert’s devoting himself exclusively to music, and his opera, “Alfonso and Estrella,” but they were unsuc¬ Director of Studies, Trinity College, London only immediate chance was to assist in his father’s cessful until 1854, when it was brought out at Weimar school. For three years he settled down to an existence with the co-operation of Frans Lisst. The Neue Schubert has left behind works in every style; in of unspeakable weariness, teaching the children of the Zeitschrift fur Musik" thus criticises the opera: “Un¬ songs he is superior to every other composer, while in I. An Analysis of Memory [Editor’s Note,—Dr. Charles William Pearce, one of the It follows, therefore, that if technic can be made a clearest thinking of the British musical pedaaogs, has writ¬ poorer classes of Vienna the alphabet and the rudiments fortunately the poetical, large-hearted composer found other branches he is not equally unique. His “Sixth” Playing from memory may be considered briefly ten several excellent works upon musical subjects, including subconscious thing, so that in performance it is en¬ of arithmetic; but in spite of such wearisome activity himself in company with a thoroughly prosy librettist, Symphony (1819), his “Seventh” (1828) and his E-flat a Student’s Counterpoint, Composer’s Counterpoint, The from its psychological as well as from its practical Art of the Piano Teacher (quoted in part herewith), Rudi¬ tirely detached from the conscious—it becomes at once, these years were the most prolific of his life, for it and for this reason Schubert’s opera will have no Mass (1828) are the most conspicuous works besides side. ments of Musical Knowledge, etc. He was born at Salis¬ not a dry mechanical device, but a medium for the ex¬ bury in 1856, acquired his degree of Mus. Doc. at Cambridge was then that he wrote some of his most important vitality. The meagre way in which the subject is his songs. Long ago, Herbert Spencer found in the technical pression of the soul. And who can deny the indefinable works. handled, destitute of any kind of interest, offering no University. For a time he was Dean of Trinity College of The failure of so many hopes—more particularly in confidence and assurance of the great virtuosi, an ad¬ Music in London. The following article is an exceptionally charm of a technic that “floats like a spirit?” A remarkable fact in Schubert’s life is that he formed exciting situation, no good dramatic effects, must nec¬ sensible treatment of the subject of memorizing. Any per¬ respect of the performance of his operas in the thea¬ ditional proof that a long employed combination of sistent student who has the patience to do intelligently as intimate friendship only with congenial persons of his essarily have a tame, depressing effect on the audi¬ Dr. Pearce has suggested should be able to acquire a fine tre—straitened circumstances and constant bodily ail¬ muscular actions becomes almost as difficult to analyze HI. How Memory Can Be Cultivated own sex, while he had scanty and mostly commonplace ence, not to mention the lyrical effusions which are repertoire of pieces "by memory” in a year or so.] ments tended to make Schubert serious and depressed, The mere psychological aspect or the purely theo¬ experiences with the fairer part of humanity. immoderately dragged out.” These last are the pe¬ as tricks of walk, attitude, of other mental action, of a state of mind which later gave way to a phase of retical consideration of memory as a mental process is, 1814 he composed the opera Der Teufel’s Lustschloss handwriting, etc. He says: “Similar integrations* go faster than when I read each one separately. To make deep dejection bordering on absolute despair. On on between cognitions’? and the operations guided by a long story short, eventually the impression has be¬ however, of little practical value to anyone who may whose plot was even more outrageous than that of desire to be able to play the piano “without book.” Mozart’s Zauberflote without having the hidden sym¬ November 11, 1828, Schubert's increasing weakness them. At last, no reasoning or calculation is required; come so strong that I am able to depend upon it en¬ It has been well said that the best way of attaining bolism contained in Schikaneder’s story. It deals with compelled him to keep to his bed. During his illness or, indeed, is permissible; for it is notorious that in tirely, and dispensing with the music and all thought of a musical memory is to be born with it! Failing this, enchanted castles, monsters, deeds of daring and all the —nervous fever—which lasted only nine days, he suf¬ games of skill, any lengthened consideration or active the notes, I am able to play the Etude at a tempo much the next best thing is to possess great powers of mental paraphernalia of fairy romanticism. For a serious fered from mental wandering. He died on the 19th interference on the part of the higher faculties, almost faster than I could possibly think it out. Being curious concentration. opera it was utterly unsuitable. It was never per¬ of November, aged thirty-one years. A portrait bust inevitably causes a failure, owing to the required auto- to know the relative speed powers of the two minds, I formed. marks his grave, and on the pediment beneath it is the nvatic character of the performance.” have by test found that to play this Etude consciously In order that an impression be left upon the mind following epitaph : for any length of time, it must be either very vivid, or Amazing as his rate of production had been in pre¬ thinking out every note requires over five minutes, II. The Two Forms of Memory it must be revived many times at short intervals. vious years, all former efforts were eclipsed in 1815. whereas in playing subconsciously, I can get through it Music buried here a rich treasure, Henri Bergson distinguishes two forms of memory; During the practice-periods of learning to play a Half a dozen dramatic works, tyvo masses, two sym¬ in less than a minute, or less than one-fifth the time But still more glorious hopes. one of them, the "repeating” memory, he calls an auto¬ composition, every effort must be made by the teacher phonies, a quantity of church and chamber music and required for the former performance.” matic cerebral mechanism (habitude motrice, mecan- to secure the pupil’s clear and uninterrupted focus of nearly one hundred and fifty songs form the stupendous Here are a few aphorisms by Schubert and anecdotes His point is that while the conscious mind has been conscious thought on the matter in hand. catalogue of works conceived and finished within the of him: ismes motcurs ct tout monies) ; the other, the “imagin¬ absolutely necessary in creating the impression, its ing” memory, is to him the true memory, i. e., the actual secondary, but not less important, function is to with¬ This concentration of thought will render the mem¬ space of twelve short months! In the whole history of Take men as they are, not as they ought to be. music we can find no parallel to this inexhaustible mind, composed of remembered representations draw itself almost completely, so that the subconscious ory so susceptible to the reception of fresh mental Town politeness is a powerful hindrance to men’s “images,” that the vivid impression made by them upon fertility. It is certain that it was absolutely no trouble (images-souvenirs) and spontaneously reproducing past may have free play. The performer who cannot ac¬ integrity in dealing with one another. The greatest complish this latter feat, cannot hope to play such a the subconscious mind during the first reading and sub¬ for Schubert to compose. The subject once chosen, perceptions. misery of the wise men and the greatest happiness of composition as this Chopin Etude at any great rate of sequent systematic repetition of a new composition— the ideas to express it came naturally and supera¬ In the present volume attention has been repeatedly the fool are based on conventionalism. speed, for consciousness will hinder the entire delivery. whether practiced in sections or as a whole— shall be bundantly. Unlike Mozart he did not carefully perfect drawn to the performance of certain technical actions It is this antagonism between what are here called strong enough to secure the mental retentiveness neces¬ his works before writing them down. Handel, Bach Schubert, when his teacher Salieri told him that he —from mere force of habit—in an almost automatic, the subconscious and the conscious minds which is so sary for a public performance of the music. and Haydn wrote with extreme rapidity but none of was competent to write an opera, stayed a wav from unconscious manner as “reflexes”; but this fact is made often at the root of deplorable “loss of memory” which With this retentiveness of a complete mental “image” them exhibited the degree of fecundity of Schubert at his lessons for a couple of weeks and then begged very clear indeed by a Canadian:? teacher: sometimes happens whilst a pianist is playing without of the composition—as a whole, as well as in sections— the age of eighteen. Spina has a M. S. of seven songs the astonished master to examine the entire score of “Each one of us is possessed of two minds—the con¬ a printed copy of the music before him on the piano- must be associated an agility of thought in reproducing all composed October 15th, 1815, and on the 19th four Des Teufels Lustschloss. which he placed before him. scious and the subconscious mind; and a clear under¬ desk. the composer’s flow of musical ideas, by bringing them more were written. Among the many songs of this standing of the separate functions of each of these culiar features of the opera (which one could cor¬ This matter can be reasoned out somewhat thus: forth, one by one, from their “pigeon-holes” in the sub¬ period, those which breathe the spirit of Schubert most two minds is of the greatest value to one who would rectly designate a song opera), the consequence is Each one of us has mastered perfectly the technic of conscious mental storehouse, and presenting them to truly are the Erlkonig and the Wanderer. The Earl- that Schubert, with his pure vein of melody, must a™ X°gI 6Xami,ned them at h!s home found become a successful performer. The conscious mind had it tran™ T that p,eased h!m particularly and walking and breathing. We walk accurately, stepping the ear of the listener in their proper order—as written. King has a history. One afternoon Schubert was in his have felt a constant sense of restraint and he did not is, as it were, the stern disciplining teacher, the imparter sq many inches each regular number of seconds; our It is therefore necessary to know a composition be¬ room and happening to take up a volume of Goethe’s get beyond the simplest phrases and forms of his elaosed ° h'S Voice’ About a tonight of fundamental ideas, whilst the subconscious mind is, when end$ Were en->°ying ^sic together, breathing is accurate, regular; and yet this is all con¬ fore attempting to remember it. poems, read the Earl-King with intense excitement. Lieder. The inevitable result was a kind of suicidal 1 at the outset of any interpretative undertaking, the wild, trolled subconsciously. At the piano we ought there¬ Another important asset of the player from memory The howling wind and the terrors of the forest became monotony which even the lyric genius of Schubert Tong ffit' T ‘ Sarg " WOrd fu^er, placed the charming, undisciplined pupil. The subconscious mind fore to be able to play accurately and regularly, as an is good health. Mental concentration—whether during stern realities to the inspired youth who instantly could not entirely dispel. When SchubertT°TSi,handV''riting Up°n the piano’ is, therefore, the receptive agent, and also the inter¬ illustration, a series of octaves. An octave position of practice or performance—is impossible after a sleepless dashed down that wonderful tone-picture in the pres¬ Schubert was not a virtuoso in the modern sense of preter of the conscious; with the added inevitable in¬ the hand measures an octave no matter where it alights, night, or during a bad nervous headache. ence of a friend who had entered the room. Vogl, the the word, but he accompanied his own songs beauti- just as a foot-rule always measures off twelve inches, dividuality and technical fluency which the latter does The facility for memorizing music varies so much singer, sang it and produced a great sensation. Jean ■ fully, keeping the time very strictly, and (in spite of no matter where it is placed. If, in learning to play not possess, and over which in the ultimate presentation in different individuals, that no single method can be Paul on his death-bed requested that he might once his shorty thick fingers), he could play the most diffi¬ (let us say the public performance) the conscious octaves, the student consciously holds the octave S"S “p”,’" *i» on (he ran prescribed as the only one, or even as the best one. more hear the Earl-King. This song was the first of cult of his sonatas, except the Fantasia op. 15, which (teacher) has little control. Since each one of us pos¬ position without contracting or expanding the hand Schubert’s compositions that appeared in print, and he never could master. On one occasion, whilst at¬ until this feeling for the distance is firmly impressed sesses the two minds, and since the subconscious is the VI. Three Ways of Memorizing this happened in the year of his death, thirteen years tempting it at a private party and sticking fast in the interpreter, it follows that the more sensitive and re¬ upon the subconscious mind, he may then be able in There are practically three ways of memorizing after the ballad was composed. The publishers for final movement, he jumped up from the chair, ex- ceptive it is, and the more one is able to set it free (un¬ playing to depend upon an infallible octave technic, years refused to have it, even as a gift, and probably just as in walking he is able to depend upon stepping so piano-music: Stuffp”81 ' ^nly the devd himself could play this hampered by the conscious) the more individual and aS25&? *nd ,he '“"“"‘ns »»«"• taaits many inches. 1. By ear. would never have given the small trifle they did give greater artist that one of us becomes.” for it had they not known of the demand for the copies When we hear a pianist blurring an octave passage, 2. By visual recollection. The same writer goes on to explain his meaning by a Schubert’s Diary it is either because he has never consciously held (in 3. By a recollection (a) of technical actions, and Dr. Sounleitner engraved at his own expense and which practical illustration. He says: were published in commission in 1821. The best way of gaining an insight to the special practice) a definite and unchanging octave-span; or (6) of keyboard locality. likings and idiosyncrasies of a great man is afforded “Let us take for example the Chopin F minor Etude else fear or doubt enters into his conscious mind, Pupils who are highly gifted by nature have the in¬ (Op 25, No. 2). In the right hand part the entire com¬ Schubert’s Aversion to Teaching by the study of his diaries and private correspondence wiSiSpublish1rsT'm°deSty- Even dea!in* Personal thereby destroying the sure impressions which have ward ability to hear a composition mentally, and to Now whether Schubert was averse to letter-writing position is an unbroken chain of a few over eight hun¬ 1818 Count Esterhazy, a Hungarian nobleman, offered been made on the subconscious. It is like trying to proceed from this quite easily to an outward expression there is no evidence to show, but the one great charm dred quaver notes to be played at a very rapid tempo. Schubert the post of music master in his family. Schu¬ walk a plank where fear of falling off causes one to of the music on the piano. Such pupils usually possess we find in the study of the lives of other great mu¬ I begin the study of this composition by reading con¬ walk unnaturally. bert did not care for teaching, in fact had an aversion —in addition to this great gift—that utter and com¬ sicians is denied to us in the instance of Schubert sciously each note, and then I play it on the piano. plete confidence in their natural talent, which makes— to it, but the two gulden a lesson, wintering in town, Also only small portions of his diaries remain. Alois This is necessarily a slow process, as the conscious for them—a failure of memory well-nigh impossible. and other advantages induced him to waive his objec¬ ing his lifetime. * UfeS’ the delay of fame du mind is only capable of working at a limited speed. But Memorizing by ear being the most natural as well as tions, to accept the count’s offer, and to accompany him Fuchs in his “Schubertiana” relates: “Some years ago every time I read these notes, an impression is made on Main Points of a Good Memory the most musical way, is strongly recommended to to Zelesy. Soon after entering into the family he felt I found accidentally at an autograph dealer’s in Vienna the fragment of one of Schubert diaries in his own m"ie “T”™ the subconscious mind. At first the impression is only teachers for development in their pupils—even with a growing passion for Caroline Esterhazy, the count’s Interest. handwriting, but several of the pages were wanting faintly made, but by numerous repetitions it gradually Attention. those who possess only slight natural ability in this youngest daughter. The pretty features, the sweet On my asking the reason of this the wretched owner becomes strong enough to be depended upon, and I Sharp initial mental impressions. respect. voice, and careful piano accompaniment of the girl of of the relics replied that he had for a long space of find that by allowing myself to depend half upon one Know your composition so that you can The recalling of a past impression of sufficient depth eleven charmed the young genius, but she did not re¬ mind and half upon the other, I am able to read or have play it before attempting to memorize it. time been in the habit of distributing single pages of can be brought about whenever an “association” has turn his love and could do no more than admire his an inSS , „„ , the impression of a group of three or four notes at Memorize in three ways: (a) aurally, (b) the manuscript to hunters of Schubert relics or auto¬ set up the train of visual “images” which surrounded music. Yet she once coquettishly reproached Schubert once, and therefore can play them proportionately visually, (c) tactually. graph collectors. Having expressed my indignation at favorable circumet-o ’ W^° lved un^er the most ut or led up to the original experience. for not having dedicated any piece of music to her. Practice writing down difficult measures this vandalism, I took care to save what was left. after his death. and was fu,,y recognized onl from memory and note how many omis¬ Visual musical memory is of two kinds: “What’s the use,” replied the poor fellow, “when every¬ •An integration is a function or action which does not The leaves refer to four days only and run as follows • include any principle of subdivision. sions you make. (a) A recollection of what the notes, chords, etc., thing I do is dedicated to you.” To the last day of his ....—m— ,le was the wonderfulest fiddler I ever By Mathilda Meyer Chapman formers did, indeed, use the thumb, but only occasion¬ Italian tunes which he himself surpassed while yet an of our contemporaneous pianists. In the first place, can play, you know.” It seems to you a bit of intel¬ did see. He said his name was Mischa Elman.” ally, until Bach determined that it should be employed infant prodigy. with the same facility as the other fingers. In order to his piano could not give it. In the second place the lectual dishonesty on her part—you know, and she Mischa Elman?” I exclaimed. “You don’t mean to We do know that his fundamental demands in piano art of pedaling was in its infancy. And, therefore, we knows, that she plays exquisitely; and what’s more, say he played out here for you?” chased teacllers’ uP°n advising a pupil to pur make this possible, it was necessary to abandon the playing were a perfect legato, a singing touch, and a fact that O. tr°n0me’ have been confronted with thi extended position of the fingers, to bend them so that style simple and unaffected. He held that the position must believe in the reports that Mozart’s staccato had she knows that you know. . Yes> _su}l> he sure did.” And then the conductor Let me illustrate the wrong and the right attitude to necessart t 6 Pare"tS arC umvil,in« to expend the sun the thumb might be brought always in reach of the of the hand should be quiet and steady. He admired a peculiar charm, while his whole style was dinstin- chimed in .with, “That’s right, Elman was a passen¬ find the^fnfl secure oile ■ Such teachers, perhaps, wil keys, and to raise the back of the hand. The fingering lightness, smoothness and elegant rapidity. Passages guished by delicacy and taste, dementi vowed that take toward requests to play. Both these incidents are ger last trip through to Washington, and he gave us absolutely true. vantage little device helpful. It has the ad by which the thumb is passed under the fingers in scales were to flow like oil. He opoosed high speed and he had never heard anyone play so soul fully. Ditters- a regular treat out here in the smoker.” ftT* Firstly, let me illustrate the wrong attitude. I am tirelv fill the '"f VCry, ebeap’ anadvanced work as vocalists, violinist, etc. conception and technic.” This is a conservative decla¬ cannot think of Mendelssohn and his little journeys Valuable, however, as is the attention that is, at from the repertoire of friends and fellow-students. A The benefit to a young pianist of playing the piano¬ As for the other branch of the classical school, it ration, apparently founded on the motto, “safety first,” into fairy land without feeling that a song without length, being paid to this branch of musical art, it list of the chief accompaniment that it would be desir¬ forte part of some important operatic role, such as fares no better at our hands. Old J. B. Cramer and for one might say precisely the same thing of Harold words is at least a distant and faded old cousin of a Dussek were the best of the party till Field came He may prove of little general utility unless the leaders able to have some acquaintance with would look for¬ Carmen, Tannhauser, Brunnhilde, Louise or Marguerite Bauer, Olga Samaroff, Florence Nash or Mana Zucca. young and blooming ballade. Can one play llmsclt’s was beyond question, the leading virtuoso of this wing of musical opinion—writers, teachers and heads of midable enough if written down, and yet it need not once or twice a week would be incalculable, nor would The psychological parting of the ways could be discov¬ Si Oiseau j’tais with no thought of Schumann’s I oycl musical institutions—see to it that it is turned to of the school. According to the best authorities, Field prove very alarming, after all. It would not impose it be possible to overestimate the value of being called ered in the character of Beethoven’s conceptions. als Prophet? I once heard that singular idiosyncrasy bad a ravishingly beautiful touch (although lie held practical account for the benefit of the pianoforte an appreciable strain upon any student to learn one upon to play the accompaniment to the Mendelssohn He was probably a much better pianist than Mana called Pachmann play them, one after the other, with¬ the fingers rather high) and “was one of the greatest student, and, more particularly, the amateur student. important accompaniment for each weekly lesson, and, Zucca or Florence Nash (these names are chosen at out pause. Violin concerto under the personal superintendence and masters of aH time in his picturesque diffusion of light At present, accompanying seems to be a kind of close in the case of some of the less exacting songs of Schu¬ direction of some eminent violinist. ’An accompaniment random from the list of ten thousand public pianists) But we are forced to confess that the romanticism and shade.. There was also one Karl Mayer, who is preserve for the specially gifted professional, where¬ mann, Schubert, Brahms and other standard composers, under these conditions would be played, not once, but but undoubtedly not as finished a performer as either of the pianists who immediately succeeded Beethoven charged with the heinous crime of becoming a seeker as it should be made a part, in a few rare cases, the it would be possible to learn two or three. But were many times, and for many successive students—that Mr. Bauer or Mme. Samaroff. Beethoven himself did were burdened with an excess of politeness. It was not chief part of the musical education of every piano¬ after effect. only one accompaniment learned every fortnight, in is where the academies and conservatories could afford not approve of extreme development of technical wiz¬ till the plumed knights and prancing steeds of Weber’s To seek for effect merely for effect’s sake is vicious forte student, so that the study of the pianoforte may addition to the ordinary work, the student, in the course such priceless opportunities for the study of this art— ardry. He said, in a letter to Ries: “The high develop¬ chivalric style entered the arena that the full effect of but possibly this reprehensible old Mayer may have be made to yield valuable results in later years when of three years’ work, would have gained a knowledge and by their constant repetition the accompaniments ment of the mechanical in pianoforte playing will end the new romanticism made itself felt in the world of contributed something toward those splendid advances the opportunities for practice are limited or non-ex¬ of over seventy-two important accompaniments. in banishing all genuineness of emotion from music.” piano playing. would become safely embedded in the minds as well as istent, and the capacity to play solos satisfactorily has, That a first-rate performance would be given of any in the fingers of the accompanist. in consequence, almost completely vanished. accompaniment that had been studied a few years pre¬ It is probable also that under this system many In its highest forms the technical and temperamen¬ viously and had not since been played is not to be friendships would be formed and many arrangements tal qualities needed for accompanying place it beyond Hints for Your Repertoire expected but a performance might reasonably be made between fellow-students to meet at each other’s the reach of any but the most highly gifted, but it is anticipated that would enable the soloist to sing or homes for supplementary practice. These friendships proposed here to deal with it only in its humbler By Leonora Sill Ashton play without much misgiving or anxiety. Even if a would often, it is to be hoped, outlive the conservatory phases, those that are within the reach of the aver¬ considerable period of time had elapsed, and the accom¬ days, and opportunities would be found for continuing age careful and attentive student. The outlook for “She plays beautifully,-but she only knows the same happiness of many may largely depend upon it, and it is panist, now neither a student nor in regular practice, this work, long after cares and occupations had arisen old things.” the amateur is hopeful from the outset in this re¬ simple altruism to learn the things that they will most were asked to undertake the accompaniment to one of to make urgent claims upon the time of the amateur This was the actual remark made about a young write?’0 'S S° 3nd S°? What k'nd °f mUS'C docs he spect, that the order of technic required for the play¬ enjoy, who have not the power to make music for them¬ these important vocal or instrumental numbers, surely musician. woman of exceptional ability at the piano. TJie well-informed musician, be he teacher nr not ing of accompaniments is neither so exacting nor need selves. a genuine musical amateur would have retained suffi¬ Not a Difficult Study She had had every advantage in the way of careful will find infinite satisfaction in being able to demon¬ it be so immaculate as that required for the perform¬ This is one of the first thoughts in adding to our cient technic and sufficient confidence to be able, at Marty a married woman, with the responsibilities training by well-known teachers, which training was repertoire. strate at once, by a short selection, the information ance of solos, and—an added advantage—memory is least, to keep with the soloist, though possibly at the evident in her artistic performances; but—“she only desired. seldom called into play. No pianoforte solo could be of a house and family on her shoulders, would make a Next is one of a more educational value. rate of a few blurred passages and not an altogether played the same old things.” That was the popular considered satisfactory that was not given with ac¬ point of devoting a little time each week to her sing¬ It is hoped that every serious student of music in- All this will require work; but remember the music satisfactory opening or closing symphony. verdict. * curacy and fluency, with an appreciable amount of ing or violin playing if she knew she could count upon America will in due course of time have at his finger you give to the world is the fruit of all your toil, and However, the problematical case of the middle-aged It is true that one thing done well is worth six things too much care cannot lie bestowed upon it'. tone color, a sense of interpretation, and, preferably, the services of an enthusiastic accompanist, in the same tips a miniature concert program of that which has been or elderly amateur being called upon unexpectedly to way as pianists would have an incentive to keep up done poorly; but what a world of reproach and sug¬ One hour a day is none too much to be devoted to without notes, but success on these lines necessitates established by long use and tradition, namely: composi¬ accompany Von Ewige Liebc of Brahms or Les Fan- their pianoforte playing, if, instead of utilizing it to gestion lies in the above remark! the memorizing of new pieces, the inspection of old continuous study for every class of pianist, and as re¬ tions by Bach, Beethoven, Schumann, Chopin, Schubert, toches of Debussy need not distress us unduly. Such break down an ill-prepared or half-forgotten solo, they The musician may enjoy an old piece more and more MacDowell and other modern composers. ones, and the planning for more to come, gards the amateur, continuous supervision and ad¬ a circumstance would not often arise. Besides, the as the years go on; just as the student loves the well- vice in addition. could with a degree of justifiable confidence undertake Thinking of nothing but your own benefit in this case tint? J|S )0U wdl a,ways he ready to give informa- amateur, having once become interested in the study worn volume, and he will find something new in it at the accompaniments for the songs and violin solos at the study of those old masters in their order will develop The b p CfUr? to others when called upon to do so. of accompanying, would cultivate the acquaintance of almost every playing; but the public, however small, The Crux of the Situation any concert or social function where such services were musicianship as nothing else can; besides forming in people whose hobby or recreation was singing, or the even if it consists of only your family and a few friends A problem that will immediately present itself to required. Instrumental music, once learned, never goes your mind the sequence of one school of music after playing of the violin or violoncello, so that opportunities desires something novel and fresh. teachers, pupils and others interested in this subject is entirely out of the fingers, and although after a lapse another. would occur for rehearsing most of the accompani¬ Therefore, do not allow your list of memorized pieces, in"au’probabiKtv KT“rd“1 the following: How is the average amateur ever to of some years it would take a considerable amount Again, in the choosing of pieces to memorize it is session of ^ ymost.cases i but be assured the pos- ments that an amateur might be called upon to play. your concert program,” to grow stagnant. Keep it hope to read sufficiently well at sight to be able to of practice to render a solo fit for performance to an well to have one composition at least of each well- much an a and lnterest'ng repertoire is just as So far only the case of the privately taught pupil renewed every week with a new composition even if it cope with the important difficult accompaniments that audience, it would need but a moderate amount of work known composer, and of newer ones as they appear on has been considered. With regard to conservatoires be but a short melody or song. Twer to f ° 3 S,UCCeSSful teichi"K career as the he, or she, may be called upon to play? This is, indeed, to bring an accompaniment, once learned, to a condi¬ Your music, in a sense, is not your own; for the them and von pupiIs °r ™part your knowledge to and schools of music, the matter is so much simpler, tion of comparative safety. You will frequently be met with such questions as these: the crux of the situation, the point upon which the and the possibilities for the study of accompanying so youTreach" ^ aff°rd *° let il s,ip away out of Although the intuitive anticipation of effects, the whole question of accompanying as a study for ama¬ much greater, that it becomes permissible to hope that teurs revolves, and, were there no simple and practical ability to read with ease and fluency and to transpose these institutions will tend more and more to make with safety, the experience and readiness for any solution to thc problem, any discussion would have, at this study a prominent feature of their curriculum, and, An Ill-founded Conclusion Concerning the Great Mozart the best, a merely academic interest. The solution, emergency that may arise, are amongst the qualifica¬ where it seems advisable, to develop the powers and tions that can only be looked for from the hands of simple and practical enough, is this: The amateur abilities of certain sensitive and sympathetic pupils in By T. MacLeod should seldom, if ever, be called upon to play a diffi¬ an accomplished and expert professional accompanist, this direction rather than in that of solo pianoforte the amateur is strongly advised to take every means cult accompaniment at sight, for every student’s series playing. The reason that the attention of such institu¬ Some people are fond of affirming that Mozart was of pianoforte lessons should include, as a matter of of acquiring all the information obtainable upon this clumsy with his hands. But when one sifts the matter thJthereHffl0Mng faCtS *hould of this myth tions is so earnestly drawn to this matter is that it can subject. that credits Mozart with having awkward hands ■ ' course, the learning of certain standard accompani¬ down it will be found that the sole and only base they be arranged so as to save both trouble and expense, The essential point, and it is commended with all Mozart played the violin, ap instrument which re- have written r;ei!r, Unsk,,led hands- <™»d Possit ments concurrently with the acquisition of the usual have for such an outrageous assertion is that his wife instead of incurring both, as one might be led to expect. deference to teachers and the heads of musical institu¬ qU'refS, ln.fi”,teu skdl and accuracy for both the right standard solos. It is open to teachers to protest that In every conservatory, academy and school of music was once seen cutting up his meat for him at dinner. and the left hand. 8 there is not sufficiAt time at present to deal with the tions, is that accompanying, being, on the whole, more It is highly probable that Mozart had cut or sprained there are, of necessity, a number of teachers of sing¬ necessary or perhaps more utilitarian than solo play¬ Mozart was a beautiful dancer. This supposes good o “SS,krh”i“iL™ke.w i, „ work that has to be accomplished, and that to expect a finger—an easy thing to do if one is accustomed to ing, the violin and other instruments who need the ing for the amateur pianist, should be made a com¬ muscular co-ordination. !nS upon imbecilityS ^TwTs °f a"kwardness ,)nrd< them to find time to teach accompaniments in addition assistance of an accompanist. It is not always satis¬ playing bowls. And the most natural thing in the >s well known that small sma11 ,n stature- and is unreasonable to a degree. pulsory study for every pianoforte student. With some world would be that Mozart—who needed his Mozart was a fine player of bowls and billiards. factory for the teacher to act in this capacity, even accurate, and alert in 5 -men are’ as a ruIe’ acti' This is a difficulty which will prove to be more it might never get farther than learning the mere notes fingers for his writing—should get his wife to cut granted that he has the ability to do so, and’so the id’&r” d"”“‘thoroa!:h “®°‘ “f swift as lightning ”. f.ke!r musc,es- His mind w apparent than real. Five minutes at the conclusion of and tempi of a few of the accompaniments to well- his meat up for him till the finger was well, not realiz¬ body. “Shtmng—antj lt is thc mind that , usual plan is for him to engage an accompanist to play a lesson would usually be found adequate to deal with known songs and violin solos. Even that would prob¬ ing then, that there would come, in a later day, men i M°zart was skil]ed in drawing. He used both the for his pupils. Although it may not be feasible for the difficulties of any accompaniment that had been ably be found to be of very definite value at some whose faculty for the connection of cause and effect St thiTfs ?! pencil. Any artist will bear witness some time for any teacher to dispense altogether with period or another; whilst other and more ambitious stu¬ that this is not to be mastered by clumsy hands. sertion that Mozart” J?* ?C facts are aSainst ‘be a carefully practiced, whilst many could be learned with¬ the services of a paid accompanist, a scheme could would be so dim. that they would infer a habit, where dents who were sufficiently interested in the subject . Mozart delighted in archery. small hands, of whilh ^ awkward- Tho out the need of any instruction or supervision on the almost immediately be put into operation whereby the only a mere extraneous and accidental circumstance had proud, which could d« . Was deservedly a wee 1 could pursue their studies in this direction under expert presented itself before their eyes. Mozart’s beautiful manuscripts give the lie to this part of the teacher. There are also many accompani¬ pianoforte pupils at these instrutions could take their board, must surelv tf° Th marvc,s the piano ke professional guidance, with the object of themselves absurd fairy tale of clumsiness. No one with slow- ments, such as those to Schubert’s Erlkonig, Handel’s turn at accompanying the violin, violoncello and sing¬ the ordinary tasks nfVC )CC1 a^e to P^orm skilful becoming competent and artistic accompanists. Oh, Ruddier Than the Cherry, some of the songs of ing pupils at their lessons. The experiment could start 7 3Sks 0f our Personal everyday life. The study of this subject can claim several distinct Debussy and the pianoforte parts to certain well- at a comparatively early stage of the young pianist’s advantages. First, it could be pursued without appre- MARCH 1920 Page 168 THE ETUDE THE ETUDE Page 162 MARCH 1920

ciable interference with the student’s ordinary musical The Right Kind of Musical History work. Secondly, it would enable the academy and conservatoire students to be of some real assistance to By Sidney Grew the institution under whose musical care they were placed, 'whilst at the same time they would be gaining [Air. S valuable experience for themselves. Thirdly, it would lead to a wider and more intimate knowledge of a flower he touches our imaginative powers. He helps What Instrument Shall I Choose? musical works other than pianoforte solos, and lastly, “Reap the history of music? But it’s so dull! We us to see the flower as we never saw it before. He did ordinary history at school, and I’m sure musical it would tend to the cultivation of musical friendships, tells us of its beauty, and beyond that he tells us of history must be just too dry for words. Besides, music Practical Advice to Parents, Students and Music Lovers and mainly through that to the continuance of an the meaning and significance of its beauty. But when active practical interest in music till much later in life itself is all I want. I don’t want its history!” the botanist describes a flower, he leaves it as it was This is what the greater part of music students say than is now generally found feasible. before, if, indeed, he does not leave it less than it was! at one time or another, generally when the teacher be¬ By EDWIN H. PIERCE He tells us about its shape and character, about Its gins to hint at the need for deeper study. And they habits and relations; perhaps he gives us its Latin The Student’s Mental Attitude are not altogether to be blamed, for history may, indeed, be terribly dry and dull—or rather it may be made dry name; but at the best he only instructs us scientifically, “Suppose one can play the piano fairly well already, tent teachers, is it possible to change to some other "I would like to gel into the School Orchestra, but which is not what we want to help us to enjoy the By Norman H. Harney and dull. But if history is set out as it should be, how far is self-instruction on some orchestral instru¬ bowed string-instrument without outside instruction?” they already have a pianist—what instrument would it is found to be the reverse. It is really warm, bright, flower. ment possible?” Or again, "can a good cornet player master the you advise me to learn?” The right kind of musical history does help us to The “Tired Business Man,” like many another cele¬ full of life, and endlessly romantic. Apart from actual Or, "suppose one’s knowledge of music has been French horn, or a clarinet player the oboe, without pro¬ These are questions which constantly come before the enjoy music. It goes beyond mere instruction as to brated character, may be largely mythical; but the at¬ music, it is the best thing in the art. reached through the study of the violin, under compe¬ fessional guidance?” teacher for answer. facts, and thus helps us to understand it. It lifts up titude of mind which is supposed to be his is unfor¬ There are, however, two sorts of history-books. It the curtain that separates us from the past. With this tunately rather common, even among persons who all depends on which we happen to take hold of. If These and similar questions have become very com¬ their particular infirmities no handicap at all had they Cornet: curtain out of the way, we see great men at work. cannot claim the distinction of being either “business” we take hold of the wrong sort, history is undeniably mon of late years, owing to the rapid springing up off chosen the cornet, trumpet, trombone or French horn. The chief difficulty is the embouchure (skill with the We see what things were like fifty, or a hundred, or lips), which must be learned with patient practice men or “tired.” The individual thus afflicted enters a dry; it is so dry that we may apply Hamlet’s words amateur and semi-professional orchestras in countless Number 3 had acquired a pleasing accomplishment, five hundred years ago. We see what men thought finder the guidance of a good teacher. The fingering theater, an opera house or a concert hall without any to it and call it “weary, stale, flat, and unprofitable.” It places throughout this country, and in particular, owing which was not altogether to be regretted, but the zither is not difficult, and whatever of music one may have about and how they thought. We see what pleased them learned by the study of the piano or other instrument preparation whatever and without any intention of ex¬ chokes us with dry names and dates and “facts” gen¬ to the great impetus given to the interest in orchestral has no part in any orchestra—its feeble tone would be and why they were pleased, what fun they had, what will be a help. erting his mental faculties. He sinks languidly into his erally, none of which are of value in living music. If, music by the formation of school orchestras in several hopelessly swamped among louder instruments, and no happiness and sorrow, how earnest and sincere they Trumpet: seat and, in effect, says: “Well, here I am; now enter¬ however, we take hold of the right sort of history- cities, encouraged and even subsidized by school boards. part is written for it. Number 4 had not lost his time, This was originally an entirely different instrument, tain me if you can.” And frequently his words are not book, history becomes a very refreshing matter. It were, and what victories they won; all of which is In order to answer these questions helpfully, we must but only a little money, as he had really learned to play but during the last twenty years has been altered in good for us. There is nothing dull about this. Musical such a way as to play exactly like the cornet, though so much an invitation as a challenge. makes the art green and fresh. It opens our eyes to first glance briefly at those peculiar circumstances the clarinet, although the particular instrument he had it differs from that instrument in its narrower bore, This frame of mind may not be a great drawback new beauty and makes us see further beauty in what history is as fresh as any other sort of history, and different shaped mouthpiece and more rousing quality which give rise to them. The typical school orchestra, purchased was not suitable for present orchestral needs. of tone. Players often change back and forth between at some performances, but, needless to say, it is hardly we had already found to be lovely. its stories are quite as pleasant. or indeed almost any amateur orchestra, at its first Number S would have done better on the violin; num¬ ' these two instruments. conducive to a proper appreciation of serious music. There is a good deal of the wrong sort of history Bach as Wonderful as Columbus calling together, is apt to be a rather shapeless, unbal¬ ber 6 oh the double-bass, or even the ’cello. Trombone: Any great work of art—a drama, a poem, a painting, about. I imagine the fault lies largely with examiners, anced and unpromising thing. One good pianist is Bach was as wonderful a man as Columbus. His life This noble instrument, used by classic composers only a symphony—makes certain demands upon him who for this wrong sort happens to be the easier. It gives needed, and the fact that there are a dozen mediocre for passages of solemnity and grandeur, has been de¬ was as varied and significant. We like to read about The Facts About Each Instrument based and put to trivial and even grotesque uses by would enjoy it. Its purpose is not to relieve the bore¬ examiners no trouble to settle on a dozen or so “facts” ones to choose from does not help matters; there is Violin: Columhus—about his ideas of things, his determination popular composers of the present day. It is by no dom of an idle moment. It must be approached with and fire these off in the way of test questions. usually a fair supply of violinists, good, bad, and in¬ Must be taught by a violin teacher, who understands means an easy instrument; one needs a good em¬ an open mind and with a willingness to make whatever to prove the truth of his ideas, his plans and prepara¬ the technic of the instrument. Knowledge of the piano bouchure, as for cornet, and is expected to be able to different; besides the two cornetists needed to make up execute rapid and often difficult passages. There are As Charming as the Telephone Directory tions for his voyages, his dauntless courage, his stead¬ would be a slight help in regard to reading music, effort may be necessary to arrive at a complete under¬ a quorum in a small orchestra, there is sure to be an time-keeping, etc., but no further. A violinist must have two forms of the instrument, the “slide” and “valve." standing of it. It must be approached without prejudice A student could do it quite as easily. Given ten' fastness and ultimate success, his final reward, which a perfect ear for tune, a limber and muscular hand, and, The slide is used by practically all good players; the oversupplv of players on that instrument who can’t valve is chiefly used by those who are satisfied with and with a determination to avoid the injustice of a in general, quickness and grace in his bodily motions. minutes with a dictionary, a smart student might dis¬ was personal disgrace and death in poverty. understand why there is no place for them. Often Self-taught players are awkward and have no beauty something easier though inferior. A cornetist can hasty condemnation. cover more than one question a University Professor We like also to read about Bach, about his vast Beult a xacting change to valve trombone with very little practice, but there is the same “embarrassment of riches” in the not to slide trombone, except with longer study. “I Don’t Like Bach” could not answer. But the easiest is not the most useful studies of all contemporary music—French, Italian, over-supply of would-be drummers, while on the other or the most interesting, and the books that represent English and German—his copying out of other men’s French Horn: Many persons, unfortunately, lack altogether the in¬ hand an amateur orchestra that can find cello, double Viola: the wrong sort of history (there are scores of them This is the most interesting and perhaps the most clination to give careful, patient, earnest and unbiased works and his composing in their different styles, his bass, viola, clarinet, flute and trombone, at the very The technic of the viola is identical with that of the difficult of all brass instruments. The compass is great on the market) are of a character to frighten even gradual accumulating, within his one mind, of the en¬ violin. Anyone who has studied the violin a few years and the embouchure more difficult even than that of the consideration to a work of art. They are too prone to start, may deem itself fortunate. As for oboes, bas¬ and has not too small hands, can master the viola in cornet. It is exceedingly easy for one to hit a wrong form a snap judgment and let it go at that. This atti¬ a student who may be ever so willing to study his¬ tire ihass of music as it existed in his day, until he soons or French horns, they are put off until some a few months, self-taught. It reads from a different note simply through a lack of perfect skill with the tory. They bristle with names of composers, dates, was fit to begin the creation of the first full and com¬ clef, and this fact frightens many from attempting it, lips. A teacher really needed, though I knew ( tude of mind is not uncommon among music students, happy time in the dim future. Were it not for the although the difficulty is one that readily yields to a pianist w“-o taught himself>-=->* the *--horn. as many teachers can testify. “I don’t like Bach,” says titles of works, technical terms, and similar matters of plete music that the world had known. We can not effect of the piano, which has the fortunate faculty of moderate amount of patient effort. The viola part In fact, the greater part of which have no actual bear¬ understand the value of the work of Columbus and orchestral music is commonly much easier than either Melophone i, one young pupil. “I think his music is very tiresome.” supplying missing harmony and binding the tone into the first or second violin part, and this occasionally An easy substitute for the French horn, made for the Another declares: “Schumann does not appeal to me ing on music at all. They contain long lists of operas the position of America through the centuries unless one compact mass, so to speak, the tone would be leads pianists to take up the viola, but with poor results, use of amateurs. It may be played almost at once by and oratorios that are as dead as Queen Anne, also l bow-technic, they 1 any skilled cornetist, or even by the player of the alto in the least. Why should I waste my time on some¬ we understand the history of Columbus; similarly we hopelessly unbalanced. In a full-sized symphony in a brass band. Though inferior in quality to a well- thing that has no interest for me ” A third says: “I lists of composers, each with his double dates, who cpn not understand and enjoy Bach’s musv. -till less orchestra, having all its parts complete, together with played French horn, it reads from the horn part and helps fill in the harmony. can find no meaning in the music of Debussy. I must were at no time more than respectable contemporary understand the music of Beethoven and Wagner and the proper proportion between the numbers of differ¬ Violoncello: Unlike the viola, the technic of the ’cello is quite Melophones in C are also to be had. These are good pass him by.” mechanics or steady practitioners of music. They give living composers, unless we understand the history of ent instruments, the piano is not used (except for for playing songs, etc., without transposing, but are different from the violin, and cannot be learned except not used in orchestra or band. Would it not be vastly wiser if these young people dull pages of petty details about fhe music of nations our art. History makes things live their proper life. piano concertos with orchestral accompaniment), but from a good cellist. A pianist or a violinist may, after that had—or that have—no music according to our a few lessons from a cellist to acquire correct mechan¬ were to- reason somewhat in this fashion. “This music, Until life is dull and dry, history must remain fresh in a small and incomplete combination of instruments, ism of the bow-arm and left hand, teach themselves Euphonium or Baritone: as yet, means little to me, and there is of course no idea of music. They contain a certain amount of and stimulating. It belongs to the past, of course, but so it is practically indispensable. successfully, but it requires hard and careful study, as Properly a brass band instrument (in which it has good and nutritious grain, but this grain is so mixed the fingering is intricate and as great pains must be a very Interesting part, much like the ’cello In an orches¬ reason why I should accept it on the strength of some do we, in so far as the present is a continuation of the As soon as the players realize the need for other taken to acquire a rich, full tone. Amateur celilsts are tra), but has been used occasionally in orchestra, par¬ other person’s opinion. I will not pretend (as, I am up with chaff as to make it a hopeless task for the past. It is the story of things, and things are histor¬ instruments, if they are duly enterprising and in earnest, apt to have so feeble a tone that their playing is not ticularly in some modern light operas in England. Can young student to pick it out. Such books are the even heard in the orchestra, which is especially to be play from a trombone part in popular orchestra music. afraid, some do) that I enjoy that which gives me no ical monuments. We can not enjoy or appreciate the they set about trying to supply the defect. But here cause of the refusal of many students to take up regretted, as the cello has an interesting and beautiful Tuba : pleasure. But nevertheless, in view of the fact that significance of a monument when we are ignorant they are met with two serious difficulties: outside the part. history with willingness. They have about as much Properly a brass band instrument (having the bass this music is so greatly admired by educated musicians of its story, for then our imagination can not help our largest cities there is seldom anyone qualified to teach Boubje Bass: part), but has been much used in large orchestras by charm for the student as the Telephone Directory. Wagner and later composers. It also exists in a contra¬ and so warmly praised by competent critics, there is at understanding. Musical compositions are the most dif¬ such instruments as the cello, the oboe, the bassoon, etc. A good pianist, having strong muscles and a good least a very strong presumption that it possesses great They should be turned down, along with the many ear, may often master this instrument fairly well, with bass, or extra large form, which is of specially fine effect ficult of all monuments. Genuine musical history re' In small places it may happen that there is even no no other help than a proper instruction book. So may a in a band, though heavy to carry and rather expensive merit. I will therefore strive, .earnestly and patiently, thousands of dead compositions they name but do not describe. moves many of the difficulties in the wav of students. clarinet or no double bass. The other difficulty is that violinist. It is the foundation of the orchestra, and to discover for myself the beauties which others find of choosing intelligently the instrument most fitted to its part, though often simple, is indispensable to a Alto: History-books of the right sort give us the romance The student is on the wrong path when he speaks as proper balance of tone. in it, so that some day the door to this chamber in the one's tastes and abilities, in the absence of arfy broad A brass band instrument, easily played by anyone of music. They show us composers as real men, and set out at the beginning of these remarks, but on the Flute: who has mastered the rudiments c* *“•-* -- “~ great temple of music may swing open for me, too, arid tight path when he says: knowledge of the subject. This last is really a serious part is commonly easy. Not used in permit me to enter.” bring back to life the actual times in which they ’lived Possible for a pianist or violinist to teach himself, by matter, and is often the cause of much grievous disap¬ means of a proper instruction book, though a teacher is the form known as melophone in F. and worked. These books stir the imagination; and to History? / love it. Simply couldn’t do without it! John Ruskin, speaking of books and reading in pointment, which might have been avoided if the person a great help. The flute being in some respects more Saxophone: Sesame and Lilies, says: “And be sure, also, if the have the imagination stirred is what we need in music, 1 never really thought the old composers were actual simple in technic than other instruments, and conse- concerned had known where to look for intelligent even-up matters by giving A brass instrument, played with a reed like a clari¬ as in everything else, true imaginativeness being the net, but easier to master. Properly a military band author is worth anything, that you will not get at his men before I began to do history. And I’ve never had advice. The writer recalls several striking examples of most precious faculty of the human mind. instrument, but of' late years has been introduced into meaning all at once—nay, that at his whole meaning a dull hour's study since I found that a piece is a sort this that have come under his notice in the course of dance orchestras, and a part furnished for it by certain you will not for a long time arrive in any wise.” This Genuine history deals with the facts of musical his¬ publishers. Exists in several keys, of which the E flat of record or monument of something. To tell you the years: Clarinet: alto and B fiat baritone are most used. There is also a applies with equal force to music. The beauties of a tory in the way Shakespeare deals with flowers. False Fingering n____ truth, I don’t think I enjoyed music thoroughly until C saxaphone, of which the same remark may be made great composition are frequently, to the uninitiated, not history deals with facts in the way the scientific bot¬ 1. A boy who had lost the .first finger of his left the management of the reed and n__ as of the C melophone. Some players, wishing to use i got what my teacher calls the 'historical sense.’ Any¬ expert advice. Nevertheless, we have known a rew the saxaphone in small orchestra, play from the 'cello of an obvious character. The full meaning and merit anist deals with flowers. When Shakespeare mentions hand, attempting to master the violin. good players (previously pianists or violinists) who part, but this demands some musicianship for the neces¬ way, I wouldn’t be without it for worlds!’’ were self-taught. For orchestral playing two clarinets sary transpositions. of a piece of music are by no means always apparent 2. A girl, born without thumbs, who wished to be¬ are required: A and B flat (in former times a C upon a first acquaintance. The writer would therefore come a pianist. (A fact!) ... which makes an outfit rather expensive. Tympani or Kettle Drums: give this advice to the young student: If the music of In military l_,ds, the„„ „B flat only_ „ is__ used,_, therefore_ Used in pairs (or sometimes threes) in all fully 3. A lady of 30 who spent much time learning the if one is beginning with only one clarinet, this h equipped orchestras. A good tympanist must be a fine any great master does not make an immediate appeal Do You Want a Flexible Wrist? best one to buy. (Note.—In military I E zither, supposing it to be an instrument she could play flat clarinet is also used, but not by the si musician, as he must possess not only a perfect sense to you, do not be discouraged. Do not put it aside in an orchestra. of rhythm, but a perfect sense of pitch, these drums with the thought that it is not for you. Resolve, rather, being tuned to keys indicated by the composer. Often 4. A boy who bought and practiced on a high-pitch C a tympanist is o-,. _ s had previous experience a that it shall be yours, and be sure that you will be well an orchestral violinist, —often makes a repaid for any efforts you make to that end. Remem¬ The way to get things is to get them. The way to clarinet, supposing he would be able to play it in the good tympanist, if he with orchestral orchestra. ber that the music you once make your own will re¬ do things is to do them. It is said that one of the most exercises with a flexible wrist. Try these. They have — - ~s in regard to producing t„„„...... famous pedestrians of America was unable to walk rove very successful with the writer’s pupils. 5. A boy with very small close-knit hands, who tried clarinet players to learn the oboe by themselves suc¬ Drums and Traps: main yours forever. For Art is not a capricious god¬ cessfully—less often, violinists, flutists and pianists. In no country other than America is the drummer dess, but is everlastingly faithful to her sincere devo¬ because of a bad case of inflamatory rheumatism. He to learn the ’cello. Bassoon: expected to be such a versatile and hard-worked persi tees. The singer may lose his voice, the skill of the came to the conclusion that the way to walk was to 6. A gigantic young man with a hand like a ham, '.3 drum, snare drum, cymbals, bells, xyloph•lophone The bass of the oboe and, like that instrument, played and a score of miscellanec.- cal eon- instrumentalist may pass away; but the music of which walk, and that it might cure his rheumatism. This who was trying to learn the violin. with a double reed, which, however, is easier to keep in trivances are all under the chai one person. The you have mastered the meaning in the days of your This list might be largely extended, but is already order and control than that of the smaller instrument. proper technic- of--- the --, particularly the it did and he achieved fame through what was a mis Fingering more intricate than that of the flute and oboe, method of making a good “roll,” must be learned from a youth will be a joy, an inspiration and a blessing to you fortune. sufficient for illustration. Numbers 1 and 2, absolutely but may be learned from chart in instruction book. good drummer, but the other instruments may be self- to the end of your life. Have known pianists to teach themselves the bassoon taught. A good pianist generally makes a good The way to get a flexible wrist is to play suitable hopeless in their attempts described, would have found successfully, also clarinetists. Page 164 MARCH 1920 THE etude Harp: phone. The next instruments to be supplied are the THE ETUDE MARCH 1920 Page 165 Piccolo "in E Flat”: (should be called Piccolo in D cornet, clarinet, trombone, flute and drums. Before instrument is used in large symphony orches¬ flat). tras, but not constantly, often for only a few measures •t second cornet, second clarinet or 1‘rench horns are in some part of a piece. Occasionally it is used in small .\ small and shrill form of flute, used in military orchestral combinations as a substitute for the piano bands, and sounding a minor ninth higher than written . introduced, the number of violins should he largely in. but except iu music of a very simple nature it is less thus, if the part is written in G, it will sound in A flat. satisfactory than the piauo, unless a part has been Used constantly in brass bands, but practically uu- creased, and when the number of first violins reaches written for harp. The full-sized, completely known In orchestra. four or more, the second violins and violas should be Japped harp is a very expensive instrument; small or .“‘SO harps are beautilul instrument!* to aivompiiny Piccolo in D: (should he called “in C,” as it sounds in doubled. A further increase of numbers, and the ’cello use inDfn orchestra’1" vel'y slwPle lnusU'. but have no the same key as written). and bass should be doubled. The next thing needed will Played as a side line by flute players, who generally be an oboe and a bassoon, when the orchestra will have Mandolin: provide themselves with 'one. Technic Identical with that of flute, but souuds an octave higher. We should reached almost, but not quite the proportions of a regu- Has no place in a regular orchestra, though Mozart not fairly put it In this "unusual” list, but do so be¬ i,r cvirmhntiv orchestra. For the older classics— The Teachers’ Round Table used It Just once for a special effect In one of his operas, cause no one would think of taking up the piccolo only. Don Juan. The tuning and lingering are like the violin and any violinist may take it up by himself if he has a little instruction on the method of holding the plec¬ follows: Conducted by N. J. COREY trum and making the “tremelo.” Is a loading instru- General Groups of Instruments 12 First Violins. instruments"8aI1Zat 0U8 composel1 o£ Plucl[ed stringed The following facts should be kept in mind in making 8 Second Violins. Banjo: a mental inventory before learning a new instrument: 6 Violas. MuJcTTr* %def&ned,t0 Y/Yf" U*°\qrti0ns pertaininSto “Hme » Teach,” "mat to Teachetc., and not technical problems pertaining to Has no place in a regular orchestra, though It has 1. The knowledge of the piano is valuable as giving Musical Theory, History, etc., all of which properly belong to the Musical Questions Answered department. Full name and address must accompany all inquiries. been used in some dance orchestras, playing either the 4 ’Cellos. melody or a part similar to second violin. Used in com¬ one a general insight into the notation of music, the 2 Basses. binations of plucked stringed Instrumeuts. The tuning formation of chords and the cultivation of a sense of and fingering are somewhat peculiar and are best First and second flutes, oboes, clarinets, bassoons, Keeping Up the Interest time-keeping, but it will not help one toward the proper it in correct routine in its connecting passage. Now, One at a Time, or Two? learned from a good Imnjo player, though sometimes horns, trumpets, tympani. (Trombones, and third st as tlie best thing to a pianist can pick it out by aid of an instruction bobk. production of tone on any bowed string-instrument nor do in order to keep up ____interest of young pupils your first task must be to work with your pupil until “1. A leading Middle-West conservatory taught Guitar: in the embouchure of any wind-instrument. and fourth horns, occasionally.) between the ages--and of eight and twelve in violin and she can go right ahead without stopping to notice these me that the correct way to begin a new work was piano study? I find that after the a_„ „ n?, Rl!\ee iD tegular orchestras, though Weber 2. The possession of a good violin-technic makes it find that after the novelty of the small errors. She will at first have to force herself to to practice each hand separately, in phrases of a introduced it in one number of his opera Oberon. Used The Pianist as Leader instrument has worn off they lose interest. Would few measures, and learn perfectly before putting in combinations of plucked stringed instruments and easy to pass to other bowed-instruments—the viola, you suggest a . prize at the end of the season, and it, but in the end she will cure herself. Notice must be together. A leading teacher near here says this if so how would you advise n"- 4to~ j;o— abo_...- — - is all wrong, that both hands should begin together excellent as a light accompaniment to song.' Tuning ’cello or double bass—but the 'cello, in particular, de¬ Many of the standard classics are now to be had What do you think of a repo taken of the errors, and their place in the music, and yery slowly, quickening the tempo gradually. Which fill JrgeH,nK, liest ta,u*bt by a good guitar player, mands some important modifications which must be specially arranged for the modern small orchestra. In may know how their children is correct? tionho k PlaD 3t mav learn much from a good instruc- 3 advancing?”— then special practice must be given at those points until learned from a good cellist. these arrangements, any important solo occurring for “2. In teaching studies like Cramer, should one learned. Then try again and play the passage as a study, or a half of one, be given at a lesson, and 3. The possession of a good comet embouchure and one of the less common instruments, is “cued in” to be The waning of interest after novelty has worn off whole. It is a mistaken idea in both pupil and many should one Insist on its being perfect in notes, (There are various modifications and varieties of technic makes it easy to pass to the alto, baritone, played by one of the more common ones—for instance, teachers as well, that stopping to correct an error cor¬ time and fingering? Or should one give two studies, these last three instruments, for use in mandolin and is by no means confined to children. It affects grown expect less perfect results, but hope to gain greater euphonium, valve trombone, trumpet, tuba. Also an oboe solo might be given to the clarinet. , r even to rects it. Once made there is no correcting it. insofar banjo clubs: for instance, a banjo which is tuned like people to an equally marked degree. It is only an ele¬ proficiency in reading? I have heard two authori¬ it is some help, though not so much, toward the French one violin. This prevents any bad hiatus in the har¬ as that particular playing is concerned. To go ahead ties differ on this.”—T. F. a mandolin, etc., but to describe these would lead us ment of human nature that has to be taken into ac¬ horn and the slide trombone. mony or melody, but of course involves a disappoint¬ with the mistake unnoticed makes a far better effect too far afield.) count in everything. With young pupils the best you can 1. The manner in which a new composition should 4. The experience of the clarinet makes the saxa- ment as to tone-color, wherefore it behooves amateur Besides the legitimate orchestral instruments we have do is to try and arouse their interest by means of the and is more salutary than the frequent stumblings. Try phone easy, though the fingering is very different. The this method. be practiced should depend entirely upon the relative named, there are a number of other worthy and well- orchestras to try to provide the most complete instru¬ saxaphone, flute and oboe all finger much alike music you give them to play. Try and make them feel difficulty of each part. A Bach Invention, for exam¬ recognized instruments which are' nevertheless so little mentation possible. But do not make the mistake of (though not exactly) but the embouchure is very differ¬ that they want to play, and that in order to do so they ple, is equally difficult in each staff. It is a good plan used, and so seldom called for that it would scarcely doubling wind parts, as this unbalances the tone color. Exceeding the Limit ent. Skill of embouchure acquired on any reed instru¬ must attend to their practice and follow the same route to conquer the difficulties separately. All unusual diffi¬ pay an amateur orchestral musician to spend his time There may be a dozen first violins with profit, but there “I have a girl who plays Liszt’s Second Rhapsody ment, helps on any other, but the flute' embouchure, that everyone has been obliged to take that has learned nearly aU from memory, but is completely exhausted culties should be figured out, and practiced by them¬ on them. can only be one first flute or first clarinet: there may when through. Her shoulder pains her and it af- clarinet embouchure and cornet embouchure are three to play. Avoid dry exercises as much as possible, never selves. If the passages are not fingered you will need We pass over these briefly : be eight second violins, but there must he only one entirely different things. giving more than one, aside from their scales and ar¬ b^sot^^lhouw'not'most1©? strength^come* from to think and try out the best fingering, mark it, and English Horn: second cornet. Modern music for large orchestras 5. One should not take up a very-little-used instru¬ peggios, if they have advanced far enough to take up She 7s toil butUgifted."-j.Sw,.er to glVe up masic? get it fixed in your hand. Common sense should be . ,No,tl a horn at all, but an alto oboe. Taken up as a often has parts for three trombones, but it you are side line by oboe players. ment, except as a side-line, and in this case, it is best playing music in which only one trombone is provided these. You will confuse them if you give them too your best instructor in all cases. There are hundreds From this, and what you wrote once before, l am of the Bass Clarinet: as a side-line to something that has some affinity with for, it would be a barbarism to have three trombones much at a time or give them too many idea? to digest. of excellent pieces that begin with a rather difficult opinion that this pupil is playing far beyond her ability. Taken up as a side line by clarinet players. it, as the viola to the violin, the piccolo to the flute, etc. playing this same part. This matter is often inperfectly There is very little usable intellect at the age you men¬ right-hand part, but with an ordinary “rumty-tum- Liszt’s Second Rhapsody should only be given to a Sarrusaphone: understood by amateur organizations. tion, and it should not be forced. Try and find en¬ tum” accompaniment in the left hand that you have What Instruments are Needed A double-reed brass instrument, having the same rela- There are, and have been for centuries, three well- tertaining pieces, and give them some that are com¬ pupil of the most advanced virtuosity, and these are learned in a thousand other pieces. Common sense tion to the oboe that the snxaphone has to the clarinet Thus far we have discussed the subject from an comparatively few. If she were sufficiently advanced, Used in various keys and si: o rag recognized sorts of orchestra leaders—those who con¬ paratively easy for them, so that every piece will not will permit you to attack both parts at once, and con¬ “3 hands, and in its deepest bass form occasionally individual point of view, hut often we must look at it there would be no more than a normal fatigue after used in orchestra as a substitute for the double bassoon. duct with a baton, those who play first violin, and those seem an insurmountable task at the start. Prizes at tinue until you encounter an exceptional difficulty, from the point of view of the needs of some musical playing it, none of the strenuous conditions you men¬ Double Bassoon: organization. who conduct and at the same time play piano. The the end of the season have been found very useful in¬ when you should pause and attack it carefully. Only tion. If she had developed full control of her fingers, ..jSoV,ndsLan °,ctave below the bassoon. Taken up as a last-named is probably the most numerous. Sometimes centives by many teachers. There should be at least ninnies need to be told to practice everything with side line by players on that instrument. The proper basis of all orchestras is a complete quota hands and arms, there should be nothing but the most of stringed instruments—first and second violins, viola a pianist-conductor will succeed in gradually enlarging three, a first, second and third. A definite schedule each hand separately, for having no judgment, they Terz Flute or “Flute in (should properly be called his orchestra until no piano is needed, when he blossoms supple flexibility throughout the playing. Strength cello and double bass, but in small orchestral combina¬ should be laid down for the season’s work, such as will practice all things alike, and probably all things “Flute in E flat”) : should cpme from the upper arm only occasionally in tions m which there is a piano, the second violin, viola into a “baton” conductor. In any case, however, it is a regularity and promptness at lessons, faithfulness in badly. :es everything a minor third great advantage to him to have a smattering of the the heaviest chord work. A good deal of the rhapsody nsequently part for it is written that and even the bass may be omitted. The ’cello should practice, and excellence in exercises, etudes, pieces and 2. The amount of an etude you give, a student iv where it sound. Called for in orches- various orchestral instruments, if only so far as to pro¬ should go with fairylike lightness and as swift as one tra on a few very ra always be used, .f available, but in modern popular memorizing; for pieces and etudes, accuracy and beauty should depend upon the talent of the pupil, the length ccasions. Sometimes used in duce a tone and play a scale on each' It will save him of your western cyclones. If you have no metronome, military band, in whit ise it may play from the part music, especially dance music, its functions are in a of tone, shading and tempo also. You will need to of time given to practice daily, the frequency of his of the E flat clarinet, from many ignorant blunders and add greatly to his the next best way to determine the tempo of the last fashion performed by the trombone or even the saxa- keep a very careful record during the season. Write lessons, the accuracy and faithfulness of his efforts, influence over the players movement will be to take out your watch and count one to the publisher for list and samples of record cards, the length of the etude, its difficulty, its special tech¬ to each second. This beat, one to each second, should report cards and printed scheme of prizes. Report nical demands and the purpose for which it is given, represent the beat of each entire measure in the cards are excellent for sending to parents. The only and the amount left unlearned of a previous lesson. rhapsody. Trying it to that beat you will find it pretty Friendly Rivals difficulty arises in the case of pupils who are very back¬ Shake these all up in your cbmmon sense judgment, rapid. The virtuosi, however, play it much faster than ward because of small talent. They practice faithfully, and do what you think best in each individual case! do the best they can, and yet make very slow progress. that. I am afraid your frail girl has been given a task By Sheldon B. Foote and give the two quarreling “authorities” the benefit Sometimes, slow in the early stages, they take a start far beyond her ability to play and too much of a task of the Shakespearian slang, “Go to.” Individual con¬ later and make better progress than some who out¬ on her strength therefore. For a person to attempt to A few days ago a music teacher friend told me a ditions. must be treated individually. I knew one of ously peered forth from his window at the proces¬ stripped them in the beginning. Meanwhile continual play a composition of this sort who is not technically little anecdote that has caused me many a moment the most, famous Boston teachers to keep a pupil for sion of Mr. Smiths pupils? Or possibly was he Just suppose, for instance, that after you have report cards of slow progress discourage them, unless ready for it means a stiffening of all the muscles', of thought and speculation as to the causes which six months on Mendelssohn Concertos and similar brought it about. concerned lest the progress that the young musi¬ ecome so well acquainted that you smile at him the reports are made very adroitly. fingers, arms and body, in the effort to carry it through, cians were making might lead Mr. Jones to make and from this results the pain. It is well to dwell on compositions, learning all perfectly at less than half The story is as follows: “Not long since a new Sand !ay' N'ce day>”you take y°ur life in some unkind remarks? this, because there are so many teachers in the country their correct tempo. When the student began to work pupil came to me for lessons and after hearing her evening d?” SUggest ,hat he. come oxer some Stumbling No matter what conclusion you come to as the who commit this error with their pupils. They give them up he found that a certain rigidness of muscles play and observing her needs I gave her a book of h • 3nd P ay some four-hand arrangements, “I have a pupil eleven years of age who does chtef cause of this teacher’s qu.eer action, there is S not get along very well with her piano lessons, al¬ them music of this sort before they have acquired a had vanished, and he was ever afterwards able to play studies and explained the method I wished her to though she is bright and quick. It does not matter something not quite friendly about the matter. At part8 S°me mUS1C °f h'S °Wn and play tlle prim0 foundation suitable for a Mozart Sonata. You should not with supple hands. Notes, time and fingering should follow in using them. All the time I was talking > how long I keep her at a lesson she always stum¬ bles and never gets it beyond a certain point. She advise the young lady to give up her music, but lead her always be perfectly learned. I could see that she was anxious to say something ists The!the more PlikelyrvtT one.t0 think that the Second an^er edifeYuch occasions would add to your knowl- seems careful and practices more than most chil¬ and finally out it came. ‘You don’t paste blank dren of her age, but never can play anything with¬ into music that is fitted for her ability and advancement. Are we not as a whole a little inclined to fear , an aPPfcciation of a number of symphonies out stumbling. She reads and fingers —" ~-J paper over the covers of the music you give to your ..... ,-* - «— what Anyone who cannot play the second part of the Second Scales Antique that our competitors will in some way criticise our mini •enUreS’ and you miS,lt ask some of your Rhapsody with the swiftness of lightning and with pupils, do you?’ Of course this aroused my curios¬ methods or materials or perhaps profit by our «,r P pus in to get acquainted with these works and the “While conversing with a young piano student muscles completely free and flexible throughout, should a beginner. I received the astounding news that she ity and the forthcoming explanation was not only cess along certain lines? composers of them. In the majority of cases that, have come under my amusing but most unexpected. not attempt it, or anything like it. was not to study scales, as they were considered You may be sure you will never succeed in doing observation, stumbling has been a habit which has ‘old-fashioned’ by her teacher, i hope this is of “The former teacher of the girl (who must be resident ^yprivi,ege to know a college professor enough importance to answer in your column nnd anything which has any chance of being more or grown from small beginnings, and sometimes becomes Sharps and Flats whether or not this is the general opinion among dubbed Smith) had been in the habit of pasting Chimo-n TCXas who s,udied l,1e violin as a boy in less publicly known, without stirring up some criti very serious. It is more prevalent in musical students “How- can one learn to plav pieces modern teachers?—J. M. s paper on the outside of all pieces and studies given c.sms good and bad. There are any number of good amateur “if Wh° *° this day an enthusiastic than in those who are unmusical. The unmusical pupil sharps as easily as those in flats? Why are sharps ceerlpH * y * great deal °f the “friendly” he sue- harder?”—Ii. B. to his pupils, for fear that his competitor, Mr. nmsic teachers who are not succeeding to the^ull makes a mistake and either does not notice it, or does Asinine is not too strong a term to apply to the ‘Jones,’ might see what they were, as the pupils were a ’cellic!" gjt!Ing toffether two rival violinists and because of some petty fear or worry about adver¬ not care, and forges right ahead. The musical player I have never been able to explain this hallucination remark you quote. The fundamental fact in music, obliged to pass his home on th.e way to and from tising or inartistic publicity. Mr. Bender’s Business embrvn he t00l{ up the vio,a in order that an makes an error, feels it at once, wishes to rectify it of the imagination, and have never been aware that both theoretically and practically, is the scale. The Mr. ‘Smith’s’ studio.” year w9 quartet mi8ht be formed. The first ness Manual will teach you a great deal • and and therefore stops, or her sensibilities are shocked and sharps were more difficult than flats, so far as my own s.cale is the root out of which the vast tree of music moreover, unless you have the courage to trv out yearsnf a> f'meS discouraging, but now after seven Now I suppose there might be two guesses, per¬ she is involuntarily held up for an instant. The first thing playing was concerned. Whenever this increased dif¬ grows. It is also the base upon which rests all com¬ that idea of long standing, you will never have the haps three, as to the cause of this apparent secrecy. nating brnnch"1^ ^ worshiPPinK ‘hat most fasci- you need to do is to blunt her nerves a little and teach ficulty is felt, it is doubtless because the player has position, although modern music has developed many satisfaction of knowing whether your worrv nr Which is yours? Was Mr. Smith ashamed of the be imo'slT °f °Ur art—chamber music-it would her to be a little more careless. Stopping to rectify a played more pieces in flats than sharps. I am under doubting mind was justified or not. y °r variants in the form of the scale. The pianist who class of music he gave to his pupils? Was he so out 0fVb e 10 make anythi"g but “friendly Rivals” mistake does not correct it, for it is only in the in¬ the impression that there are more of the pieces that cannot play the scale in all its forms, and with every small and selfish that he was afraid his competitor Whv ge.t,ba.ck t° Mr‘ Competitor (harsh word') out the L W0.V1°rsts’ and ;t is needless to point tegrity of the connected series of notes that the point are ordinarily in use in the flat keys than the sharps. Why not be friendly towards him? He has wanted variety of touch and velocity, will indeed cut but a would profit by the information gleaned as he jeal- which have h that community of the standards that is wrong can be made right. Stopping makes two to be friends far longer than you may suspect Playing in the flat keys more would naturally accus¬ sorry figure. The systematic practice of the scales mistakes out of one. If you have C on the staff and tom one to a greater familiarity. If this is a real dif¬ ,hro“eh ,h' 01 ,h” make a miss of it, does it correct it to stop and strike and arpeggios is of as much importance as ever, ever, ficulty to you, confine yourself exclusively to pieces though all technical practice be confined to these two it out of time? It can only be made right by playing in sharps for a time and you will entirely overcome it. THE ETUI Page 166 MARCH 1920 THE ETUDE MARCH 1920 Page 167 An Examination by Father Bach Among the many observations left by Johann Sebas¬ RUBINSTEIN’S tian Bach are the following. They make a stimulating basis for a self-musical examination: MELODY IN F Transcribed by “No one should play who cannot think musically." Poco moto con molto desinpoltura EDOUARD SCHUTT How do you know that you are thinking musically? Can you get the full meaning of a new composition without trying it on the piano? Can you imagine the melody played by different qualities of sound—by the violin, the flute, the cornet, the organ, the oboe, the clarinet ? “I am what I am because I am industrious: whoever is equally sedulous will be equally successful." Do you know that Bach during the greater part of his lifetime worked at his music from early morning to late at night? Do you realize that, notwithstanding this steady application, if he had not constantly intensi¬ fied his effort he would not have produced one-half of the masterpieces that stand to his immortal credit? “Music ought to move' the heart with sweet emotion, which a player can never secure by mere scrambling over the keys, thundering and arpeggios.” How much of your musical effort is scrambling after things which you never play really well? How much is pounding and dawdling which you would be ashamed to do before a critic you respected ?

Healthy Rivalry in Music Study Very few teachers employ rivalry as it should be employed in music study. In modern business where a great number of salesmen are engaged, it has been found that the volume of business may be increased enormously by pitting one salesman against another all along the line. When a man knows that he has an¬ other man contesting with him for a record, he is likely to work much harder. It is the play, the interest that every human being finds in running a race. In the great drives for funds for the Red Cross, Y. M. C. A., Two Recent Etude Prize Winners Liberty Bonds, etc., the rival team was employed con¬ stantly, with the very greatest success. Harking back THEODORA DUTTON LILY STRICKLAND to the time of the Protestant Reformation we find two Theodora Dutton comes of an old New England Lily Strickland was born in Anderson, South Caro¬ excellent rival systems of education. The system of family, and is a direct descendant of two of our his¬ the iconoclastic Martin Luther and that of the dom¬ toric colonial figures—John Alden and Myles Standish. lina, and was educated at Spartanburg College. She ineering soldier, Ignatius de Loyola, the founder of Her family are all extremely gifted in music, and little specialized in music, afterward coming to New York the Society of Jesus, or the Jesuits. The Jesuits were Theodora was carefully grounded musically in the City to continue her studies. She has published over wise in employing a system of rivalry among the stu¬ home before she was sent to New York for training one hundred compositions, including songs, choruses, dents which has never been excelled. The class was under celebrated teachers. Her compositions have been anthems, part songs, and piano pieces. Miss Strickland divided into two sections. That is, every pupil had his very successful, and she has done valuable work along rival to check on his studies and conduct and to give the line of teaching pieces, such as the Mother Goose is a veritable American composer, since all her musical that incentive which only comes in a good race. The Duet, The Knight and the Nuns, Dansettes, etc. Her education was acquired in the United States. Miss great success of the Jesuit system of teaching is proven winning composition, Merry Marchers, will be found Strickland’s prize-winning composition, America Tic- by the enormous spread of the Jesuit colleges in that in this number. day. torious, appears in the music of this issue. In passing, it might also be well to comment upon the Jesuit system of review. The first thing in the day there was a review of the work of the previous day. It will interest our readers to know that Mr. E. R. Mr. Javier Fernandez, of the City of Mexico, has evi¬ At the end of the day there was a review of the work Kroeger, whose Humoresque Americaine was one of dently been prevented by prevailing conditions, from just done. Each week, month and year concluded with the winning entrants in the February number, has twice sending us his biography and photograph. These we systematic records of the work accomplished. before been a winner in previous Etude compositions. may be able to publish in a future edition. Meanwhile Etude readers will enjoy his prize-winning composition, To Grieg’s “Butterfly” The third prize winner of this month’s competition, Ecstasy, in this number.

An Impression After Hearing the Composition Played by a Noted Pianist Dr. Smith I By Yvonne Cignac Dr. Smith N. Penfield passed from earth on Jan¬ from all over the country. After several years h uary 7, 1920. He was born in Oberlin, Ohio, April came to New York. There he was at once active i The world is full of sunshine. The air is filled 4, 1837. He was of Welsh stock, his ancestors coming constructive musical affairs, training two hundred chil with the odor of flowers. They are everywhere. to this country in 1630. His great grandfather was an dren at the Five Points House of Industry for a son A flash, a blur, and one of God’s miracles, the but¬ officer in the Continental Army, and he was with Wash¬ terfly, goes winging its happy carefree way through the ington at the battle of Harlem and fought on the service. This work Dr. Penfield kept up for thirt wonderful medley of Nature’s beauties. ground where Dr. Penfield died. His father was a consecutive years. He was one of the first to insti It touches one flower for an instant, just an instant, fine amateur violinist. Dr. Penfield took up music so tute* concerts at which composers conducted their ow then another, and another. young that he could never remember learning to read compositions. He organized a music festival to whiff Again a blur as it flies to a distant part of the it. At seven he was engaged to play at musical con¬ e people from the rural districts might come, trainin meadow. ventions, as a musician who “could read anything at °f three hundred singers, and paying fiftee: It settles upon a beautiful white flower. sight.” He was also the regular accompanist for a red dollars out of his own pocket for an orches Its wings droop onto the silken petals. glee club at‘their concerts, and acted as substitute tr;w-nCe ,ther? was no fund for the purpose, and con But it cannot rest. teacher at singing school. At the age of ten, he was the ing beside five hundred dollars toward the nex The glorious sunshine calls. best teacher of music at Oberlin College, and taught 225® fest'val. Directly afterward he wa The wonderful freedom of the air beckons. sight reading at the college classes. He earned his t0 fod'anapolis to adjust some troublesom It flutters and flits from one flower to another, way through college, paying all his own expenses, in¬ arran '" ^he History of Church Music. He S' skimming through the sweetsmelling air. cluding board to his stepfather. He was the first or¬ arranged the matter that this subject was dealt witl The soft south wind bends the nectar-laden flower ganist at Oberlin College, and had an extension key¬ clergyman rabb'’ a Cathol!c Priest- and an Episcopa heads and they beckon it on. board constructed so that he could lead a chorus of It is never at rest for a moment. 135 singers, while lie played. cantata^?d tIlc C,emson prize for a sacrei It is mad with the wine of life, the glorious, glad¬ Later he studied in New York, Paris and Leipsic works of the 6 Elgbteentb Psalm, and composed othe dening freedom of it all. For an instant it sways upon where he was received with enthusiasm as a fine organ¬ a teacher jamC nafure> but his greatest work was a a tall dahlia. ist and musician. Returning to America, he located muskalTmer'\0rgamst’ and as a promoter of larg Its wings drop softly. in Chicago, later removing to Savannah on account of Guild of O 6S •’ W3S one °f tbe founders of th Surely it will stay. his wife’s health, where ne established a conservatory But no—lightly, it unfolds its wings. ciation of°rfan,S-tS: a member of ‘he National Asso of music, and a club called the Mozart Club. Here he Manuscl0^":3^ ,he New England Society; tin It flutters, here, there—and is gone! gathered a number of eminent musicians about him WkaTLsS °f ^ Y°rk= 3nd °f th' International Copyright secured THE ETUDE MARCH 1920 Eitgti 169 Page 170 MARCH WHO THE ETUDE THE ETUDE AMERICA VICTORIOUS MARCH 1920 Page 171 Prize Composition MARCH LILY STRICKLAND Etude Contest ECSTASY Prize Composition In the grand march style, not difficult to play,but full and sonorous, Grade a. Etude Contest A very effective song without words in the Spanish American style. Mr. Fernandez is a resident of the city of Mexico. Grade 4 Tempo di Marcia Andante _ JAVIER A.FERNANDEZ M. M. J = 108 4 3

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MERRY MARCHERS .AL- > AA ••K i r-rv,* — ‘i fTJ rf;~—-s h ^ A spirited march movement, to be played in a jaunty manner, well accented. Grade 3. rjW ’ y y THEODORA DUTTON hit\> 1*^ crese. - ) _ --< nf^rf " f # ftf- # — 0 * 1-1- f f P 1 1 -#.p 1 *- 0 r | V- 1 ft f* J r [ fri 1 r =^= h— f- ■ =* 1 ^ K J- K-1 5 ' 4 1 ""’''-v -

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The “Standard Graded Course” and the “Beginner’s Book” stand unequaled in the number of copies sold and the other works mentioned below rank far above the average in the number used by the teaching profession.

The above facts are given as a solid foundation for the statement that among these works the most discriminating teacher will find the one that satisfies, as Each Possesses an Individuality that Appeals Standard Graded Course of Studies Beginner’s Book FOR THE PIANOFORTE SCHOOL OF THE PIANOFORTE, VOL. I. Compiled by W. S. B. Mathews by IN TEN GRADES TEN VOLUMES THEO. PRESSER PRICE, $1.00 EACH GRADE PRICE, $1.00 The Original Graded Course The “First Reader” in Piano Study

Each volume supplies all the needed material for the grade The simplicity of this work has enabled many teachers to with which it treats, and in addition pieces for study diversion achieve speedy results with even the youngest beginner. are suggested The rudiments of music, notation and elementary work are Constant revising, enlarging and re-editing keep this system thoroughly covered in a most delightful manner. modernized and filled with the world’s best studies. The first grade of study up to, but not including, the scales Teachers desiring !o use special systems for various purposes is the scope of this work. can readily apply them in conjunction with this course. Large music notes, illustrations, questions on the lessons and No other method has been so widAy used in music many specially written exercises individualize this work beyond education. others.

Landon’s Foundation Materials New Piano Method Essential Helps in Elementary FOR THE PIANOFORTE By A. SCHMOLL PRI'E, $1.25 Instruction IN TWO BOOKS PRICE, $1.25 EACH An Old “Stand By” of Thorough Teachers The Popular French Method Includes special spelling lessons for the acquir¬ Primer of Facts About Music ing of accurate note reading. By M. G. Evans Price, 60 Cents The teaching, profession have here in the only Replete with careful directions to both teacher edition with an English translation, one of the most Note Spelling Book popular methods used in France. and student. Every lesson has a note explaining By Adele Sutor Price, 50 Cents what should be observed and obtained from the Book One covers the necessary rudiments, study in that lesson. The studies are pleasing and Tunes and Rhymes chord study, the major keys and major scales, in a progress gradually. By Geo. L. Spaulding Price, 75 Cents thorough and original manner. On the last pages an extremely illuminating ex¬ Very First Duet Book Book Two is simply a continuation of the first planation of fifteen different chord touches is given Price, 75 Cents in conjunction with a like explanation on the art of book and takes the student through a course of scale practice. Child’s Own Book of Great Musicians study up to about the Fourth Grade. The maxims at the foot of each page form a A Series of Ten Biographies for Children By Thos. Tapper Price, 20 Cents Each Throughout the work is attractive and is with¬ bic of musical literature that all serious students out doubt one of the most melodious methods would delight to read. obtainable.

The Above Given Prices are Subject to a Liberal Discount to the Profession Copyright 1920 by Theo.Presser Co. THEO. PRESSER COMPANY SS1S PHILADELPHIA, PA. British Copyright secured Page 180 MARCH 1920 THE ETUDE the etude MARCH 1920 Page 181

Four Triumphant Features And Now Brunswick Records How The Brunswick captivates music lovers. Purity of As we have sought improvements in reproduction, tone has been our constant aim. And we have attained it so have we brought new ideas into record making THE secret of Brunswick favor, if secret it may Rare Tones Ever Present be called, is easily discovered by those who hear REALIZING that the Brunswick Method of Re¬ Exquisite Cabinet IVork But even this great success did not satisfy Bruns¬ production would not be complete until we could it in comparison with others. The lover of the best in music is also a lover of fine wick designers. And-...v; so theyexperimented VApVIllllCllLCU longlung IOto bringDr bring out our own Brunswick Records, we devoted For Brunswick has accomplished what all phono¬ craftsmanship in cabinet work. And so we ask that out tones hitherto lostInst andnnH give purity-. to all tones._ every resource to the perfection of our ideal. graphs have sought. you note this fourth Brunswick feature when you We began with the basic laws of interpretation. The Brunswick Tone Amplifier was make The Brunswick comparisons. The first Brunswick idea brought And musical laws guided us in our four years of The House of Brunswick has been long famous for instant recognition. It was the Ul- the result. It is moulded of rare woods. preparation. No metal whatever is used. its excellence of wood working, and the cabinets which tona, the technically correct all-record Each Brunswick Record is interpreted by a noted conceal the Brunswick Phonograph are made by our player. By it Brunswick owners were The violin inspired this wonderful director or an accomplished artist technically trained own skilled workmen. enabled to hear all artists, orchestras improvement. And as the violin issues in the art of recording. We have recently announced, and recommend to and bands. pure tones, so does the Tone Amplifier. Thus we unite the talent of the artist with the you, four models de luxe. In design, three are remi¬ For sound waves are permitted to vi¬ genius of the composer. We bring a new idea into niscent of the romantic periods in England, France The Ultona, as time has proved, is. brate and expand naturally. record making and Italy. Modern art is expressed in one of the greatest inventions in the You will know what this new idea the fourth model. phonographic world. And it belongs Once more The Brunswick was ap¬ means when you hear a Brunswick exclusively to the Brunswick Phono¬ plauded. New laurels were won. These classical cabinets are true re¬ Record. You will realize that here is the graph. productions of the furniture designing The Brunswick Method of Reproduc¬ artist at his best. And more. You will art of historic ages. Those who seek tion of which these two features are the feel the composer’s inspiration. You will It frees Brunswick owners from the the ultimate in both phonograph and know that a master hand is in control. limitations of one or two makes of major part, is now known the nation encasing cabinet will surely select a records. And it does this without any over, and all who hear The Brunswick We offer Brunswick Records for Brunswick De Luxe. give it instant acclaim. your approval by the same severe test extra equipment or makeshift attach¬ An interesting Brochure in colors treats we have invited for Brunswick Phono¬ ments. These are the reasons why we ask of all models in detail. Write for it or ask graphs. We want you to hear them any Brunswick dealer. you to hear The Brunswick—why we At a turn of the hand it presents to and make comparisons. It will, therefore, be distinctly to your ad¬ ask you to judge it by comparison. each make of record the proper needle, Remember, Brunswick Records will vantage to know .Brunswick Phonographs the proper diaphragm. And we know you will want to hear it play on any phonograph with steel or and Brunswick Records before you make if you love good music rightly rendered. your choice. Any Brunswick dealer will be de¬ fibre needle. lighted to assist you in coming to a decision. THE BRUNSWICK-BALKE-COLLENDER COMPANY Branch Houses in Principal General Offices: 623-633 S. Wabash Ave., Chicago THE BRUNSWICK-BALKE. COLLENDER COMPANY Cities of United States, Mexico and Canada ■ , ,, , Canadian Distributors - i Principal General Offices: 623-633 S. Wabash Ave., Chicago „ _. .. Mus,cal Merchandise Sales Co., 819 Yonge St., Toronto ° Canadian Distributors: Musical Merchandise Sales Co., 819 Yonge St., Toronto

sfifrimeuvick 18* MARCH 1920

the etude MARCH 1920 Huge 183 ORIENTAL SKETCH JAMES I.WRAY A modern intermezzo, full of color. The various syncopated effects will afford excellent rhythmic drill. Grade 3 GrlOJOSO M.M. J = 104

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« # ♦ * .——————.Z - THIS wonderful Series. . . T years in eSstence'mbmc^i famous th°ugh but two „ fl , g -p^-r *-#1- —^ ^ 7 ^ jng practically the enti^SSS? W!&hted works cov^? l=TO: H=p -J^-J—|—i-P'/* T -£- J/#-#- ~~|-:.. ..; +$a • .m ■+ - -:Z - \ 1 0 " ■ M* -1-1—F—-t 1 -g- ---- 1? T-J h■0J- VJ J tn= -■ .F-- Ld71 ) *> ‘ • • ’V w w—■■■——tea—jr -e its !jave legato ~ I*1 ' ^ enormous even now. New f„T f-ltS educationaI riches is )i v ir- y f - f = r P . « » »TTT ^ CJ ^ ZJ ^ u E^“£j ^ CJ ^ UJ PuMcation 'dSri"g 3™* »' foi ^ | 4 i 2lK 2 r i 3 r~^| .. . ^ ^ A V

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-3-----i-9r—£-1 C-C FT F-=^=g=E=iE=i==iE=^ = CJ ^ tJ [j t- ' CJ iTJ ---C3- ^ f-1— . i.^fl3 #. J1 i-Ffrrn i rpT^'A -Ti ^ • Erne For Piano: M°ST RECENT ADDITIONS * Mf f r SET?. Si K,s« JS SS g > > -*r«s€3rs,udi"°" For Violin: tUd,es (Vot 74) Zimbalist, E., One irn„ . For Voice: F * Da% E,erc«e (Vol. 40) Mab°n, C. B., The At-*- Vowes, High and Low and At f°r Women’s /Uh y, n , (V°1S- 56< 57, 58, 59) each Men sVoi<*s, ditto —.—.-.". 3 EAST43d STREET * G SGHlRMlTD.".".

•- • NEW YORK C Copyright 1920 by Theo.Presser Co. British Copyright secured Pa8* 184 MARCH 1920 the HUNTING SONG the ETUDE MARCH 1920 Page 19A O n fha ’ L°rdS and Ladies ffay, Ail the jolly chase is here, * m°un ain dawns the day With hawk and horse and hunting-spear!” e”ective tone picture; not at all like the nnm *• , sir Walter Scott. Tempo « March ROBERT BRAIfc - 'TTi j If) *!• h 4- J ^ J.""j j) m i

To Betty Jane Hargreaves MEDAL OF HONOR MARCH

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mm ff f -—-'Ll rail. - Mm ~7~---D.C. . *£# *# **f L. • - -A.bg>-. M £J>" —^\ » ^ =Z-c ^pyright 1919 by Theo Passer Co. i ii cw » » r ,1; '-s=d J» 3g k- ~ rr r g-fag—ir— =g=»—*— -p •P"^P $0—-h-T i-£ ^3 2 5 • p M --n t-U itish Copyright secured Copyright 1920 by Theo. Presser Co British Copyright sec-i-ed PaS6 *86 MARCH 1 the £Tum SCHBRZINO MARCH 1920 Page 187 ALOIS F. LEJEaL,Od s A dignified ,mrf straightforward composition h o.a refill r:«. i * a ? r-ggff 5pq r*T*n Allegro moderato llT^Jslae in Semi'ClilSSig St^le’in the form of a sonaia.rondo. Well worth careful study. Grade’ 4, rCrgf-gg r~i g‘rcf g-?1 1 a L. • • •. 5 8 4 - a * PWai * 9 Jmarc.~i-——= or esc. motto

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HAPPY JACK Ah attractive scherto in double time (two counts to the measure.) Grade z\ H.L.CRAMM,Op.l4, Nc.2 Allegro m.m.J=io8 \ \

-m p—t= * S a * 1 [ ^ M. i s i i r»r 1 "f i j— 2> .fl | f-j—* ' — 1-t=d ^; Copyright 1910 by Theo.Presser Co. British Copyright secured P»ge 1S8 MARCH mo THE etudS TJfl ETUDE MARCH 1920 Pag* 189 AN EASTERN INTERMEZZO GEORGE SPENSER A useful study in staccato. A good easy recital number. Grade 2 3 In march time m.m. J=ios

CHRYSANTHEME Pritish Copyright secured A showy number not difficult to play, affording' good practice in heavy chords across the s(ri a • WILLIAM E.HAESCHE Moderate 9 lCr s8 -tJle »triuKs various Styles of bowing.

British Copyright secured Page 190 MARGE 1920 THR £TUfiS the ETUDE MARCH 1920 Rage 191 JOYFUL GREETING CANOE SONG

A clever.little study piece.with plenty of work for both hands. Grade ! ‘‘MEDICINE MOON” INDIAN LOVE C. W! KERN, Op. 415 The most recent additionto Mr. Lieurance’rsuccessful series of Indian Songs, a worthy successor to Minnetonka, and Weeping Waters. Allegretto m.m. J=iao 5 s Page 192 MARCH 1920 TffE PTlJDi RAf H0RATIUS B0NAR THE VOICE OF JESUS A tine a favorite text, especially good for church use, broad and telling. ROBERT HUNTINGTON ' Page 194 MARGE 1920 1 TEE ETUDE MARCH 1920 Page 195 tee etude Why He Didn’t Get the Pupil (Swell; Soft Strings coup.toGt CANZONE By A. J. Eastman Scene: The eighteenth floor studio of Mr. West: That is just what I shall Ped; Bourdon i Af> young Mr. Schuyler Harrison West, teach her—Czerny and Bach—the only JERNEST H. SHEPPARD A useful prelude or offertory with excellent opportunities for tasteful registration. pupil of Meschistsky, Pohnanyi, Lafaneff, things any good teacher would teach. and other European Meistcrs. Mr. Finnegan (with vigor) : Point me Moderato e rubato ma legato m.m. J=84 Enter Mr. and Mrs. Daniel Finnegan out a bad teacher, then! If I pay out and fourteen-year-old Mildred Finnegan. good money, I want music I can listen Mr. Finnegan (genially): Is this the to— professor? Mr. West: I teach only music that is Mrs. Finnegan (in a whispered aside) : in line with culture. Manuals Father! Didn’t I tell you that musicians Mr.Finnegan (bewildered) : An’what’s ain’t called professor no more? that? Mr. Finnegan: No offence, mister. My Mr. West: Culture is a composite of barber what plays the mandolin is tickled those branches that lead to an intellectual to death when I let slip a hello professor and social development recognized by the at him (looking about with intense curi- best people of the day and hour as most osity). So this is a studio—I was in one beneficial for the progress of mankind, once befure. It was crammed to the Mr. Finnegan (blinking): Is that all door with people without manners—to it is, professor—mister?” me, that is—and there was music without Mr. West (loftily): Culture is the dif- tunes and rooms without air, and after- ference between the Police Gazette and ward they fed me with bread as thin as the Atlantic Monthly. a postage stamp—and about the size— Mr. Finnegan (heatedly): Well, I and cheese that come out of the garbage don’t know what this Atlantic Monthly can from the schmell of it. And thinkin’ is, but if it says I can’t have tunes when it all over, I didn’t mind the people with- I pay for Milly to learn them—mind out manners—(you meet them every- now, I don’t say she shan’t play Mr. where)—nor the rooms without air— Churny and Mr. Don’t-Come-Back, but it (I’ve worked in a caisson under the won’t hurt her, nor her teacher neither, water)—and for the cheese, I kept my to see that her old Dad gets a bit now distance of it after the first whiff—But and again to tickle his ears, too. the music without, tunes—now, tjiat stuck Mr. West: You must remember— in me craw—it did! Mr. Finnegan: That you charge for— Mr. IVest (with marked languor): for—(takes out a huge wallet, peels a Ah? couple of bills from it, and lays them on Mr. Finnegan (vigorously): Yes, the table) whatever you call them. "Ah." And I says to myself, not one Mr. West (hastily): I didn’t mean red copper of my money is going for that—you must remember that your music without tunes when Milly starts to daughter is being prepared to enter a learn the pianny. Now, my poor mother new phase of society. -rest her soul !-she says when I whs a Mr. Finnegan: So the old woman tells small lad, “Danny,” she says, “I’m think- me—(me wife—Mrs. Finnegan, I mean), in’ you've an ear for music. Take this Well, well, and so am / going to enter half-a-dollar and buy yourself an instru- a new phase, too. If you and all the ment, she says, “I don t care what kind, other high-priced teachers can’t get down | Sw. so it 11 carry a chune.” And— off your perch long enough to teach 3jg j j Mr. II cst (stiffly): Excuse me, but I Milly a tune, I’ll be off to my barber and must remind you that I charge for audi- get him to ] recommend a teacher that tlons- will. Wfll my daughter have tunes or Mr. Finnegan (with an amiable but machinery^lk,day long—I ask you that? uncomprehending stare): That so? Mr. West*: I hold strictly to the Mke aX)iolin,, exquisite Well, I bought me a tin whistle—I called classics,' Mr. Finnegan, the classics. The it that, but its Sunday name was a flute first fedr your daughter would have with its first rich tone, and day by and many’s the time I sat and played nothing but Bach, Cramer, Czerny and day becoming seasoned and mellow¬ while my mother rocked to and fro, and the custorftlry technical exercises, with ed by the throbbing melodies it I drew out the tunes like a kid pulling possibly agsonata or so. Christmas presents from his stockin’— Mr. Fimegan: Look here young man, helps to create, so with The Cheney Money Musk and Patrick’s Day in the let an old fellow like me give you a bit —“The Longer You Play It, The Mornxn’, and Wearin’ of the Green, of advice. Please your customers, be- an' cause without customers you can’t get Sweeter It Grows.” Mr. II cst 1 really must repeat that I very far in this world. Everybody whose -Jr v * charge for auditions. money you take is a customer. Every- Dulcetly appealing with the first .. i_ m .Mr. Finnegan (with a puzzled expres- body who helps you earn your daily swn): You charge for—for—odd—odd— bread in any way is a customer. Please record you play on it, it enhances W5“> We'-' ’ him. If you think that the customer in sweetness and quality of tone Mrs. Finnegan (whispers). don’t know what he wants, do your best Mi. Finnegan (his face clearing): Oh, to show him something better, but above with use. It is the gift of original you mean you charge for me telling you all things please him. If a man wants acoustic principles, evolved and w“at *111 after wanting. me to fit him up a bathroom I get out perfected in The Cheney. Mr. West: Exactly. all the designs I’ve had the best artists Mr., Finnegan (pursing out his lips): in the country make—but if he wants Many s- the contract job I’d have lost if something a little different I sort of wink As a final touch of craftsman-like soaked the man who came to find out at it, I do, and perhaps by and by he’ll appreciation. The Cheney is given what I could give him and tell me what see that the artists were right. If he e wanted. I made my wad listening don’t do that he’ll go to somebody else the form it deserves — cabinets With both ears, even if it kept me late any how, and I would have lost my which are faithfully accurate or dinner—and I most generally landed chance to do my best by him. This here n'm®ut perhaps that ain’t music busi- world isn’t being run for a handful of period studies. people with little brains who cannot think P r y/est (with some displeasure): ■ outside of their own backyards—it’s be- "ilfjr- ing run for everybody. I like music that tak ^ ‘'umc9an: This girl of mine has means something to me, and I don’t see en a few lessons, but the deeper she why it can’t be pretty. If you’d have ,, Ohc goes the less she pleases me. She plays said, “Mr. Finnegan there’s no reason >ngs by a Mr. Churny that runs all why your daughter shouldn’t have a few CJheney ver the piano like a cat with a dog pieces of the kind you like, and I’ll do naer>tl and some stuff by a gentleman my best to see that she plays them as med Mr. Back, that sounds to me like well as she plays Mr. Back’s pieces,” I’d CHENEY TALKING MACHINE COMPA CHICAGO everp"16 c^opP‘nS cabbage; but what- ’a’ said to meself, “There’s the boy with ha r S le la>’s her fingers to, she never brains enough to teach my daughter and Dealers Everywhere to w nS i°n a tune- So I come to you I’ll pay him anything he asks”—but, as it e what you can do for her. is, I’m saying “good-bye.” Please mention THE ETUDE when addressing onr advertisers. Page 196 MARCH 1920 THE ETUDE MARCH 1920 Page .. - _ Some Pertinent Vocal Comments

By A. L. Manchester

“If the singer will concentrate his even on the concert platform. One Department for Voice and Vocal Teachers whole attention on the musical intervals of the most vital necessities in the culti¬ of his song as they follow one another, vation of the voice to-day is a return to Edited by Distinguished Specialists which, of course, should include the the production of soft tones, with the vowel belonging to each tone, he will auditory nerve keenly awake to the dis¬ obtain instantaneously the precise degree criminating hearing of the tone as re¬ IVERS & POND “Thank You for Your Most Sweet Voices.” — SHAKESPEARE of tension in the vocal chords required gards its quality. for each tonal pitch.”—C. K. R. This development of hearing should This statement recognizes the fact that begin with the child. Musical dictation, the larynx automatically produces pitch. a comprehensive study of musical inter¬ PIANOS The Teacher’s Speaking Voice Concentrating the mind on the musical vals and their recognition by the ear intervals as they occur in the song gives should be given prominent place in all the necessary impulse to the pitch pro¬ forms of early training. It is interesting By Louis Arthur Russell ducing organism which, if left unim>- to note the prompt response to this train¬ peded, instantly responds with the pitch, ing of the majority of children. Constant It is difficult to understand the psy¬ never develop the girl voice or allow it and series of pitches, desired. Nothing chology of the teacher, especially the duction which we normally apply to the use of the auditory nerve backed by in¬ to develop into the adult form or color. which the voice quickly responds The besides this concentration is required. vocal teacher, who neglects the develop¬ singing voice. No person should be al¬ telligent use of the mind gives it a keen¬ Very frequently women'come to me nervous voice is a contracted voice and The student of singing cannot under¬ ment of his or her own speaking voice. lowed to teach children in any branch ness of perception that in later years, with voices entirely lacking in womanly its quality ,s thin, hard and piping Th! stand and act upon this truth too soon Excuse may be found for the crude of study whose vojce is raucous, thin when the training of the voice is under¬ quality, in colloquial use, and very few effort to force the ‘‘timid” voicefhroug or too completely. Such comprehension speaking voice of the average man and and piping or deep and raspingly coarse. taken, produces splendid results. Tonal of this class have developed their singing the contracted throat destroys its trt of it will do away entirely with much of woman, but there appears no reasonable A voice clean of foul noises should be concepts will come much more easily voice beyond a thin falsetto quality, character: often the timid child or Z the tendency to contract throat muscles apology for the general neglect of the as positive a requirement in a school and correctly to one so trained. which bespeaks the child timbre of the reticent child is forbidden by his tem and stiffen tongue. It may demand prac¬ speaking voice prevailing among singers room as a clean face, and the child “Although the speaking voice is usually tice so to control the mind that it ignores and singing teachers. Aside from the ~Vipin* VOice 0f the aged- This should be guarded against all offensive hfetori! and !"S ™nseT'em habits of trained without reference to musical thin, hard quality of voice may be fairly use of the voice in singing, the more qualities of voice the same as he is the muscular tendency to produce pitch; standards, my own belief is that speakers (or(of she) « grows upblS withoutr<‘:1' voiee ever- and real he general and universal use of man’s priv¬ agreeable in mild conversational use but guarded against vulgarity or profanity, but persistence in such concentration and should develop their voices as if for h always becomes intolerable when raised ilege of speech makes the speaking voice so that his sensibilities may be made izmg that the voice has never freed itself practice will succeed. No single item of singing, which requires a technic cover¬ to any pitch of emotion or of loudness- the most powerful of our attributes as keen through the ear (the finest, the vocal training is of more importance than ing all the demands for speech.”—F. R. the more extreme the emotion or the We”teachers'4 f ^ dcc,ared itseIf. human beings, and as a mere matter of purest and most spiritual of the senses), We teachers of experience have all had this. It removes interfering sensations A resonant, carrying, and musical forcefu ness the higher . and more ‘standing upright” and making proper as we endeavor to set standards of many of such voices to release, and hafe that decidedly obstruct the free forward speaking voice requires the same condi¬ screamlike will the voice surely become; use of this glorious means of ‘‘Self and beauty and truth before the eye. and found no easy task set before us- but flow of tone and cover other sensations u fact, the womanly dignity and beauty tions of breath support, open, released Soul” proclamation, it is our duty to give even this habitual tension can be re¬ of ease and freedom that are absolutely c voice we rightly expect among women purity of thought before the spirit. With resonant chambers and freedom of flow extreme attention to the complete devel¬ a proper example placed before the lieved and the voice in time will find its essential to good singing. of culture is sadly missing in society, in as does the singing voice. One who has opment of our power of speech, not only child he in turn may be trained to speak rue poise. The competent voice ‘‘Out of hundreds of students, whose control of breath and rests the speaking as to the matter, but also and with £!o, Z’,m‘ p,*c“ot °” “» purely, and in due course, we would IhaC Mru°r .pr°Pcr,-v cultivated singer fitness to become singers, I have been voice upon it, leaving larynx free from equal concern as to its manner of deliv¬ should have but little difficulty in relifv called on to test, I have found not more While men, because of the natural be rid of the white, blatant, sprawling strain, and who maintains freedom from ery. There is no more evidence of his "l* .th? speaking voice of tension or than 10 per cent, whose ears were sensi¬ change of voice in the period of adoles¬ noise we have considered a normal throat contraction, stiff movement of jaw mental poise and general culture than a indue breath force, and soon there fol- tive to the different musical intervals. cence, are less likely to carry the boy quality of child voice. Then, perhaps, we and tongue and hardness of palate will man's manner of voice, its pitch its in lowsa normal quality of voice which will For the most part they were unable to ZUltur JUS!'fied in demanding that find his speaking voice musical in quality flections, its dynamics, its tone’quality ,nto manhood, yet the average repeat any three or four given intervals speaking voices of men are falsely pro¬ our public school systems should de¬ m speech Same p,ane °f a<*°n in song and capable of being propelled without (timbre or color), its repose or lack of which were played or sung to them con¬ duced, and even in the milder conversa¬ velop the graduates of the high effort. Such control is acquired in ex¬ repose and its fluency in combination secutively. From this I naturally con¬ tional moments a thin, falsetto quality or schools to a point in voice use where -ill actly the same way as in the case of the with words. cluded that if they had no perception of a raw, reedy tone of voice is the class r>f could read aloud a newspaper, a story or singing voice. The training does not 6/T voices, that they are surely’pi,opting definite musical sequences it could hardly A Serious Neglect speech-sound the sensitive ear has to a poem in a pure melodious tone of need to be carried so far, but in its ele¬ be expected that they would be able to eSJ\rinc&dA c/raruP With an experience of many years endure. voice, free from the offensive noises or Z Lc U,red V°CaI aPParatus, never mentary form is identically the same. distracting affectations so often result- detect the subtle variations in tone qual¬ The ministerial sore throat is entirely with all classes of singers and teachers te1 nhaVe ,kn°wn many Public school !hanl f 'uat the *irI voice really of singing, I am impressed more and ing from study of 'elocution.” th uZ the woman’s voice, and that ity which either make or mar the voice.” unnecessary and is easily avoided. and Cade[S in Church meetings —C. K. R. SMALL GRAND DELUXE more with the inexcusable neglect of the and Sunday schools, whose voices as the child voice is not the proper voice for “Unfortunately, one rarely meets with The Study of the Speaking Voice he woman s use. though the difference Here is a practical demonstration of a speaking voice, especially among public raised in instruction were an offense to students who do not interfere with the All the broad experience of Ivers Iff Pond voice workers, teachers and others. The . Th,e. Lstudy of the speaking voice m“ch m°re delicate and more diffi- most fatal weakness of musical training. free flow of tone vibration in the upper and Tn acdlsg,race t0 ‘heir vocation; should be a vital part of all courses ol Very acute, and susceptible of a high de¬ majority of women seem never to out¬ and I have often heard singing teachers twL th T™ than thc difference be- resonating cavities by mouthing the Grand Piano building is embodied in this delightful vocal study for the final purposes of tween the boy s voice and the man’s. gree of training, is the sense of hearing, grow their girlhood voice, and but few m conversation or in public address vowels, and to this is. largely due the model. The incomparable tone quality, remark¬ men in any walk of life make use of whose every word was beclouded by the male voice is usually false in one and to the musician the most valuable of numberless ineffective voices among hishifow owngn vvoice^6 VOCundern teaCHer such controlSh°uld brias "Sto tlieir true voice, hence, beautiful voices false voice production, violating the °r two characteristics: it is either the senses. The physician is trained to those who are dedicating their time, able volume, and unexcelled durability which have are rare and serious dignity of character commonest laws of their profession as nitv a!id qUaIities of Pure tone, dig¬ Pinched or forced to a hard falsetto, or determine accurately the condition of cer¬ energy and money to a study of the nity and authority with complete use of determined over 500 leading American Educational is seldom revealed in the everyday vocal instructors. Oftentimes these wit- m the other extreme it is allowed to tain organs by hearing alone. The sound speech of men and women regardless of emotional and dynamic inflection TlJ rp'aX to a low pitch with a rattling, resulting from the tap of the finger on Institutions in favor of our make, show to maximum of^pute.3 fa’Se fa*th have been singers It has been the writer’s experience that their class or station in life. reedy or breathy noise which covers the chest, abdomen, or other part of the ts SaracwCaes sh°?Id. —«redly foretell too much attention paid to the direct • advantage in the Princess Grand. The demand Ihl t u, 3 s,nglnS voice; in fact true tone by extrinsic vibration (as a body informs him with certainty of This neglect of culture of the speaking I have asked myself, How is this care- formation of vowels in singing leads to the talking voice should be a sWi™ Kazoo or coarse comb covered with tissue conditions there. To the layman this for high class Grands is insistent—their construc¬ voice is by no means a national trait, but the result named in the above quotation. XS“/p°”iM'- ,n‘1 paper. These extreme false qualities sound tells nothing, but the trained ear appears to be universal. Among cultured 5 mat’ 3ndfthe rea"y proficient singer of It is only necessary to give sufficient in¬ tion slow and painstaking. We therefore urge the classes, however, I believe that Ameri¬ have many intermediate varieties which of the medical man detects in the varying Among other conclusions, I am con¬ formation regarding vowel formation in prospective buyer to anticipate his requirements. re heard in speech or song, and they resonances conditions that enable him to cans are the most careless of people, in vinced that the average human being is speech to be certain that the pupil hears the matter of speech. I am not now deficient in hearing. We are so en diagnose-the case. Yet in singing which de¬ n^rf3 . u3USed by undue tension and im- them correctly and to correct any tenden¬ When you take up the matter of a new piano, you will treating of our forms of speech, the false mands the most acute and discriminating mere quality of ? fect b[eat'’ control or by lack of sup¬ cies arising from provincial or sectional, syntax we so frequently hear, etc., but am tSha0tSSwe diothe. natt6r the WOrds exP^s port, with flabby tissue allowed to vi- use of the sense of hearing, little is done want a grand. Why not start now by letting us mail you a habits of speech. When tone is properly calling attention to the average speaking fa, e or rattle. Here also we find lack toward its proper cultivation. catalogue showing the Princess and all our grands, upright formed with the upper resonating cav¬ voice, and shall offer suggestions for the false syntax, but a delicate thought may of breath control a vital influence.. One has only to listen to much of the ities free from tension and interference and players? betterment of a condition which appears oe set in a most vulgar tone of voice singing now done to realize the serious¬ there will be no trouble in securing to me to be unwarranted and reprehen¬ without the slightest offense to our sen Beware of Affectation ness of this failure. Inaccuracies of proper vowel production and distinct Wherever in the United States we have no dealer, we sible. Very many women never acquire sibihties, so accustomed are we to the Jr ‘be sU,dy of ‘he speaking voice as pitch, the scooping of tones, are irritat¬ enunciation. Here the principle of con¬ ship direct from the factory. Liberal allowance for old the use of the adult voice, but continue coarser qualities of the voice. ■ wl? , sLnS'ng voice, we need to be- ing enough, but perhaps even more seri-- cept plays an important part. If the pianos in exchange. Attractive easy payment plans. USe the voice of their ♦e . affectation. Beyond a certain ous is the totally wrong tonal concep¬ childhood,u*i°HghJt{e to t0which they add the power A Matter of Prime Concern Point of control we must not go, else tions that are prevalent. Really beauti¬ student be given accurate knowledge of of their larger beings, which serves to I believe that professional teachers SSSSsgS , CTetfto overtensions which de- ful singing is rare enough to attract un¬ the true vowel sound and conceives that Write us to-day especially vocal teachers, and yet again arouse popular sentiment InT ” , cai sound in actual singing, he will not need accentuate the sharp, thin, shrill child- clitiZ aaeCtat'0n” a most offensive Con¬ usual attention when it is heard. Harsh, voice, tolerable in childhood, but intol¬ "rf-* --ice as;** tis ? tCn m,staken by him who prac- loud, wobbling tones, camouflaged with to make any direct effort to control, the the charhT °fc c!liIdren- should make no. class of educators so „ , e 1 erable in a woman. Aside from the fact matte! nT 6,r SpeakinS voice a tices it for dignity, but which to the lis¬ exaggerated interpretation, are too corn- response will be right. Ivers & Pond Piano Co. that many young women prefer the sim¬ matter of prime concern, and we of the for this missionary dutv P PerIy fitte< tener ,s always ridiculous. vocal profession. y£t/IaSp°vUrs of *h< pering cute ’ childish way of speech and vocal profession should constitute our- sPeakmg voice at its best depends 141 Boylston Street continue to use this quality of voice selves a body of exemplars in this neg¬ hope that this appeal may hP th< ‘ resonance for its varieties of quality Many singers fail because they have Singers, male and female, who are lack¬ lected branch of culture. g the establishing of a nJt- , USe lr until it has become a fixed habit, practi¬ " , ., saT degree as the singing voice, not been told the truth about their voices, ing in velocity and the power of trilling, -The speaking voice tJSff 8" BOSTON, MASS. cally unalterable in later life, aside from heNrlS'ng-erJ°- singinS teacher should lone fbereby aPPends another tale too admits an experienced vocal teacher. seem to me like horses without tails. those who slothfully neglect develop¬ sb:/rgrrd m Professional or polite long for this writing. But he adds that far more fail because Both of these things belong to the art ment, there are many, who, through ig¬ society whose speaking voice isP not our0voc°l'e,rio„“;-w““g”e !tor>' ol will am,sure the Editor of The Etude they do not want to listen to the truth, of song and are inseparable from it. It preferring to live on illusions. Some is a matter of indifference whether the norance of the facts of speech control, doirnnrnt'°,' t0 !UCh an exte"t ‘hat it mav ::!re any thoughts my paper does not violate the laws of tone pro- ; ZZJ ken among ‘he readers of this contraltos want their voices changed so singer has to use them or not; he must Timidity is a nervous affectionate oepartment with reference to the “Speak¬ they can become renowned coloratura be able to.—Litu Lehmann, in How ing Voice Beautiful.” sopranos. to Sing. Please mention THE ETUDE addressing advertisers. Page 198 MARCH 1920 THE ETUDE the ETUDE MARCH 1920 Page 199 Emotional Tone ■A Splendid Opportunity lz By D. A. Clippinger Ambitious Vocal Student- A Woman’s Smile Preparations are nowtj^n^r^f f°r 3 resumPtl0n of Should Reveal Glossy Teeth

ITALY and SOUTHERN SWITZERLAND All Statements Approved by High Dental Authorities people wish to exercise the gift of sfully conducted before the war by the There is* no call for emotional inten- sonS’ and tiff cotne with their even tem- sity in discussing the weather, crops, Perament and do the best they can; but FABRI OPERA SCHOOL styles, etc., and these, with the health, they ofier the teacher an interesting prob- 0 tour will cover a period of four months; May, June, July and Au- B Vhile abroad, opportunities will be afforded members of But singing has to do with other and ^ InStead °f e*erc,SInS their voices, better things. It takes the better class of ' ^ers m'1)st beJaught to exercise we^artotpeda!

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lem in such a'casV^Tn'^T ,‘T nun at 11 untl1 !t is easy for him to ex- Imve'ncf'feelingsf^s to^misstat^thp^fm^l6 ?”*? EvMly it will become They have the germs r f/d -nvoluntary. He will gain control of .his oos si hie to humin.-f, h * £ ^ * g feelings tn the same way he gains control'

Good Night Word* by RALPH LEIGH

EDUARDO MARZO !T3£sL|jF?£“^ Hints for Singers

By Thomas Noble MacBumey Published far High or Low Voice

r voice is easily and evenly pro- resonance chambers—not of lift, pull Millions of germs breed in it. 3 to a good voiceoice coach for rep- pressure or effort. They, with tartar, are the chief The high voice may have as glorious a If you have vocal difficulties, find a resonance as the middle voice if the men- voice specialist who knows the value of ta1 pictures of resonance exclude tension. All vocal tension occurs in voluntary or controllable muscles. All vocal tension pictures of the ideal tones and tonal con¬ is avoidable. PgnsSagivt ditions. Tension at the diaphragm automati¬ cally induces tension at the throat. Singing must be a mentally and physi¬ TN your home an Emerson The New-Day Dentifrice cally easy task if it is to please others. A soft palate held high will make the throat as sore or tired as any cold. Twill ensure countless hours of Tone development depends on reso¬ nance. Resonance is the result of open Beautiful tones are thought beautiful the finest sort of pleasure. You before, during and after they are sung. will never cease to enjoy it and See What It Does Ten-Day Tube Free its beautiful construction will THE PEPSODENT COMPANY, The above is but part of this pleasing Dept. 133,1104 S. Wabash Ave., Chicago, be a perpetual source of pride. song. Send Twenty Cents for each Mail 10-Day Tube of Pepsodent to Two World Famous Prima Donne opy °esired (stamps accepted).

Mary Garden Geraldine Farrar Dealers in Principal Cities Theodore presser co. PHILADELPHIA, PA. Etude” Thpcp fSecured exclusively for “THE ETUDE these famous opera singers give ideas and suggestions which vocalists everywhere will Emerson Piano Co. Singers! surely find invaluable. y e will Established 1849 Enjoy At No Expense pleasur- TEACHING PIECES By mrs. a. m. virgil BOSTON - . MASS of new sCs thPatyaV? 1°* Si"ging s-f”s ATTRACTIVE, INSTRUCTIVE—FINE FOR RECITALS Vocal Circulars? Send foT^hel?"' Themat,C 150 for GRADES 1 to 6, ON SELECTION. GRADED CATALOG. ™EODORE PRESSER CO., Philadelphia, Pa. VIRGIL PIANO CONSERVATORY, 11 W. 68th St., NEW YORK ETUDE when addressing our advertisers. Page 200 MARCH 1020 THE ETUDE' THE etude MARCH 1920 Page 201 after which they are named. The organ of that particular branch of the litera¬ cannot hope to beat the orchestra on the ture? latter’s own ground, because it possesses The provision of a really modernized nothing in its scheme of color that ap¬ literature of new ideas, the throwing proximates to the string tone that is the overboard of dull and complex contra¬ foundation of the orchestra. It will be puntal exercises, the exploitation of new one of the first symptoms of the renais¬ combinations with the organ should sance when organists and organ compos¬ make recitals given by organists at once ers agree that it is absurd to imitate or¬ a fascination and a joy. There will be Department for Organists chestral effects, and that the organ is a real art in them, and there will be money complete and wonderful, a highly colored in them, too. The ordinary recital with Edited for March by the Well-Known Composer, Organist, Teacher, and an inimitably resourceful instrument what is known as “a silver collection,” self-contained. presented by a straggling gathering seated E. R. KROEGER A modern handling of those resources in a church, is greatly to be deplored. To should cultivate other forms than those ' be sure, the music which sometimes is “The which generally have been in use. What offered is not worth even the little drib¬ eloquent organ waits for the master to waken the spirit.”—DOLE —for want of a better name—may be ble in dimes that is given to it; but an called “chamber music” would be well artist who gives great playing of com¬ suited to the organ and to the expression positions that are fine and full of power of large ideas. There is, to be sure, a and charm should be put on the plane Modern Organ Composition small literature of music for organ and upon which stand the masters of the stringed instruments, and an even smaller piano-playing art. If one contributes two The object of this paper is to make a as organ music was concerned, even the one for organ and wind instruments, but dollars for a seat at a piano recital, one plea for a departure from what may question of the nobility of the music of that, new instruments were brought into creative talents in the second rank did the works that constitute it are either be called the traditional style, and thereby the church or of the suitability of the the artistic field—instruments such, for should be equally content to pay that sum not think it worth while to bring music sugary sentimentalities or they are ar¬ draw new friends to the instrument and organ to its development. Nor is it to instance, as the clarinet. for one at which organ music is to be for the organ to the level upon which rangements of compositions written for to its literature, particularly from the be said that the literature never has been heard, for all the technical skill that is that for other instruments had been But with all the reforming and all the other instruments. ranks of composers who are possessed secularized. It has; but not by the com¬ planning that was going on; with all the exacted by modern music for the organ, VTOU can always look forward to a pleasant and comfortable day when you have raised. Hummel (at one time considered With the development of organ cham¬ of progressive-ideas. posers who were best fitted to undertake and the organist must bring to his work ^ given your hair the best possible treatment, by the use of superior to Beethoven) wrote nothing opening of new paths; with all the un¬ ber music there will come perhaps a de¬ Almost certainly it must have been, that secularization. other qualities which the pianist does not for the instrument; , Pleyel, nothing. folding of poetry and romanticism in velopment of that combination of the or¬ and must be, a matter of regret to an In endeavoring to advance the suggestion need at all. There is no organ music by Dussek, music, the organ was left severly alone, chestra and organ of which most com¬ organist who is enthusiastic in regard to that the organ should be made a vehicle Yet in the last analysis the future of none by Steibelt, and Spohr, whose a relic of the old dynasty of art. Appar¬ posers have been so terrified. Is it not CANTHROX that complex piece of mechanism which for the expression of emotional and dra¬ ently the masters of modernity had too organ music is in the hands of the organ¬ range of expression in the instrumental absurd that when an organist is engaged ists. It must be they who first will in¬ all of us are accustomed to call “the matic feeling, and that the aloofness and much reverence for that dynasty to seek SHAMPOO and vocal field was very wide, also left as a soloist for an orchestral concert, spire composers to their tasks and they king of instruments,” that so few of the restraint which belong to it in much ec¬ to sweep its last remaining stronghold Especially this is true if you appreciate the value of waviness and brilliance. Canthrox the organ out of his creative accomplish- Guilmant’s First Symphony should come who will make their organ music a joy great modern composers have contributed clesiastical music are not fundamental into the stream of new ideas. So the is the shampoo that rapidly softens and removes dandruff, excess oil and dirt. It makes to his mind as the beginning and the end to listening ears.—Felix Borowski. to its literature. In determining what attributes of the instrument, it will make second-rate composers went on with their a perfectly healthy scalp which will naturally produce attractive, vigorous hair. Canthrox Mendelssohn’s Rank also gives that massy fluffiness and softness that makes doing up the hair a pleasure. constitutes “modern” music we may elim¬ the ground a little more solid to remind fugues and their toccatas, and it became Whether or not Felix Mendelssohn- inate at once Bach and Handel, who you that the instrument did not associate firmly fixed in the minds of men that it At A. 11 Drug Stores. Bartholdy stands in the front rank of closed the old order and did not begin itself with the church until a considerable would be—as it were—indecent to bring No good hair wash costs less, none is spoonful of Canthrox in a cup of hot water the immortals among the masters of mu¬ the new. It would be right undoubtedly period of time after its general employ¬ the organ into touch with human emotions. On Utilizing the Resources of the Organ more easily used. Just dissolve a tea- and your shampoo is ready. to date the modern impulse from Joseph sic is not a subject for discussion in this ment as what may be called a domestic paper; at least he was a personage of effective hair wash, we will gladly send one Haydn. Haydn moved with astonishing instrument. Instrumental art, indeed, Polyphonic Possibilities By Ernest R. Kroeger Free Trial Offer rapidity along instinctively what were distinction in the history of art, and he was regarded with abhorrence by the To prove that Canthrox is the most pleas- perfect shampoo free to any address on should be endeared to lovers of the or¬ This attitude toward the organ has pre¬ ant, the most simple, in all ways the most receipt of postage to cover mailing expense. the needs of the' people who were to early_ Christians because of its vicious vailed for so long and it is so deeply come after him, and of the people of his gan and its literature as having been al¬ associations with the decadence of an¬ In the last two or three years I have rooted, that the average music lover will stops with which it is really at enmity. H. S. PETERSON & CO., Dept. 109, 214 W. Kinzie St., CHICAGO, ILL. own day. He had not tilled the orches¬ most the sole representative of the mas¬ cient Rome. In putting forward the or¬ availed myself of favorable opportunities gasp if it is suggested to him that the His playing may seem disjointed, badly tral field or that of chamber music a ters who took the instrument seriously. gan as a candidate for the honors that instrument is not particularly well suited to hear services in various churches, and, balanced, lacking in dignity by his ex¬ decade before it had become apparent to His six sonatas for organ undoubtedly have been won by the symphony, the for its polyphonic role. A fugue gener¬ of course, have especially noted the mu¬ plorations in untried tonal fields. But he the world that the methods of his pred¬ are a landmark in its literatue, if only quartet and other forms of chamber ally is a muddy affair on the organ. The sical features therein. I have been often has actually at his command a variety of ecessors had vanished forever. What because they brought forward a new music the sonata of piano and violin impressed with the conviction that many idea or two in the technic of organ great fugal works of Bach are majestic, resonance which, mathematically speak¬ did so great a benefactor of instrumental literature a return simply will be made organists a -e unacquainted with the re- Keep Your art do for the organ ? Nothing. He composition. Since it is impossible to to first principles. even awe-inspiring, not because they are ing, is practically illimitable. Let him sources oi their instruments, or do not composed music for a number of unim¬ please everyone, Mendelssohn probably fugues, but because the genius of a great but utilize a minute fraction of the com¬ take the t: itible to utilize them. In the portant instruments—the baritone, the was not at all surprised when he was When Modernity Began man has entered into them. Contra¬ binations he can employ, and his playing puntal art of that kind is, to be sure, in¬ former c; e, ignorance is the cause, Finger Tips lyra da braccio, the harmonica, the lute, told by the conservative element among This will involve a consideration of the will have great variety. Let him listen dispensable in the education of students which cai even some pieces for the musical clock, the organists that his conatas were, as other of the two impediments that gave be corrected by judicious to a great orchestra and observe with but the organ he left severely alone. the Germans would say, “Klaviermassig;” pause to the great masters when they who seek to become good musicians, but study. In the latter case, indolence is at what skill the composer uses the “color the sooner it is avoided by the newer in Condition that the essential technic of organ per¬ turned their thoughts in the direction of the bottom of the trouble. Notwith¬ effects” of the instruments. To be sure, Mozart and the Organ formance was lacking in them. It is not instrumental art. The polyphonic style school of organ composers the better it standing all the efforts of the American the organist has nothing which takes the will be for their art and for our ears. Rub a little Ingram’s Milkweed Cream Keeping pace with Haydn along the necessary to go further into a statistical arrived at its apotheosis in the music of Guild of Organists and the National place of real strings, but the string stops path of progress, even outrunning him,. investigation of what has been accom¬ Bach and Handel. Modernity in music . Having abolished all the polyphonic Association of Organists to improve of the organ have quite a remarkable into the tips of the fingers twice daily impediments that for so long have clut¬ was Mozart. There were but few forms plished for the organ by the great com¬ practically began when Handel was laid conditions, there are many organists of resemblance to the violins, violas and and the hardness and toughness that tered up the path of progress, it will be of musical art that he did not illuminate posers of music. Mendelssohn was the to his everlasting rest in Westminster reputation who in the service employ violoncellos. The skilled organist, who constant practice at the piano brings first and the last of them. It is more necessary to deepen the emotional value with the magic light of genius. What Abbey in 1759. As the originators of the scarcely anything beyond a conventional understands the art of registration, can will soon disappear. This treatment is Mozart did for the opera, for the quar¬ to the point to find out why the associa¬ of organ art. In discussing organ music newer order Haydn, Mozart and others registration. In some cases they play obtain some extraordinary string effects of exceptional value to the pianiste or tet and other forms of chamber music, tion between genius and the organ col- lately with Mr. Eric DeLamarter, one of were guided by that instinct for the right upon three and even four manual organs, from his instrument. The charming ef¬ violinist who wishes to keep the flesh for the symphony, for the concerto, has Jap®ed after the death of Bach and our most progressive organists and com¬ and the enduring thing, which is part of and yet they rarely use any combinations of her finger tips in proper condition. been acknowledged by every writer of a Handel. And this investigation will have posers of Chicago, that musician put his fects of wood winds in an orchestra as genius; it was clearly perceived that the other than those which they were taught a background to the strings ought to be Ingram s Milkweed Cream is best known treatise on musical history. What did the more point because it has a bearing style of art which had been cultivated for finger unerringly on the weakness of the Mozart do specifically for the organ? upon my plea for a reconsideration of secular branch of that music. Its com- when they were students. To be sure, observed by the organist with scrupulous for its ability to tone up the skin tissues Ce.nt“n“-the polyphonic style—and it is better and safer to employ a regis¬ attention. He can thus absorb many Again, nothing. It may be objected the style necessary for a reawakening of which had reached a climax with Bach, posers. he said, have missed the emotional and to keep the complexion colorful, points of the greatest value to him, perhaps that the catalog of the master’s 1 •interest in the instrument. now was worn out. Only the small fry possibilities by confusing them with those tration which cannot be criticized as be- soft, and free from blemish. Applied which he should instill into his practice works shows the existence of seventeen Two things in my opinion contributed among composers continued to beat their mat are merely sentimental. There can |ng in bad taste rather than one which to the hands it will keep them soft, until results apparently satisfactory are sonatas for the instrument, but these to the neglect of the organ by the great heads against the polyphonic wall- to be no doubt that he is right. Turn over ■s blatant or “thick.” But when there white, and attractive in spite of dish¬ compositions are not sonatas for the in¬ men whose inspiration should have added endeavor to beat Bach at his own g^me in your minds the average Andante in E, are from thirty to seventy speaking stops realized. And then there are the noble water and housework. strument at all in the modern sense; to the glory of its literature. One was Haydn, Mozart, Beethoven, Schubert and the Pastorale in P, the Prelude on some within reach, why use only a three or brasses. These can be imitated by com¬ they are merely pieces—short pieces— the insistence on the part of most peo- hymn tune, the Offertory in A Minor, the bining reed, wood and diapason stops the rest were content to hold the con- four set formulas? Possibly the piston Buy it in either for organ, two violins and a bass; and P'e,,thJat f',e organ was indissolubly viction that none of them could make any- ^ ue tn A Flat, the Fantasia on some ■s the cause of poverty of registration, with good taste and discernment. By Mozart thought so little of the organist wedded to the church, and that the quali¬ hing out of the fugue or the other con- ming or other—what can be done with ft is so easy to shove on a piston. I do constantly experimenting and using crit¬ SOc or $1.00 Size in most of them that he did not even ties of art that might be fitting enough music °f that kind? Is it not strange, uot wish to decry its value. It is cer¬ ical acumen as to the artistic value of malTh I0™5 tHat had not been already take the trouble to fill in his music, but in a symphony never should be permitted made by their predecessors, so they pro¬ too, that organ pieces that pretend to imi- tainly most helpful as well as most con¬ the stop combinations, the organist will provided him with nothing more than a in the music of an instrument which be¬ ceeded bravely along entirely new parts 0„_e ■ st0rras °.r naval engagements still venient. But undoubtedly it is apt to discover that he secures some effects Ingram’s Rouge figured bass. longed to the house of prayer. The ciJVe rra,S ? ImaSine a piano re- cause the player to depend upon it in which ard novel as well as delightful. What did Beethoven accomplish for other cause for the avoidance of the or¬ Sdeeauleer of TIE CentUfy masters had e of all the instruments anrl «tal with Mr. Paderewski performing juost instances rather than upon his in- He will also find that his auditors com¬ " Just to show a Pr°per g'ow ” use a touch of Ingram’s Rouge on the cheeks. A the enrichment of the literature of the gan by the great masters was the poly¬ ' ‘ tollman s grand instrumental sate preparation for delicately heightening the natural color. The coloring matter some of the forms that the modernists ■ e igence to combine stops judiciously, mend his registration and express their organ? Once more, nothing with the phonic tradition, which, it was generally proposed to use; the latter brought into Piece, The Shipwreck! is not absorbed by the skin. Delicately perfumed. Solid cake. Three shades— enjoyment of his work. If organists Light, Medium and Dark. 50c. exception of a rather anaemic fugue believed, was a prime essential of its art them service the violins, violas, violon¬ oth C°Ur.se’ '*■ ,s possible to err upon the m!';™,11 .£.e ,a haPPy period for organ er side. The organist may experi- generally do this, the listeners will begin written when he was thirteen years of Now, in putting in a plea for non-ec- cellos, the wmd instruments, that had ’ b think, too, when it is generally to notice that the organs appear to be KCilkweed Cream, Rouge and Face Powder. age. And Schubert? Nothing. And been a constituent 0f the scores of Bach agreed that the instrument is nofa more s° much that his playing is clesiastical treatment of the organ, one so much more interesting than they had Weber? Nothing. or less humble imitator of the orchestra. aky. He may greatly incommode stands in grave danger of being accused Handel and their contemporaries • the heretofore noticed. The occasional vis¬ INGRAM COMPANY The composers whose names have been and while not much was done in the mat’ ® members of his choir by using °./ttt?lpting to undermine religion it¬ rurhmV? scarce,y more than a merely itor will be struck with the idea that mentioned represent, to be sure, the ter of improving the technic of the men resemblance between that inw6^1'10 comb'nations when accompany- U. S. A. Residents, address: Frederick F. Ingram Co., 43 Tenth St., Detroit, Mich., USA self No such purpose is to be discov¬ organ playing is making real progress, cream of the world’s genius. But so*far who performed on them and in giving ’ tuem. He may arouse the risibles of Canadian Residents address: Frederick F. Ingram Co., Windsor, Canada ered in this paper. There can be no “lu l°0tL reed st°p calIed i'i the organ and that the beautiful “pope of instru¬ Australasian Residents, address: T. W. Cotton, Pty. Ltd., Melbourne, Austrafia the instruments new ideas. And noton y snri-C1°ngregat'on hy endeavoring to as- trumn r " 4d\rinet’ the cor anglais, the ate the Vox Humana with other P t and the orchestral instruments ments” is finally coming into its own. Please mention THE ETUDE when addressing our advertisers. Page 202 MARCH 1920 the etude MARCH 1920 Page 203

Music as Needful as Arithmetic in Schools A prominent western public school in¬ ‘.‘Let music take its place side by side GUILMANT spector not long ago at a gathering of with spelling, reading and arithmetic. music lovers made some very plain state¬ The regular class teacher can do as much Organ School ments regarding the question of the good with the rudiments of music in¬ proper introduction of music into the struction as she can with other, subjects, public schools of Canada. This gentle¬ if she is made familiar with the simple man admitted that the present system of pedagogical principles which underlie the teaching music in the schools was far best methods of sight singing. from satisfactory, and added, “what “To introduce music properly into the _1 • .!_ - 1 . , . .

it is f sieger ing11 tolohT tl^^ews^cifof lankFrank ^atDam- ««*■ ^ | rosch, New York, who had this to say " ° i 'THE coloring ofnf a Corot,Corot. recently: “Music should have a place in every school for rich and poor alike; not and causes the least loss of time and -LthemodelingofaF'^" in the old-fashioned way, by teaching the the style of a S higher grades fifty minutes’a week, in children to shout songs by rote, but by all these are properly c teaching them to sing by note, in order any division convenient to the teacher, that in after life the ‘ will, in the usual school period from the sidered superlatives of ai PISO’S age of six to f tic achievement. And there is equal measure of a plishment implied when we say, “the tone of a Steger.”

Pia no Scratches Vanish Instantly glgSES aaSSSS r?

M. L. CAMPBELL COMPANY Page 204 MARCH 1920 THE ETVDR the etude MARCH 1920 Page 205 T—p : best with one method, and some with an¬ fast rule can be laid down. At each suc¬ ' _ “The Violin Price Problem” other. Pupils of hopeless stupidity are ceeding lesson these three methods would A Pamphlet for Violin Students and Advanced Players found who seem unable to make any naturally be used in varying proportions We are ready to mail copies of this pamphlet, one of the best in our series of Educational Pamphlets, to any progress whatever without having every according to the compositions being beginner or advanced player who will ask for it. It will note of their parts played with them on studied, how nearly the compositions were Schomacker aid greatly in arriving at the solution of the ever impor¬ Department for Violinists tant question of obtaining the best violin lor the price one the piano or the violin by the teacher. perfected, or according to the talent of If the violin teacher is a good pianist the pupil, and the condition of his Style F W We Specialize in student instruments, the prices rang- Edited by ROBERT BRAINE he can assist the pupil very much by technic. iome°worth up to the neighborhood of $110.00—at playing the piano part's to compositions Quite a number of violin teachers rely GRAND which price we have outfitted many professional players. a great deal on their voice in giving les¬ lIf All Would Play First Violin We Could Get No Orchestra Together.”—R. SCHUMANN VIOLINS from $20.00 to $115.00 being studied, as soon as the pupil has BOWS “ 3.50 44 15.00 mastered them fairly well. sons, humming or singing with the pupil CASES 44 7.00 44 14.00 where it would seem to correct or help The quality of its tone Educational pamphlets on all phases erf the violin Assistant Teachers him. If the teacher has a sufficiently jem. Complete list, together with latest quotations < enraptures the heart as its How to Acquire Reading Facility with the Three ’Cello Clefs The very greatest teachers can, of musical voice, this often has its advan¬ course, use methods different from others tages, since he can watch the mechanical beauty of construction de¬ AUGUST SEMONDER 87 50N5 part of the playing, the bowing, finger¬ By G. F . Schwartz Experts in Violins 141 W. 42nd St., New York of lesser note. These great teachers will lights the eye. Subscribe for the “VIOLIN WORLD." A 16-page tmratblj- not accept beginners as a rule, but send ing, and position, while humming or sing¬ ing passages with the pupil. The violincello has a register of about the ’cellist—as well as others who have such pupils to their assistant teachers, the various staff degrees, and name as ence to their location on the instrument) I once knew a violin teacher who was Schomacker Piano Co. four octaves—approximately thirty tones, to become familiar with strange clefs— who get their technic in shape until they quickly as possible the note, by its letter but doing so in strict time, with a metro¬ a rather indifferent player himself, but not counting chromatics; it thus includes to remember that all clefs were at one OUR “SPECIAL” are far enough advanced to be ready for Established 1838 name, which has been pointed out. Do nome if possible. The same process who had excellent success in turning out within its pitch possibilities those of the time nothing more or less than simple the eminent master. If the advanced Philadelphia, Pa.' the same in turn with the two other may then be applied to the G clef, re¬ OCr 10 Tested Lengths, pupils, who uniformly played with fine viola and to a certain extent the violin letters of the alphabet (see “Clef” in pupil becomes careless and his technic staves. (2) Proceed as in number one, membering that this clef transposes ZDLSilk Violin E, for mD1, tone and exceptionally good expression. also. Although essentially a bass instru¬ Grove’s Dictionary of Music), and not gets out of shape he is sent back to the but instead of pointing twice in succes¬ three removes sharpward, that is, one He assured me that he owed all his suc¬ ment, the ’cello lacks, on the one hand, merely devices intended to indicate that Send for Violin and Cello Catalogue assistant teacher. Renowned teachers sion to degrees of the same staff, change sharp will become four and two flats one cess in teaching the violin to a naturally the volume of the contra-bass, and on one must count up a certain number of MUSICIANS SUPPLY CO. who are not expert pianists themselves constantly from one staff to another, sharp in changing from the F to the G fine voice, and a highly developed musical the other the penetrability of the violin, degrees, and then reverse the process usually have a regular accompanist who naming the degrees pointed out in which¬ clef. It is desirable in all these selec¬ temperament. The human voice is, after excepting in the higher tones of the A only to find out the name of the note in plays with the advanced pupil at times. ever clef stands at the Peginning of the tions that the melodic construction should all, the last resort as far as musical ex¬ string. In solo playing, therefore, and some other clef. Those who are satis¬ staff. A violin student who is a good pianist even in concerted music where the ’cello be rather disjunct, as frequent skips will pression goes, and it was his theory that fied with this transpositional method of Second—Select an exercise or pas¬ can often get his own violin lessons free is expected to predominate, the composer be more likely to prevent a mere mechan¬ singing or humming a passage with his dealing with the less familiar clefs have sage from a rather easy study in the of charge by. playing with his teacher’s is very likely to demand frequent and ical calculation of the letter names of pupil gave him an even better idea of their reward, to be sure, but to read bass clef entirely (the selection should advanced pupils. He not only gets his extended use of the higher register of the notes. it, and inspired him to make an even music really intelligently one must learn not go above D on the A string during the instrument. Accordingly, if the After the student has worked for a own instruction free, but has the advan¬ more beautiful tone, than if it had been to grasp mentally groups of notes—just the first attempts—one octave scales and ’cellist is to do anything more than the considerable time away from die instru¬ tage of hearing the lessons of the other illustrated by being played on the violin. as a group of letters is perceived as a arpeggios may be used at the outset), most amateurish sort of playing, he must ment, it will be well for him to play tbs violin pupils. The gist of the whole matter is, to word; and this can be done only by fasten with thin paste—so that it may¬ not only be able to produce tones satis¬ same selections, or others of a similar To sum up; it would seem that the convey the proper conception of a tone knowing the letter names of the notes-as be easily removed after it has served its factorily well up on the A string, but he character, but under no circumstances teacher would find it best to use piano or or passage to the pupil’s mind, no matter they appear on the staff. purpose—a small square of music paper must also be able to read notes with should a tone be played without first violin, or neither, as the demands of the how it is done, whether with voice or any The ’cello student will find no “royal over the original clef and signature, and reasonable facility in the same register. knowing its name. This does not imply pupil seemed to indicate. No hard and road” or short cut in learning to read in upon the superimposed paper write the musical instrument. Whatever opinions may be held as to that “position” reading is entirely unjus¬ three clefs, but there are certain means tenor clef with the signature which the the wisdom or necessity of employing of acquiring first a knowledge of and new clef will require, the tenor clef tified; the present task is that of both the “treble” and the tenor clefs in ulimately a familiarity with them; and if transposes sharpward one remove, that learning to read in the different clefs; addition to the bass or F clef, the fact given a fair chance satisfactory results is, a signature of one sharp will become and while this task is being worked out remains that in most music beyond the Violin Teaching Fees are sure to follow. two sharps, two flats will become one, there should be no relaxation of disci¬ first or second grade the three clefs are First—On a small sheet of music paper and so on. After some practice one will pline, either in reading conlinuously in more and more in evidence as the music AKADEMIE & ETERNELLE The $25.00 violin lesson" (30 minutes) In the United States up to the present write at the beginning of three succes¬ find little difficulty in making these any one clef, or in making sudden changes Silk Strings becomes more pretentious. Learning the has made its appearance in New York. time a fee of $10 per lesson has rarely sive staves, on the first the F (bass) clef, changes mentally; and as soon as this is from one to another. Thus will reading three clefs may be a trying task for the LA FAVORITA & ELITE This is believed to be the world’s record been exceeded for violin lessons, and on the second the C (tenor) clef, and possible the written help may be dis¬ become ultimately not a matter of mere Gut Strings beginner, but it is by no means an in¬ for prices of violin lessons. In this these prices were mainly confined to a on the third the G (treble) clef; one or pensed with. With the pencil the student chance, but an accomplishment based For Sale by Leading Importers and Jobbers surmountable difficulty for the ’cellist two leger lines may be added. (1) Point same scale of prices the charge for a few eminent teachers in New York, Bos¬ will again proceed as in number one upon accurate knowledge and the assur¬ Sole Distributors M. E. SCHOENING CO., Inc- who possesses a fair amount of deter¬ with a pencil to the different degrees of hearing in which the teacher tests the ton and Chicago. above, not only giving the notes their ance which persistent, intelligent effort mination. It may be of some help for any one staff, skipping about freely to talent of the applicant and offers advice proper letter names (without any refer¬ never fails to bring. In New York city a large amount of as to his musical future is $30. At high-class teaching is done by really good these prices violin teaching must surely teachers at from $2 to $5 per half-hour be. classed among the lucrative profes¬ lesson. In Boston a leading conserva¬ sions, for six hours of teaching daily tory quotes half-hour private violin les¬ Teaching Methods in Violin Study would bring in $300 and eight hours $400. Quite a number of violin teachers sons at $2 to $3, with considerable reduc¬ for many years in Cincinnati and after¬ During the rest of the time this teache Four hundred dollars a day for 300 days tion if the lessons are taken three or four have written to The Etude during the wards in Chicago, was an example of a lin or piano with the pupil during the in the year would spell $120,000 per an¬ confined himself entirely to oral explana in a class. There are at least two private past year, asking whether it is better for teacher who did very little playing with entire lesson, how can he give attention num, quite a respectable income. tions and corrections, together with occa to these things?” teachers in Boston who get fees of $10 the teacher to play the violin, or the piano pupils during the lesson. Mr. Jacobsohn sional manipulation of the pupil’s bov This seems like a fabulous sum to pay . Hr.^ Jacobsohn thought highly of giv¬ per lesson, and quite a number in New with the pupil during the lesson, or not was a Russian Jew and had that heaven- arm and fingers. He had an ear of ra for violin instruction, but there is an¬ ing his pupils the benefit of orchestral York. to play at all. born genius for teaching, which is so zor-like acuteness, and continually cor other side to the question. Expert knowl¬ practice, and ensemble work, and had his Teachers, even the greatest, differ very rare. He formed a large number of ex¬ rected the pupil’s intonation. “Too high,’ edge in any profession, law, medicine, Middle West Conservatories advanced pupils grouped into a string much as to their methods in teaching, cellent violinists, who are now scattered “Too low,” “A hair’s breadth higher,’ engineering, music, literature, or ■ com¬ orchestra with piano accompaniment, In leading conservatories in the Middle and a large volume could easily be writ¬ “You are a sixteenth of a tone to( position is cheap at any price, and is no over the world, and all testify how much part playing first, and part second violin. West the prices of violin lessons range ten on the subject. I know teachers sharp,” etc., etc. Then he was contin doubt worth all it costs. From a purely they owe to this great teacher. I be¬ All kinds of compositions were played, from $1.50 to $3, and the private teachers who sit at the piano and play every note ually at the pupil about some specia monetary point of view, the future con¬ came familiar with Mr. Jacobsohn’s overtures, symphonies, suites, and miscel¬ in these cities charge about the same with the pupil during the entire lesson, fault in position or bowing and nevei cert violinist who can earn large sums methods while he was teaching in Chi¬ laneous compositions of all kinds. When rates. In cities of between 100,000 and and other teachers who play the violin rested until it was corrected. A pupi on the concert platform and the violinist cago. During the lesson he sat directly playl"S in puljlic> w>nd instruments were 200,000 the best violin teachers obtain with the pupil at all times. I have also with faulty bowing had to sfop everything who aims to make violin teaching his at the right of the pupil, where he could added, making a complete symphony or¬ fees of $1.50 to $2.00 or possibly more in known teachers who very rarely touched and go home and practice until his bow¬ profession can afford to pay very large grab the pupil’s bow arm when he made chestration. special cases. In the smaller cities it is either violin or piano during the lesson, ing was in good shape again. fees for expert instruction, since he can the least wrong movement. I remem¬ Other teachers have different ideas, probable that the bulk of the teaching is and relied almost altogether on oral ex¬ earn much larger fees if he has the ad¬ ber that there was a piano in the room, At the Pupil’s Elbow and play more or less during the lesson. done between 75 cents and $1.50. planations, and at times guiding the mo¬ vantage of having been educated by a but it was loaded down with about half There, is no doubt that with the aver¬ really great teacher. At $25 a lesson tions of the fingers and the bow until . 0f course, in the case of pupils study- The large fees which are being ob¬ a ton of books, and was rarely opened. ing concertos and advanced violin pieces, age pupil, especially during the first two an advanced pupil could get two years’ the pupil grasped the correct method. tained by eminent teachers in the large His violin in its case, occupied a place he arranged for their rehearsal with years the best results are obtained by the instruction (40 weeks to the year) for The ideal teacher, to my mind, would cities cannot but prove a great benefit to on a stand nearby, but he seldom took it piano or orchestral accompaniment when teacher sitting at the pupil’s right hand, $2,000. At six per cent, this sum yields the profession of violin teaching at large, be the one who combined all three of out. I remember sitting in his room for they were approaching a finished condi¬ and playing only occasionally during the only $120 a year or $10 a month. Aside for it will awaken the public to the value these methods, using each where it would three hours on one occasion, during tion. At the period of which I am speak¬ lesson. At the same time it is very help¬ from the intrinsic value of the instruc¬ of the work of really first-rate teachers. be to the greatest advantage of the pupil. which he gave six lessons. During this ing, Mr. Jacobsohn did not disdain to ful to the pupil to spend a certain portion tion, the prestige of having studied with Special skill in music teaching has long It is evident that every pupil is different, time he played not one note on the piano, teach comparative beginners as well as of the lesson in illustrating certain pas¬ world-famous teachers would alone bring sages by playing them on the violin. It been recognized in Europe, but in this and a somewhat different method must and only one single phrase on the violin. advanced pupils, and took the most ex¬ back many times this sum. also seems to help the pupil to play the tsetion guaranteed. Mercury Music Co., 165 V. 46th St, New York City country the people in search of expert be used in instructing him according to This was when a pupil failed to bring a treme care in giving them from the first We have had the $25 vocal lesson for passage in unison with him on the violin teaching have too long run after artists his needs. phrase out broadly enough on the G a correct method. Of teaching pupils in some years in this country, and there occasionally. A certain amount of piano simply on the strength of their success A Great Teacher string. The pupil failing to grasp the the earlier stages of violin playing he have been cases of even higher fees Playing is also a help. When pupils on the concert platform without inquir¬ idea after several explanations, Jacob¬ said: “It is necessary for the teacher to having been paid for piano lessons, where The late S. E. Jacobsohn, who for hear the accompanying harmony to a ing sufficiently as to their special ability sohn seized his violin and played the G be at the pupil’s elbow at all times, cor¬ the teacher was a world-famous artist. many years was concertmaster of the piece or exercise they often grasp it in teaching. There are many skillful and string passage with trumpet-like breadth recting mistakes in position, bowing and Before the war, the greatest violin Theo. Thomas (now the Chicago) or¬ intonation. The teacher must keep close much sooner than they would otherwise teachers in Europe rarely charged fees even famous violinists, who are entirely saying as he did so: “Play this phrase do. The talent of a pupil enters very chestra and who taught violin playing like a baritone voice.” watch of every move the pupil makes, in excess of from $10 to $12.50 per les¬ incompetent to teach, and who could not and if he is continually playing the vio¬ appreciably into the problem of how he son, and the lesson was usually from 45 turn out really good pupils in a hundred should be taught. Some pupils thrive minutes to a full hour in duration. years of teaching. Page 206 MARCH 1020 THE ETUDE the etude MARCH 1920 Page 201 THE BEST ORCHESTRAS ARE USING THESE 1 Have Music NUMBERS IN PHOTOPLAY THEATRES Wherever MUSICAL AMERICA Question and Answer Department The leading International Musical You Go Weekly Newspaper Devoted to Conducted by Arthur de Guichard the Musical activities of the world. ' This is not a novelty, but a most prac¬ Profusely Illustrated tical and sensible arrangement of a phono¬ graph, with superior mechanical parts, Subscription Price; for One Year: Always send your full i address. No questions will be red when this has for convenient transportation. been neglected. Domestic . . $3.00 Only your Initials or a chosen nom de plume will be printed. Canada . . 4.00 Cirola Make your questions short and to the point. Foreign . . 5.00 PORTABLE PHONOGRAPH d Is very small; so small, that I gradations of t an octave, althouyh I can just of phrasing wl h very great difficulty and some ticially understood, i Tfc-MUSIC TRADES The landing Weekly^ Paper deviated

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BhotIIERS MUsS£ PR,NTERS m ENGRAVERS Page 208 MARCH 1920 THE ETUDE the ETUDE MARCH 1920 Page 209 Junior Etude Competition Honorable Mention for The Junior Etude will award three pretty prizes each month for the best and Compositions ATTENTION! neatest original stories or essays and Paul Sullins, Portia Evans, Marjorie Warner, Ruth M. Weissenborn, Mildred answers to musical puzzles. Hungerford, Josephine Stark, Edith Subject for story or essay this month. Adler, Alyce Barnes, Peggy Miller, Vic¬ “Why I Like to Practice.” It must con¬ FMLM tor Townley, Virginia Elver, Mary Richie tain not more than 150 words. Write on Riviere, Margaret Dyson, Lenore Alford, —Recently Issued— one side of the paper only. Any boy or Mary Pearl Ballard, Kunnegunde girl under fifteen years of age may com¬ The Following Well Known Works Arranged by Draeger, Bernice Weller, Ethel G. Frost, pete. Mildred Elkes, Ada M. Hartley, Mildred EDMUND SEVERN All contributions must bear name, age Trautwein, Vivian F. Sheals, and Mar¬ DREAM PICTURES, Op. 23, By Jules Devaux and address of sender, and must be sent garet Adams. ___ to Junior Etude Competition, 1712 Chest¬ Antoinette. A Stately Measure. .(2A) nut Street, Philadelphia, Pa., before the Puzzle Corner Love’s Message. Chant sans Paroles. .(2A) twentieth of March. Danse Antique. Intermezzo. .(2A) The names of the prize winners and Hidden Words Danse des Sylphes. Air de Ballet. .(2B) .(2A) their contributions will be published in By Grace L. Titsworth (Age 13) Arcadian Shepherds’ Dance. Twilight Meditation. Mclodie. .(2 A) the May issue. Follow these rules care¬ (Find ten musical terms in the follow¬ Punchinello. Morceau Grotesque. .(2B) fully when entering the competition. ing sentences by combining the last part Cathedral Chimes. .(3A) CONDUCTED BY ELIZABETH A.GEST Solitude. .(2A) of one word with the first part of the MY FAVORITE INSTRUMENT Apollo March. .(2B) following word) : (Prize Winner.) Whys and Wherefores Many pianos, harps, violins and other Complete in one volume, Edition Wood No. 878 The Bar Who Knows? One clay I read a book which devoted instruments were in the room, but no¬ Are you a why-and-a-wherefore kind 1. What is a tambourine? a paragraph to a description of a girl Price $1.00 where stood a little pianoforte, the kind of person? By Gwen M. Skett 2. What is the lowest tone that playing the harp. So wonderful was the CADMAN, CHAS. WAKEFIELD, Op. 40. Love Song. . (3B) Elsie wanted—or rather not Elsie but her Sometimes that is considered an unde¬ can be played on the violin? DUCELLE, P„ Op. 24. A Twilight Reverie.(3A) description that the harp became my fav¬ unfortunate sister. “Oh,” said Elsie to sirable kind of a person to be, a kind of 3. Of what nationality is Caruso? orite instrument. CLOTHILDE. Drifting. Waltz.(3B) Have you ever thought why we call your eyes not on the spot before the herself, “if I never get Rilla another KEATS, F. Voices of Spring.(3A) nuisance and curiosity box. Haven’t you 4. Who wrote the opera II Trova- Every one that I told about my favorite often been told not to ask so many the lines that are drawn throughout hurdle (the end of the bar) but on the thing I must get her a little pianoforte LYNN, L„ Op. 24. Sweet Lavender.(3B) music staves “Bars”? tore? instrument thought that I was very silly, questions, when you merely wanted to spot where you will descend (the be¬ while she is sick. If lately I had not been METCALFE, B„ Op. 37. Golden Rod.(3A) Perhaps you have called them “bar- 5. How many Hungarian Rhap¬ for, as I had never heard it played, how know the why and the wherefore of ginning of the next one). so busy with Nell I never should have lines”; that is a careless habit a great sodies did Liszt write? was I to know whether I liked it or not ? things ? Now look at these measures: been in such a rush to-day.” But after a many of us have, for the real name of 6. Which pronunciation is correct, Finally, I went to a concert and heard - Also Shortly to Appear - Anyway, as far as music is concerned, while she succeeded in finding a piano¬ these lines is “Bar”. The bar shows that py-anist, or pian-ist? a man play on a harp. He played some asking questions is a good thing to do, forte, and managed to be at home in time TEN PAGEANT EPISODES, Op. 21, By Felipe Martinez the next note will be a strong pulse, and simple melodies for which the harp and your teacher will not tell you that 7. What is meant by a % chord? In both sheet form and complete in one volume the weak pulses are “leading up” to, and seemed to be made. One could almost you are asking too many, but will be 8. Who wrote the Lost Chord? “progressing” over the bar to the strong hear words! The music carried me away Answer to January Puzzle glad to tell you everything you want to 9. What is a quintette? Arrangements can be made to procure the above “On Approval” through beat. Now, doesn’t that give you the Number three belongs to the jump to an enchanted land, and when I came 1. Bars; 2. Fine; 3. Base; 4. Run; S. know, and to explain things more clearly 10. From what is this taken? your regular dealer, or write direct to the publishers, giving your dealer s name. idea? back to reality I knew that the harp really Line; 6. Pause; 7. Rest; 8. Space; 9. that you may not have understood. (progression, we generally call it) that The bar is a sort of horizontal bar “one” and “two” took; four, five, and six was my favorite instrument. Scales; 10. Flat; 11. Tenor; 12. Meas¬ When you go to your lesson, be sure over which the pulses jump onto the belong to the jump that you are going Mary Miller (Age 12), ure; 13. Swell; 14. Sharp; IS. Line; 16. that you understand clearly all of your next strong one, making the whole piece to take to seven. Althonugh three and New Britain, Conn. Treble; 17. Line. teacher’s directions and explanations and somewhat like a hurdle race. Now, four stand next to each other, their faces Prize Winners—Alice Mae Arters Gbe S3. ,ff. wnoob music Go. ask why one thing is right and another when you jump over your horizontal are turned in opposite directions, and MY FAVORITE INSTRUMENT (Age 11), Downingtown, Pa.; Eleanor thing is wrong. Ask why a note is writ¬ Answers to Last Month’s 246 Summer Street, Boston 9, Mass. 29 West 38th Street, New York bars in gymnasium you do not come they belong each to a different set of (Prize Winner.) Nullen (Age 12), Bridgeport, Conn., and ten D flat instead of C sharp. Why the ALSO AT NDON down on your heels with a thump, do pulses. Now where is number nine Questions I like the piano better than any other Ruth A. Fredericks (Age 10), Canajo- thumb has to go under on a certain key, you? Then you must not come down going? It will still jump over the bar, 1. The C clef is used for some instru¬ instrument because it has an orchestral harie, N. Y. why major and minor chords do not with a thump on your strong beat, but but it will come down so silently that you ments and voices and gives middle c for effect and is one of the most perfect in¬ Honorable Mention—Glenn Gardiner, sound alike, why a Berceuse does not just take a firm stand on it. won’t even hear a sound at all. the middle line of the staff. struments made. The instrument as built Gladys Cook, Peggy Miller, Marguerite sound like a Mazurka, and a thousand Now one more thing about the bar other things. The curved line over the whole is an 2. Mozart wrote Don Giovanni. to-day is the result of years of evolution. Stalker, and Dorothy Coggshal. A SUCCESSFUL SEQUEL TO THE and the strong pulse. When you have aeroplane, flying over the heads of the 3. It is an opera. It is capable of imitating many sounds, Your teacher will not think that you made one jump in a hurdle, race, you notes and over the bars, to drop down for example, the wind, a singing choir, “BEGINNER’S BOOK” are inquisitive; she will be glad that you 4. Castanets are small pieces of bone Sleepy Susan turn your face straight to the next one, and alight—oh, so softly!—at the end bells, an echo, raindrops, etc. It does are so interested in the whys and the or wood which when clapped together and prepare for your next one, keeping of the phrase. this so well that it has been known to By Dorothy M. Hildahl wherefores of music. produce a clicking sound. lead one’s mind to sleep by its soothing 5. Leoncavallo died during the sum¬ Susan was half asleep at the piano THE STUDENT’S BOOK tones when well played. mer of 1919. practicing her lesson, but getting no good The piano has more tones than any School of the Pianoforte Making Mistakes 6. His best-known work is the opera from her work at all. Then, all of a sud¬ Concerning Fairies other musical instrument and is capable Your brain is a very funny thing. Do I Pagliacci. den, she discovered that she had company- In practicing we have to go ever tl of sounding more tones at once and is By THEO. PRESSER PRICE, $1.00 you know anything about it? We are 7. Louise Homer is an American. right on the keyboard, and all around her same notes on the piano many times unt therefore my favorite instrument. By Susie Gallup told that it is soft and grey, and that our 8. D C is the abbreviation for Da were a dozen fairies listening to her laz¬ the little paths in our brain become wot Alice G. Weld (Age 13), Intended to follow THE BEGINNER’S BOOK or any other thoughts and actions make little tracks or deep enough for the thoughts to sli Capo and means return to the beginning. ily practicing scales. They spoke to her Clinton, Ill. first instructor, this volume has met with a flattering reception. It “Mother, may I go over to Marie’s paths in it. over them to our fingers easily an 9. A Saraband is an old stately dance like this—“Watch us dance up and down quickly. in slow % time. the keyboard. See if you can make your bridges the gap between the instruction book and the graded course house?” asked small Susie. For instance, when a thought or action MY FAVORITE INSTRUMENT 10. Minuet from Don Giovanni, Mozart fingers go as we make our feet go, never “Why, Susie, don’t you remember you goes over the same path a great many That is why it is so hard to correct (Prize Winner.) or the conventional series of studies and exercises, missing a step.” times, that path becomes worn and the mistake. The little thought goes dow I have heard many instruments played, only practiced about fifteen minutes Susan tried her best. “Surely,” she action slips over the path very easily. a path in the wrong direction (or to Musical Game to Teach Notes but to me there is none so appealing as yesterday? You promised faithfully that thought, “fingers should be able to go THEO. PRESSER CO. Philadelphia, Pa. Then we call it a habit. wrong note), and we have to force it ini the violin. It pleads with us, begs with you would make it up to-day, if I would on Lines of Bass Clef faster than feet,” so she began to play a new track (or to the right note). us, and softens our saddened hours and l«t you stay out and play with Doris and It is hard to break a habit, because the The children skip round in a circle and the fairies watched her, and cor¬ So do not give your poor little brai our harsh hearts. Tf the player is bright Marie yesterday.” thought or action has to make a new path smging, to the tune of Lightly Row: rected her every time she made a mis¬ extra work to do by making mistakes i and gay, so is the violin; its happy music instead of following the old one. G, B, D, F, and A take, and told her to go over that place *Er—er, yes, but I had forgotten. Oh, your practicing or by forming bad habit cheers us and makes the whole world 1= An Excellent Vacation for Your Daughter f wonder why I do so hate to practice?” On the Bass Clef always stay, LET HER SPEND THIS SUMMER AT A BEAUTIFUL CAMP SPOT IN THE WHITE look bright and gay. Then the fairies jumped up on the key¬ wailed Susie. On the lines, as you know, I have never seen inside of the violin, MOUNTAINS WHERE SHE CAN COMBINE ADVANCEMENT IN Reading up we go. board again and tried to dance, but, dear “Well, I have a plan,” said her mother. but there must be many music fairies in me; they could not dance to Susan’s The Study of Music With the Joys of Out-doors “Let’s pretend that each key is a little And in Music Land you see, it as we read in stories. There must be This Camp School is situated on Asquam Late, Holdemess, New Hampshire. The campers have DAILY He can read who has the key, music at all. “Susan,” they all sang at fairy and if you don’t practice and make bappy fairies and sad ones, and bright MUSICAL INSTRUCTION AND STUDY, but a great part of the day enjoy all the pleasures of out¬ G, B, D, F, and A once, “you forgot to count, and how can door life—tennis, safe canoeing and bathing, etc. The Preceptress is well qualified to care for girls awa the fairies dance and sing they will soon ones and dull ones, besides many other-. On the Bass Clef stay. we dance if you do not keep time?” home. Classes, young women and girls over twelve. MAKE YOUR - grow old and stiff. Then when you want So let us make the violin our friend and So when Susan discovered that she was The children pause and face in; there to play your piece for people the little learn to love it dearly. playing for a fairy dance she just had to is a child inside the circle who now holds fairies will be so stiff they won’t be able Helen E. Doyle (Age 12), keep time, and she found that it was not HOLDERNESS SUMMER5 Music for Girls up a card with the bass clef and points Oshkosh, Wis. to dance, hnd people will think you play very hard, after all. quickly to any line, calling on a child very badly.'1’ At the end of her hour the fairies all who responds with the name of the note “Oh, that’s a fine idea,” exclaimed disappeared, and Susan ran and told her or goes out of the game. Letter Box Susie. “WhW I am practicing my ugly Dear Junior Etude: mother how she had been playing for a nVIP HairPins scales and exercises I will be making the The song is repeated as often as desired. I have been taking The Etude for sev¬ fairy-dance. “I had such a lovely time,” little fairies dance, and so when I play eral years and I like it very much. It she said, “and I do hope they’ll come my piece they will be so limber they will helps me with my music so much. I am again, and I will try to play a little bet¬ Dr. Ills just hop up aijd down making pretty * member of the Harmony Class of ter every day.” Made some pills Keep the Hair in Place music.” Selma, and we like to try to figure out the Different Sizes-54and 104 Packages Everywhere For his patients many. “That is the idea, exactly,” said her Puzzles in The Etude as well as to read Get busy now, for the imp HAifTPit mother. But, wondrous thing! all the other interesting things. They learned to sing Mary Logue (Age 13), Spring Recital And now he hasn’t any. Selma, Ala. Please mention THE ETUDE when addressing our advertisers. Page 210 MARCH 1920 the etude the ETUDE MARCH 1920 Page 211 Masterly Transcriptions Melodies Without Notes Bon Bon Dish. Quadruple silver plated. of Three Classics By Mrs, H, B. Hudson p0lyph°nic Studies Advanced Study Pieces Standard American Album Silver Thimble. for the Piano We had hoped to have this work out in for the Pianoforte for the Pianoforte for the Pianoforte Paperoid Wallet—Larger Size. It is not with undue enthusiasm that time to fill advance orders before the There is rather a scarcity of works of This work is very nearly ready, but the This book should not be confounded Speedy Stitcher Sewing Awl. the Theodore Presser Company calls at¬ present issue of The Etude was in the this kind for the piano. Considering the special introductory offer will be con¬ with our Album of American Composers Picture Frame (Non-tarnishable Plat¬ tention to three recent publications that hands of the readers, but owing to delays ereat benefit and the educational value tinued during the current month. This which was recently published. The Stand¬ inoid. Oval or Oblong. 4x6 in.). are contributions of the highest order to we are not able to make that announce¬ „f counterpoint playing, it is a wonder will prove to be an unusually desirable ard American Album is one of our series Brush and Comb Set (Imitation Ivory). published compositions for the piano. ment; however, we expect that this that there has not been more studies of volume for piano students who are some¬ of albums printed from the special large It is rather difficult to name one of these will be the last month that this work will this kind produced. Of all the great vol- what advanced. We can give a partial plates, and it is primarily a collection of For THREE Subscriptions above the other since each represents a be offered at special price'. „me of pianoforte studies that Czerny has list of the contents as follows: Impromptu teaching pieces by contemporary American (Not Your Own) different style. written there is but one book of poly¬ writers. An unusually large number of This is a little volume that has no notes in C# Minor, by Reinhold; By the Sea, by Cooke, J. F. Mastering the Seales. phonic playing; that is, part playing, and Posca; In Springtime, by Noskowski; Oc¬ pieces is included, and some of them are We will first call attention to the Chopin connected with it, all the playing is done Enables the teacher to start scale study Waltz in D flat arranged by Moszkowski. yet in actual practice the average musi¬ tave Intermezzo, by Leschetizkv; From the among the most attractive of numbers of by letters, as was explained in our last with very young pupils and carry it on cian is concerned in part playing about as Garden, by Pesse; Japanese Studies, by their character ever written. The pieces to the highest degree of proficiency with Always a favorite piano number this issue. It will be taken up only with the waltz has been greatly enhanced by Mosz¬ much as in everything else. Besides this Poldini; Song of the Kankakeet, by Morey. in this volume are chiefly of the third advanced students. very first lessons and the very youngest NEW WORKS. Orchestra Department kowski in such a manner as to make this there is that intellectual training that is This list of pieces will give one a very grade, some are a little easier and a very Hanan, C. L. Virtuoso Pianist (Com¬ arrangement superior to all others and the beginners. It is a sort of tonic sal fa for acquired by the concentration of the mind good idea of the general character of the few a trifle more difficult. plete). Advance of Publication Offers— The new and fully equipped Orchestra the pianoforte. The success of previous i that have to be volume. All of these pieces possess tech¬ The special introductory price in ad¬ Department of the Theodore Presser Com¬ one that should be in every concert pian¬ Heller, Stephen. Thirty Selected Special ist’s repertoire. works of this kind that have been pub¬ brought out. ,'e personally lay the nical quality as well as musical merit. vance of publication is 50 cents per copy, Studies. The best studies from the most March, 1920 Offer pany offers every orchestra leader, no i this work. It is one Price Many well-versed musicians agree upon lished warrants us to believe that there is Greatest stress The special introductory price in ad¬ postpaid. popular opus numbers. Advanced Study Pieces. matter where situated, the prompt, careful „„„n be takenFall up from the very start; and convenient service that has for many the extraordinary ability of Edward a demand for this work, and we therefore vance of publication is 35 cents per copy, Leschetizky Method. The Modern Easy Arrangements of Celebrated Pieces it will not contain very difficult poly¬ First Studies for the Violin Favorite Old-Time Tunes, V & P. years been enjoyed by thousands of mail¬ Schuett to add the finishing touches to a look forward to a very pleasing reception postpaid. Pianist (Prentner). phonic playing, but it will be a sort of Fifty Violin Studies in First Position, order patrons for musical publications of classic for the piano. Schuett has made a for the work. By R. Hoffman Mathews. Standard Graded Course of Levenson . most beautiful arrangement of Rubin¬ continuation of a book of first studies by Studies (Any three grades). First Studies for the Violin, Hoffman, other classifications. Our special advance price for the work, Standard Elementary Album Opus 25, Book 1 Op. 25, Book One. Not only has a large and general stock stein’s Melody in F, and this number, postpaid, is but 35 cents. Bach, and we highly recommend the work Phillip, 1. Preparatory School of for the Pianoforte This is one of the standard elementary Four Octave Keyboard Chart . of orchestra and band publications been which will forever live in the hearts of to our readers. books for violin used by nearly all teach¬ Technic. Daily practice in technical es¬ Introductory Polyphonic Studies music lovers, can most effectively be pre¬ Our introductory price is but 40 cents, This is another one of our new albums sentials. Melodies" Withe Notes, Hudson. gathered together, but we have secured The Four-Octave ers. It is a book which may accompany New Anthem 1.. also a personnel thoroughly acquainted sented by the pianist using this unsur¬ postpaid. printed from the special large plates. It or follow any first instruction book; it is a Standard Concert Etudes. New Indian Song Collection, Lieurance. with the peculiarities and special needs passed arrangement by Schuett. Keyboard Chart consists of first and second grade pieces book that many teachers feel they cannot Bender G. C. Business Manual for of orchestra work. For a number that stirs and electrifies, We had hoped to announce that the Part Songs for Men’s Voices taken from all writers, classic, modern and get along without. The studies are of Music Teachers. On another page there is listed selected Ernest Hutchinson’s piano arrangement of Keyboard Chart would be on the market contemporary composers being included. moderate length and tuneful, adapted to Orem, P. W. Harmony Book for Be¬ numbers from our stock that are now the Ride of the Walkure is superb. The at this time, but owing to the scarcity of By W. Berwald It will probably prove to be the most ex¬ the young student. ginners. being widely used. These suggested num¬ possibilities of the rendition of this are labor it was impossible to complete the This book " ill soon be ready, but we tensive collection of elementary pieces The special introductory price in ad¬ Photogravure Pictures of Composers Selected Violin Studies, Second and in characteristic pose (Wagner, Schu¬ Third Position, Levenson . bers or any other published number may unlimited, and we earnestly advise every work. We are therefore continuing it on are continuing during the current month ever issued. Every number has been se¬ vance of publication is 25 cents per copy, Songs and Dances from Foreign Lands, be obtained promptly by mail order from artist pianist to add this to his reper¬ the special introductory offer. This will lected with the greatest care and all are postpaid. bert, Liszt, Mozart at Salzburg, Bee¬ Paloverde ... the special offer for the next month at gems. The young student taking up this Standard American Album .... this company. toire. least. prove to It one of the best collections of thoven). Any four. part song- lor men’s voices ever issued. album will find attractive recreation ma¬ Standard Dictionary. Standard Elementary Album. Remember the Theodore Presser Com¬ _ Teachers should always be sure to in¬ This chart has two purposes: it can be Advance of Publication Teaching Song Album pany has specialized for over thirty-five sist on these arrangements, for in addition The larger number of pieces in the book terial extending over months of work. Picture Frame (Oval or Oblong—5x Twenty Progressive Stu used as a silent keyboard for practicing Offers Withdrawn Studies, Greenwald. '.35 years in supplying music publications by to being ideal for the concert pianist, they are origin..positions by Mr. Berwald The special introductory price in ad¬ 6% in.). The two following works, promised for mail order and is thoroughly equipped to possess those excellent qualities a teacher the five-finger exercises on the table, or which haw mo, it before appeared; these vance of publication is 30 cents per copy, Gold Bangle. Attractive Design. it can be placed back of the keyboard to some time, have now appeared from the Victrola give the music buyer the best possible desires in numbers for advanced students. are both I and secular. In addition, postpaid. Solid Gold Bar Pins. Old Rose Finish. service. aid the beginner in becoming acquainted some verv -n rssful songs and part songs press, and the advance orders will be Cream Ladle. Records with the staff, the notes and names thereon, filled about the same time as this issue Black Crepe Grain Morean Lined Bag. Orchestra and band publications here¬ Easter by other'wriirrs have been especially ar¬ Our Mail Order business in Victrola tofore were not carried on a large scale, etc. A chart of this kind should accom¬ ranged In 'Ir Berwald, making altogether Nursery Tales Retold makes its appearance. Air Gun. records has been steadily on the increase but now that the equipment is at hand Music pany every instruction book, for there is a most alii " tiw volume. The pieces Are By Geo. L. Spaulding These works are now on the market regularly, and any of our patrons who since the cut in prices on Red Seal records to properly take care of these branches, Choir directors who have not yet secured no quicker way of learning the notes and all of iniei nioiliate difficulty and they may (Four-Hand Pieces for last July. A good many of our patrons orchestra leaders are invited to test the the position on the keyboard. be learned m i t Ii a minimum of rehearsals desire to examine them at our regular, music for the Easter Services, are urged the Pianoforte) professional prices, are cheerfully invited got the impression that this reduction in prompt and efficient service with the best Our special introductory price is but 20 by most any club or singing.society. price was only temporary, but we wish to to avail themselves of our “On Sale" plan This book is now on press, but the to do so, witli no responsibility except the possible prices that now awaits them. cents, postpaid. say that the new prices as listed are per¬ to secure the excellent material which we The special introductory price in ad¬ special introductory offer will be continued transportation. Special Notices manent. are offering this season. We are listing a vance of publication is 30 cents per copy, during the current month. It is a new Musical Theory and Writing Book, by With very few exceptions Red Seal rec¬ Piano Playing with number of novelties which will appeal to Twenty Progressive Studies postpaid. number in the attractive series for four Tenth, 75 cents. ^ ANNOUNCEMENTS ords formerly selling at $2 $3, $4, $5, $6 Piano Questions all interested in good music. for the Pianoforte hands, preceded by You and I and Just Twenty-five Melodies for Eye, Ear and and $7 are now. listed at one-half these By Josef Hofmann Favorite Old Time Tunes We Two. It is of about the same grade Hand Training, by Bilbro, 75 cents. figures. By M. Greenwald of difficulty as the two preceding; all of We cannot too highly recommend this Easter Solos. WANTED and jSALE | It is very generally known that a great This is a new and most attractive book for Violin and Piano the little duets lie either in grade one or j FOR work. The mere fact that it is read by These Rewards for a shortage of Victor records exists at the Lord of Life and Glory, high or medium of studies. They are of about the same This work is very nearly ready, but the in grade two. Each piece, written in char¬ almost every one around this establish¬ Few Odd Moments present time, due to the fact that the Vic¬ voice, F. A. Clark. degree of difficulty and of similar charac¬ special introductory offer will be continued acteristic vein, has appropriate verses ment warrants us in unhesitatingly recom¬ If you will mention to your immediate FOR SALE—Flight Organ Books—Bach. tor plant for over a year made no records Easter Dawn, medium voice, C. P. Scott. during the current' month. This will prove which may be sung ad lib; and some of mending the book. Since the last issue ter to those by Streabbog, Opus 63, but acquaintances the many good things that Organ Sonatas, Mendelssohn, Rheinberger. at all, but devoted its entire facilities to Christ the Lord is Risen, medium voice they are decidedly more modern. They an admirable book for violinists of modem the familiar old nursery tales- are again one opera score, other organ music. Condi¬ there has been an addition made to the Delafield. The Etude contains and get their sub¬ the manufacture of war materials. Dur¬ will undoubtedly prove most entertaining attainment, offering, as it were, a wealth of set forth, but in modern guise. tion excellent. Address Miss L. F. Thayer. ing this period the demand for Victor rec¬ work. The article that Mr. Josef Hof¬ the old and favorite melodies; just such scriptions, collecting $2.00 for each one, 33 Manhattan Ave., New York City. mann has had in The Etude will become Easter Duets. to the young student and in addition they The special introductory price in ad¬ ords increased at a wonderful rate and it things as violinists are frequently asked we will send you, as a reward for your a part of this work. There has been no will afford splendid practice material. vance of publication is 30 cents per copy, trouble, any of the following albums and REWARD for address of F. Handley has been impossible for the company to Christ Victorious, for alto and tenor, to play in gatherings. The book is es¬ postpaid. Wells, music teacher. W. France, Scarboro, “catch up.” article published in The Etude for late Roberts. Each study is devoted to some particular pecially rich in the old-time jigs, reels premiums as given: years that has raised such an amount of Canada. We, however, do not confine ourselves to I Am the Resurrection, for soprano and point of elementary technic and each is and other dances. For ONE Subscription enthusiasm and discussion as this article written in characteristic vein; some of the Easy Arrangements of any one supply center in keeping up our alto, Stults. The special introductory price in ad¬ (Not Your Own) stock of Victor records. We are buying by Josef Hofmann on “The Indispensibles studies are almost like pieces. Celebrated Pieces Cramm, H. L. New Tunes and Rhymes ANNOUNCEMENTS Easter Morn, for soprano and alto vance of publication is 20 cents per copy, Rate 20c per word records wherever we can locate them,'and in Pianistic Success.” This article will be Schoebel. • The special introductory price in ad¬ placed at the end of the work. postpaid. for the Pianoforte for Little Pianists (with words). therefore have in stock a good many rec¬ vance of publication is 35 cents per copv, Grieg, Ed. First Peer Gynt Suite, Op. This book will be one of the most im¬ The idea of simplifying difficult piano 91DSIC COMPOSED—Send words. Manu¬ ords which cannot be had from ‘head¬ Easter Anthems. postpaid. 46. scripts corrected. Harmony, correspondence quarters. portant additions to piano literature that compositions is rather an innovation. This Now is Christ Risen, Clark. Teaching Song Album has not been done until recent years. Mathews’ Standard Graded Course, 10 lessons. Dr. AVooler, Buffalo, N. Y. We have just issued another list of rec¬ we know of, so while you have a chance The Risen Lord, Morrison. A New Anthem Book There is a distinct class of songs that There has always been such a halo encir¬ grades, any one grade. Y OCR DEATHLESS SMILE—Appeal¬ ords which we have personally tested and to purchase it at about one-half price Modern Dance Album. Standard Bril¬ why not take advantage of it? The work¬ The Resurrection, Stults. the voice teachers use for education. They cling these master pieces that it was con¬ ing lyric, music by Leo Friedman, author of can recommend. It is hardly necessary at this time to liant Album (27 pieces). ’s one that every pianist and piano teacher Welcome, Happy Morning, Rockwell. explain to our readers the purpose of this are not necessarily difficult, but are suit¬ sidered a sacrilege in any way to tamper "Meet Me To-night in Dreamland.” Words by The complete 1920 catalog is also ready. able for the development of the singer’s Standard First Pieces (72 pieces). Lona M. T. Clarke. War Memorial Song to should have. At the Lamb's High Feast, Stults. book. We have already issued about ten with them. We think differently now; If you want anything new in the line of As it Began to Dawn, Martin. voice, and it is with this in view that the , everything is made in miniature to edu- Young Players’ Album (70 pieces). BoyS Who “Met Death Smiling" in France. Victor records, send your orders in to us. Our special advance price is but $1.00. of such works and all have been immensely Bugbee, L. A. First Grade Studies, Now ready to mail. . Fifteen cents, postage popular. It gives choirs a great many of present volume is being compiled. It is ' cate the ehild and to prepare the pupil for paid. Order from North American Music It is well in ordering to indicate a second Easter Anthems for Women's Voices or sort of a studio volume; that is, educa¬ higher flights. In the playroom will be choice of records owing to the shortage the best anthems, bound in suitable form, Publishing Company, Grand Opera House Selected Studies for the Juvenile Choirs. tional and at the same time beautiful, not found miniature locomotives, automobiles, Paperoid Wallet. Bldg., Chicago, Illinois. above referred to. at a very minimum price, about one-third Manicure Set (five pieces). Violin in the Second and of the cost of the usual octavo music. always suitable for public performance. histories of England and the kings. The We send all orders amounting to $3 or Alleluia, Alleluia, 3 parts, Brander. There is nothing of any unusual compass Hanger Sets. MANUSCRIPTS prepared for publication. Third Positions Hosanna, 2 parts, Granier. Every one of these anthems has been tried classic writers have all been made over Music composed to words. Compositions criti¬ more postpaid to any part of the United or difficulty, but the songs are all of a to suit the child. Voaks, Dr. Pocket Doctor. States, safe delivery guaranteed. By Chas. Levenson Christ is Risen, Warhurst. out, and it is only the cream of our cata¬ cized. Irving Gingrich, 646 Belden Ave.. practical nature. For TWO Subscriptions If you do not own a Talking Machine, After the young student has completed logue that is included in these books, so We are now doing just the same thing Chicago. that any one who has to do with choir Our special introductory price for this in music, and music is very suitable to ex¬ (Not Your Own) let us hear from you and we will mail you the work in violin playing in the first Easter Anthems for Men’s Voices. Compositions for the Pianoforte, by TEXAS TEACHERS’ BUREAU—Organ¬ booklets of the three best makes of instru¬ position the problem arises to introduce music need not hesitate to take advantage volume is but 40 cents, postpaid. pansion and contraction. Take a compo¬ ized 18S8. Oldest teachers’ bureau in Dixie: Alleluia, Alleluia, Brander. Woman Composers. ments on the market to-day. the second and third position in an accept¬ of the offer. sition like the Largo, by Handel, or The strong commercial and musical departments; Behold, J Show You a Mystery, Sollv. Serenade, by Schubert, and a thousand Gurlitt. Album of Selected Composi¬ membership $1.00. C. C. Truitt, Mgr., Mar¬ able manner; for this end it is necessary Our special price is but 20 cents, post¬ shall, Texas. Christ is Risen, Menshall-Nevin. paid. New Indian Song Collection other pieces. There we have the simple tions (Mathews). Fifty Violin Studies to have attractive studies, and it has been Mr. Levenson’s idea in compiling this Hosanna, Granier. By Thurlow Lieurance melody first of all; then we have the ac¬ Liszt, F. Album of Celebrated Works. VOICE CULTURE—A scientific system companying harmony—you can go almost Masterpieces. The 21 best composi- without exercises. ‘ Tells exactly how” in a in the First Position work to select the best second and third Sing With All the Sons of Glory Songs and Dances from This is the title adapted for the new simple, practical and thorough manner. Brackett. any depth; then we have the expansion By Levenson position studies from the works of all the Foreign Lands Arranged collection of eight songs by Thurlow Board binding, $1.00; cloth, $3.00. The great writers for the violin. These studies, Lieurance. It is only necessary to state into the various forms for the orchestra, Mendelssohn. Songs Without Words Benedict Vocal Studio, 29 West '81st Street. This is m much-needed compilation of Easter Cantatas. for the Piano for the organ and combination of instru¬ (Complete). New York City. all the best first position studies selected however, are not at all difficult; thev are that this new volume will contain among Greatest Love, Petrie. By M. Paloverde ments. When a composition which has Mozart, W. A. Sonatas, 1 Vol. from all thh great writers for the violin. ■such studies as the pupil may be able to other numbers the famous song, By the take up after having done ii reasonable Dawn of the Kingdom. Wolcott This is a collection of very entertain¬ Waters of Minnetonka, to stimulate an unusual merit comes out at the present Beginner’s Method. Theo. Presser. time the publisher gets it out in all the Intended for the youngest beginners and STUDY HARMONY amount of work in the. first position. This Victory Divine, Marks. ing second grade pieces. The melodies are immediate demand for the book. Other and COMPOSITION volume will lie welcomed bv all violin Wondrovs Cross, Berge. Successful Indian songs by Mr. Lieurance forms possible. Sometimes as high as perfectly adapted to their needs. studies are arranged in progressive order selected from the music of old lands, and by MAIL “"atrSJtinu8™™"' teachers and students, as it is very diffi¬ Immortality, Stults. these have been newly arranged for the will be included, notablv the very beautiful twenty or thirty arrangements will be Czerny-Liebling. Selected Studies. so that the hook may be taken up imme¬ made from a single composition. This is cult to obtain suitable material at this piano by Mr. Paloverde. Among the coun¬ song, By Weeping Waters. The book will Three books, either one. Czerny’s most diately after any instruction book. stage of the pupil’s progress. Easter Services for the Sunday School. tries represented are England, France. contain a verv' beautifully illustrated just what we are doing now with these necessary studies selected and arranged. The special introductory price in ad¬ Preface by Mr.' Lieurance, ‘dealing with master pieces for children; we are mak¬ Mason, Dr. Wm. Touch and Technic; The special introductory price in ad¬ The Risen King, R. S. Morrison. Russia, Servia, Bohemia, Spain and others. ALFRED WOOLER, Mu«. Doc. vance of publication is 35 cents per copy, vance of publication is 35 cents per cony, The special introductory price in ad¬ the music of the American Indian. ing an excellent volume, as our catalogue Part 1, The Two-Finger Exercise; Part postpaid. Dawn of Hope. R. M. Stults is replete with the best material. 2, The Seales; Part 3, The Arpeggios; A 322 W. Utica St. Buffalo. N. Y. postpaid. * vance of publication is 35 cents per copy, The special introductory price in ad¬ Hail, Festal Day, R. M. Stults. Part 4, The School of Octaves. Any one postpaid. vance of publication is 50 cents per copy, Our special introductory price is 40 Please mention THE ETUDE when1 addressing part. Postpaid. cents. our advertisers. the ETUDE MARCH 1920 Page 213 Page 212 MARCH 1920 the ETUDE

Some Day I Shall Schools and Colleges Hear You Calling CHICAGO AND GENERAL Words by Gladys Lacy Music by Arthur F. Tate High Voice, E fiat Low Voice, C Price, 50 cents The words of the first verse and the melody of a portion Summer Master School Oft in the twilight when shadows are falling. Faintly come stealing from over the sea; Faces long vanished and voices now still. June 28 to August 7 [Six Weeks] Voices I loved and so dear once to me. * FACULTY * PIANO VOCAL VIOLIN ORGAN PERCY GRAINGER OSCAR SAENGER LEON SAMETINI CLARENCE EDDY RUDOLPH REUTER HERBERT WITHERSPOON MAX FISCHEL ERIC DeLAMARTER ALEXANDER RAAB MME. DELIA VALERI FREDERIK FREDERIKSEN C. GORDON WEDERTZ FLORENCE HINKLE MAURICE GOLDBLATT HELEN W. ROSS HAROLD MICKWITZ ADOLPH MUHLMANN LOUISE FERRARIS ELIAS BREDIN EDWARD COLLINS MRS. 0. L. FOX RUDOLPH REINERS You Can Take a Complete MAURICE ARONSON EDOARDO SACERDOTE LOIS DYSON MAX KRAMM GRAHAM REED KATHERYN MILLS LOTTA MILLS HOUGH BURTON THATCHER RAY HUNTINGTON IUIS VICTOR SAAR MABEL SHARP HERDIEN Conservatory Course JOHN B. MILLER iRL RECKZEH ROSE LUTIGER GANNON REPERTOIRE AND INTERPRETATION CLASSES Either Students’ or Teachers’ and learn how to play or teach correctly HARRY DETWE1LER EDOUARD DUFRESNE HERBERT WITHERSPOON (Vooal) in your spare time at home, by the University Extension Method, which C. GORDON WEDERTZ GENEVRA JOHNSTONE-BISHOP OSCAR SAENGER (Vocal) MME. DELIA VALERI (Vocal) is now used by leading colleges of the country. BARTON BACHMANN EDITH W. GRIFFING, ELIAS BREDIN PERCY GRAINGER (Piano) LEON SAMETINI (Violin) HARMONY, COMPOSITION, COUNTERPOINT, CANON AND FUGUE FELIX BOROWSKI LOUIS VICTOR SAAR HAROLD B. MARYOTT LAURA D. HARRIS BARTON BACHMANN PAULINE HOUCK Sherwood Piano Lessons Some day when the clouds have vanished. Stars will shine again; TEACHERS NORMAL COURSES PUBLIC SCHOOL MUSIC TOE, BALLET, INTERPRETATIVE HERBERT WITHERSPOON (Vocal) HAROLD B. MARYOTT AND CLASSICAL DANCING for Students Then shall dawn hope's glorious morrow, HAROLD B. MARYOTT (Vocal) HISTORY OF MUSIC ANDREAS PAVLEY Love be our refrain. PERCY GRAINGER (Piano) FELIX BOROWSKI MAE STEBBINS REED GLADYS PRICE Contain complete, explicit instruction on every phase of piano play¬ JULIA LOIS CARUTHERS (Piano) ENSEMBLE PLAYING & ACCOMPANYING Ruth Austin Gladys benedict ing. No stone has been left unturned to make this absolutely perfect C. Theodore Presser Co., Phila., Pa. MAX FISCHEL (Violin) It would surprise you to know that Sherwood devoted to each lesson WALTON PYRE (Expression and LEON SAMETINI MAX FISCHEL SCHOOL OF OPERA Singers Everywhere are Beginning to Use this Dramatic Art) ITALIAN FRENCH ADOLPH MUHLMANN enough time to earn at least $100.00 in teaching. It is possible for you GLADYS BENEDICT (Dancing) to get all this time and energy for almost nothing, compared to what it Number. Get Your Copy Now and Enjoy the AMEDE C. NOBILI EDOUARD DUFRESNE EDOARDO SACERDOTE cost. The lessons are illustrated with life-like photographs of Sherwood at the piano. They are given with weekly examination papers. Flattering Reception an Audience Always Gives Those First Introducing a New Song Success. FREE SCHOLARSHIPS^ Sherwood Normal Lessons Mr. Saenger, Mr. Witherspoon, Mme. Valeri, Mr. Grainger, Mr. Sametini and Mr. Eddy have each consented to award a Free Scholarship to the student, Theodore Presser Company who, after an open competitive examination, is found to possess the greatest gift for singing or playing. Free scholarship application blank on request. 1710-1712-1714 CHESTNUT STREET for Piano Teachers Write for complete summer catalog. Lesson periods should be engaged now. Private and Class Lessons are given by all teachers. Contain the fundamental principles of successful teaching—the vital PHILADELPHIA, PA. principles—the big things in touch, technique, melody, phrasing, rhythm DORMITORY ACCOMMODATIONS FALL SESSION OPENS SEPTEMBER 13 tone production, interpretation and expression—a complete set of physi- FELIX BOROWSKI, President c2Lex!rclses for developing, strengthening and training the muscles of the fingers, hands, wrists, arms and body, fully explained, illustrated DR. F. ZIEGFELD, President Emeritus and made clear by photographs, diagrams and drawings. ’ IVI11U Ul\ V ILF By J. F. Cooke (Price 30 Chicago Musical College introducedat lea by Bispham, Scott and Werrenrath 620 SO. MICHIGAN AVE., Chicago, Ill. 'stone" Ho (el1) CARL D. KINSEY, Vice-President and Manager Harmony The newspapers made special comment upoi y applauded." Wolfsohn Musical Bureau, If ^r. A knowledge of Harmony is necessary for every student and teacher. SENT ON RECI 0HE PUBLISHERS THEO. PRESSER CO., You can study the Harmony Course prepared especially for us by Adolph PHILADELPHIA, PA. Rosenbecker, former Soloist and Conductor, pupil of Richter; and Dr Daniel Protheroe, Eminent Composer, Choral Conductor and Teacher PORT PEDAGOGICAL MUSIC COURSE pdiOLUPIBIA THE COSMOPOLITAN SCHOOL OF MUSIC y EFFA ELLIS PERFIELD You will receive the personal instruction of Herbert J. Wrightson, Consists of material on the Theorist and Composer. ’ SCHOOL OP"5 AND DRAMATIC ART following subjects: Professional Directory Kimball Building, Chicago, III. Dr. Carver Williams, President ight sfn ging 5 Ear °Feelingtat °“ Offers to earnest students the fullest and most profitable ACADEMIC COURSE of high grade, of - -mprovising 6 Rote Song Harmony Teaches You to any School of Music in the Middle West. An unexcelled faculty of Artist Teachers. 7 Rhythm and Rhythmic Dictation EASTERN WESTERN 1. Analyze Music, thus enabling 4. Detect Wrong Notes and faulty pro¬ BE A MUSICIAN For information, address Dept. E. E. L. Stephen, Manager 9 Keyboard, Shirp, Flat^et^™0117 determine the key of any composit: gressions whether in printed music or dur¬ r-rl 10 Scientific Pedagogy its various harmonic progressions. CLARE OSBORNEusie REED. Director " Tow to correlate preceding subjects ing the performance of a composition, with the FIRST year’s piano work. 2. Transpose at Sight more easilylly ac- 5* Memorize Rapidly, one of the very PRICE of this COURSE is: companiments which you may be called--”-J Han«eSt benefits derived from the study of AMERICANS SUMMER SCHOOL Cash with Application $25, 6 weeks—June 28th to August 7th 6™Sub«titute Other Notes when for any 3. Harmonize Melodies correctly and reason the ones written are inconvenient COMBS" Piano, Theory, Voice, Violin arrange music for bands and orchestras. ARNOLD for Beginners isle Study for ---- Public School Music Methods DUNNING SYSTEM ”nmpro,-“icS^ Normal Training, Advanced Inter¬ DUNNING pretation and Post Graduate Courses. The Demand for Dunning Teachers Cannot Be Supplied. Why? Advanced Composition BROWN “ Kindergarten, Ear Training, Sight Read¬ r/l n n I OPERA SCHOOL. Voice training for Church, ---— ■ — ing, Orchestra Conducting, History of NORMAL CLASSES AS FOLLOWS: Telephone, Vanderbilt 8235 L ft D HI g5TwA°Tv. CHyMr^arV^d' g[JRR Q WES ’ ESj isr-..— HAWTHORNE CEum History of Music CHICAGOS-iSSSSSS RTS By Glenn Dillard Gunn, noted writer and musician. This Histo KRIENS ‘ Course includes Analysis and Appreciation of Music. CIHCiNiATIS^afes NSER.VATOR.Y moulton Unprecedented Special Offer! COLUMBir«S»^' Will you take advantage of our offer of 6 lessons Etude readers without charge or obligation on their pa NEW YORK you 6 lessons from the Normal Piano or Harmony DAHM PETERSENS^ selected from some other subject, if you prefer. Piano (one for students and one for teachers), I R~APiSARDA^^ii ducting. Public School Music, Violin, Cornet, Guitar DETROIT ?3EB2E»^ the course you are interested in and write now for You will receive full details of the course and be SAiSiNP^SSa-'- us. The cost is nothing and you will benefit much. DETRIOT VIRGIL University Extension Conservatory 6314 Siegel-Myers Bldg. Chicago, Illinois BRYANTflilkps TOMLINSON Private Teachers ufff Address Registrar SCHOOLS ON Dept. E PAGE 214 10 LYON & HEALY BLDG., C CONVERSE COLLEGESS“k WESTERN Page 214 MARCH 1920 THE ETUDE the ETUDE MARCH 1920 Page 215 Putting Fun into Scale Practice Making Monkeys of Us By Fannie F. Brooks By Frances L. Garside ___Schools and Colle^es<_ There are two kinds of music lovers in .PENNSYLVANIA, OHIO, DETROIT AND SOUTHERN the world. First, the kind who will not A singing nation is a progressive na¬ study music because they would have to tion. A singing nation is never defeated practice scales. Second, the kind who in war. One cannot have a grouch in would play better if they would practice his heart if there is a song on his lips. -HaTn Philadelphia scales more diligently. Scales have al¬ You cannot hate the man next to you ways been a bugaboo, and I suggest a COMBS CONSERVATORY quite so bitterly after you have sung out PHI LADELP HI A Musical Academy way to make them more palatable to the of the same book and discovered that 60th season began Sept. 8. ' American Conservatory child appetite. THIRTY-FIFTH YEAR vanced pupils under eminenln’t artist-teachers. Theory, your voices harmonize. Instead of wish¬ When a student has learned to finger A Residential and Day Schoel of unparalleled Fa cilities for the attainment of a complete ing to murder him, you plan to make musical education in all branches. the scale of C correctly, ascending and Managing Director, 16 him your partner in a duet. of Music descending, let him hum as he plays it. A SCHOOL OF INDIVIDUAL INSTRUCTION There are many reasons why singing 34th Season Do this for ear training. Get this quite (Theoretical and Applied Branches Taught Privately and in Classes) smooth. Then start on D flat for the is good for the world. There is even Because of its distinguished faculty, original and scientific methods, indiv CHICAGO’S FOREMOST SCHOOL OF MUSIC key note, remembering the fingering, and , compensation in the singing of the girl * ' * ’ ’ ' Iture, and moderate cost, coi * ’ ' ^ PITTSBURGH ! in the next apartment after midnight, for - affords tainabie « THE CONSERVATORY ANNOUNCES THE EXCLUSIVE TEACHING ENGAGEMENT the child will build his own scale and flat orTe it gives you good cause to break your MUSICAL INSTITUTE, me. FOR THE SUMMER SCHOOL OF TWO WORLD FAMOUS ARTISTS the necessary notes. Next on D for the Fou: _. College Degrees for Music Students key note and so on. As the child hums lease when the landlord raises your rent. >cal relations with L with University of Pittsburgh rvatory in the State with Dormitories for Worn 4259 FIFTH AVENUE along he will make all sharps and flats. Everyone wants to sing. Those who iration. Enthusiasm, Loyalty and S Joseph Lhevinne David Bispham He need not even know the names of can, do sing, and some who can’t, try. Illustrated Year Book Free the keys; in fact, give these later. In a Those who know they can’t are happy Joseph Lhevinne and David Bispham aside few lessons he will have mastered the in the song of others; in the change GILBERT RAYNOLDS COMBS, Director c MR. and MRS. CROSBY ADAMS Annual Summer Classes for Teachers of Piano from giving private instruction will conduct twelve major keys almost unconsciously. from the deadly monotony of business Repertoire classes especially designed for Now start the left hand alone on Key for the Study of Teaching Material life; in the opportunity to get one’s mind MONTREAT, N. C. Professional pianists and singers, for advanced of C for the fingering, adopting the same off high prices, the sorrows of the great 1 CINCINNATI CONSERVATORY of MUSIC established issr 11 July 8-23-1920-August 5-20 students and teachers. Mr. Bispham will also humming method, then use two hands Write for booklet containing outline and strong world outside and the petty troubles letters from Teachers who have taken the Course. have a class in Recitation to Music. through all the keys. This makes good 52ND YEAR CLARA J5AUR, Foundress within. Many are there longing to hear MONTREAT, NORTH CAROLINA Only a limited number of students accepted. introductory practice for the lesson and Conducted ^ according to methods of most Apply without delay. Special prospectus there is nothing like it for ear training the songs a mourned husband, brother, or mailed on application. and technic. son had on his lips when he marched Elocution—MUSIC Languages Atlanta Conservatory of Music away. Vary the rates of speed and force of Faculty of International Reputation THE FOREMOST SCHOOL OF FINE ARTS Summer Normal stroke. All this will clothe with in¬ The “fly in the ointment” is the effort Exceptional advantages for post-graduate and repertoire IN THE SOUTH work. Departmen/ of Opera. Ideal location and residence terest what was before deadly dull work. of the leader to make monkeys of his department with superior equipment. Advantages Equal to Those Found Anywhere Session A simple tune may be,given in the Key of audience in a mistaken notion that by so Master class for virtuoso violinists under Six weeks, from June 28 to August 7, 192Q. C, then carried through all the key9. I doing he is teaching it to sing. For catalogue and Information, address Miss Bertha Batyr, Directress, Cincinnati, Ohio. EUGENE YSAYE Season 1919-20 Peachtree and Broad Streets, Atlanta, Georgia Special Course in Public School Music of six suggest Lightly Row. You will be sur¬ For instance: weeks, June 28 to August 7, 1920. Lectures; prised how well they can do this, and Rentals. All Departments of Music and “I do not like the way you sang that JOSEPH LHEVINNE how lively their interest as they go from last verse of Giggles, and I want you to Dramatic Art. DAVID BISPHAM School of Music one key to another. They get that skill sing it again. Suppose those in this row DANA’S MUSICAL INSTITUTE OF and independence in passing over black Ninety Artist Instructors—Among the Most Prominent May Be Mentioned who are married sing the first line and WARREN, OHIO SHENANDOAH COLLEGIATE keys which are generally left loo late in Voice: Karleton Hackett, Ragna Linne, E. Piano: Heniot Levy, Allen Spencer, Victor Vtolincello: Robert Ambroses. those who are unmarried sing the next. INSTITUTE their course. LEADING SCHOOL OF MUSIC IN THE SOUTH V.-oIina"HlVh;^X,;SrarA^\Bw/8'k » Garwood. Silvio Scionti, Louise Robyn, Public School Music: O. E. Robinson. Let's see which has more power.” THE SCHOOL OF DAILY INSTRUCTION IN ALL Ramon Giwin ' P MmfcalTheom'CompImical Theory, Composition til™A d Vt Harp.-EnricoTrtoonti,HelenaS.Torgeraon. BRANCHES OF MUSIC Organ: William Middelschulte, Herbert Weidig, Arthur O.o! AnderiAnderTon, JoEn Dramatic Art: Letitia Kempster Bamum. Childish Nonsense Hyde, Frank Van Dusen. Palmer, Leo Sowerby. How Do You Pronounce let FREE. S.C. I. BOX 110 DAYTON, VA. It ? Or— LYNN B. DANA, Pre, Desk E, WARREN, OHIO Desirable c ary accommodations. Many free advantages. Teacher's Certificates and Diplomas conferred by : Illinois. Catalog mailed free. Send for Catalog ar.d Summer Session Prospectus. Address “You sing A Day in June as though By Mrs. C. H. Carpenter you had never known one. Wake up! AMERICAN CONSERVATORY OF-MUSIC, 571 Kimball Hall, Chicago, Illinois ESTABLISHED 1857 JOHN J. HATTSTAEDT, President KARLETON HACKETT, ADOLF WEIDIG, HENIOT LEVY, Associate Directors Sing it as if you knew what you were Dvorak, Saint-Saens, Brahms. Liszt, singing about. Oh, yes, you have all had PFARflHY CONSERVATORY Bach, Gounod, Rossini. Pondm-lli. Doni¬ perfect days in June. Let’s see if you 1 LHDUI/ 1 BALTIMORE, MD. zetti, Wagner, Puccini. Strauss—how have. I want all who are married to many of them can you pronounce and feel sing the first line and all who want to HAROLD RANDOLPH, Director that you have not committed an unpar¬ get married to sing the second, etc.” One of the oldest and most noted Music Schools in America. donable sin? Well you say to v.mrself, Or— “I know what Dvorak and Brahms. Bach ALPARAISO “Suppose we try this plan: All over V and Wagner are, but I’m a little in the Special Low Rates for Beginners fifty sing one verse and all under fifty Mi dark when it comes to Fonchielli and BEETHOVEN CONSERVATORY^id for handsome Catalogue to the UNIVERSITY the next.” BROS. EPSTEIN Donizetti and even Puccini.” One of the oldest and best Music Schools in the United States 4525 Olive Street, St. Louis, Mo. r- — - a ” orthwester^. - SCHOOL OF MUSIC Or, since the leader is delving into the How many of us are in the same boat? VALPARAISO (Accredited) INDIANA Many persons of quite a high degree of family cupboard, why not try this? UNIVERSITY T Tlte University School of Music offers courses in “All who have been divorced lead in Y,°‘c?’ Violin- Organ, Theory and Public refinement and a good knowledge of the SUMMER SCHOOL OE MUSIC ! School Music. Students may attend the Music music of the great masters, are unable The Gang’s All Here and those who Detroit Institute of Musical Art ’iDi'AfA SIX WEEKS—June 28 to Aug. 7,1920 peter c. lutkin, Dean I UniTCrs?t"d a S° take the regular work at the to pronounce correctly some of their would like to be sing the chorus.” GUY BEVIER WILLIAMS, President SUMMER IS NOT TOO FAR AWAY THE EXPENSES ARE THE LOWEST names. This is often the cause of pain¬ Or— ASchool which offers every advantage incidental to a broad musical education TO NEGLECT PREPARING FINANCES A beautiful campus on the wooded shores of Lake Michigan, in Chicago’s most important suburb I Fifty artist teachers. Highest standards. Artistic Environment. Special courses in Applied Music and in Public School and Community Music, also lectures in Piano • ful embarrassment. It is certainly a fault “Let the men who kissed their wives FOR SPECIAL MUSIC STUDY | Normal Methods with Childrens Demonstration Classes. A Board!'°^th?|ilraished VL^fWJOo'plr*quarter Far Catalog Address Private lessons in Piano. Voice, Organ, Violin and Violoncello 9 that one can overcome and one that every when they left the house sing When We H. B. MANVILLE, Business Manager 1117-1119 Woodward Avenue, DETROIT, MICHIGAN musician or lover of music should attempt Meet Again, to be followed by Put Your OrgruvteatfonI'an(l Maintenanw^of1 &dratd^rchtfstn^l^^r]fonda, ^ani^ti^acorinj^and^arrangemeiit £ to correct. Trouble in an Old Kit Bag by those who DETROIT Franck It only requires some careful study and didn’t.” a little perseverance to be able, in a short OTHER CHICAGO SCHOOLS CONSERVATORY of|gg? Summer courses also given in College of Liberal Arts, Law and Oratory f while, to pronounce, without hesitation, These evidences of bad taste are not of music study • .'. on page 213 .-. .-. BURROWES COURSE tt-a ... ~~ ■ - —-1 M| the names of all the celebrated composers imaginary. There are community chorus as well as the difficult cognomens of our leaders somewhere, every day, who think Kindergarten and Primary—Correspondence or Personal Instruction they can wake up an audience in song Happy Pupila—Satisfied Parents-Prosperous Teachers. Classea are doubled by uae el Ibis method MUSIC w Minneapolis School of Music, present-day musicians and operatic sing¬ Offers courses in Piano, Voice, Violin.Organ, by making this sort of appeal. HOWnHGTOH COLLEGE CONSERVATORY UiSJjBBi.'tei!!: ers. The reason that there are a great rdso^deaefiptive^fierature sent^on* ^ptaHon'to KATHARINE BURROWES Theory, Public School Music and Drawing, of advantages at very low cost. Aim is tifeducate, not mate^noneyf^Facuit^of unmtestioned Sff many of us who cannot pronounce these The community chorus is one of the Oral Interpretation, etc. Work based on Dept. D. 246 HIGHLAND AVE., H. P., DETROIT, MICH. best modern and educational principles. Director, Dept, of Musi Courses Offered: piano, voice, harmony, history of music pi iri tr names is simply because we have not tried most beneficent things this country has Numerous Lectures, Concerts and Recitals sventh St., So. MINNEAPOLIS, MINN. -——— SCHOOL MUSIC, LANGUAGES, EXPRESSION and DRAM ATIC ART to learn to pronounce them. We have throughout the year. Special Course, Giving Teacher, Practical Work Applicable to Their Needs had in many years. The leaders, in the t, c Excellent Dormitory Ac- BOARDING FACILITIES EXCELLENT—NO BETTER ANYWHERE no doubt heard them pronounced cor¬ main, are marvelous in their skill in in¬ ’——’ certificates, dip- The secretary will be pleased to furnish full . ,, „ details and supply any information desired. Address, Box 512 - - . HUNTINGTON, INDIANA rectly numerous times but we did not teresting men and women in song who IV. «J. COREY take the little trouble necessary to pre¬ haven’t tried to sing in many months; serve the pronounciation in our minds. their patience is wonderful; they are do¬ Pianist, Organist and Musical Lecturer Whenever you come on a name in ing such good it would not be amiss to It Novel, Varied and Beautifully Illustrated Lecture-recitals upon ADVERTISE YOUR music that is difficult to pronounce, find call them singing evangelists. the American Platform. MacPhail School of Music out just how it is spoken and study it Giv'en with success at many of the largest Universities, Colleges, Lyceums But—the men and women who com- and Societies. 806 Nicollet Ave., Minneapolis, Minn. until you feel that it will not slip from SUMMER SCHOOL Pfise the audience are often of higher ^ The Lecture-recital on the “ Eroica^Sonata of MacDowell.” Mr. Corey|s Don't wait until it’s too late. Send your memory. PUBLIC SCHOOL MUSIC-THADDEUS P. GIDDINGS, Teacher intelligence than that with which the Complete Courses in Piano, Voice, Violin, Organ. Teachers’ Certificates, Diplomas. Dormitory for Ladies. in advertising copy NOW for the Get a good pronouncing musical direc¬ leader Credits them when he think* he endor,#mem’,s Summer Session Commences June 21st. Students May Enter Now. Catalog Free. next issue of THE ETUDE •• • tory and go to work. Don’t let a dollar, pan put a seng «n their lips By first w*k’- SB Woodward terrace, Detroit, Mich. or so stand between you and knowledge. Please mention THE ETUDE when addressing 01 lng monkeys of them. n addressing our advertisers. Page 216 MARCH 1920 THE ETUDE Play a Piece Your Own Size

By George Gilbert

NEW YORK AND NEW ENGLAND Nearly All Big Magazines Roses As you come away from the concert, (and bring tears with the playing) The what themes are uppermost in your brain ? Snance River; and who arc you, young Seldom do we carry away with us im¬ violinist, that you must inflict upon y0ur You Can Grow PIANO CONSERVATORY pressions of phrases of great harmonic small public the Moto Perpctuo, that complexity; of tunes loaded down with only a Paganini could play to perfection Increase in Price on April 1st These plants, and the other (29th Season) accompaniment until they are all but in his time and a few others since? items of merchandise described drowned. No, it is the lovely, flowing David Bispham brings all the power on this page, can be had by in¬ legato melodies; the left-hand solo play¬ of his artistry to bear to show forth the The American Magazine, McCall’s, Modern Priscilla, McClure’s, troducing THE ETUDE to your friends. They are given as re¬ . VIRGIL METHOD OF TECHNIC ing of the gifted pianist; the well-bowed beauties of A Banjo Song, and who are Delineator, Everybody’s, People’s Home Journal, Today’s Housewife air that the first violin played with a you, Miss Conservatory Graduate, that wards for getting your neighbors’ sub¬ Greatest of all teaching methods will all advance in price in thirty days. Other publishers have scriptions. The complete catalogue of slumberous background of the orchestra’s you must worry the home folks to the premiums offered by THE ETUDE is RESULTS TELL bass just sustaining, not burdening, it. verge of homicide with your perennial warned us they may do likewise without notice. now ready. Ask for your copy. Or, perhaps, it is the lively rataplan of Jewel Song from Faust, when you cannot Superior Instruction in Piano, Harmony, Theory, the trap drummer’s momentary emergence run half the intricate turns in it without Pictorial Review and Ladies’ Home Journal are refusing subscriptions. Public Performance from his wonted obscurity; the soft slurring them all together, like a raw The paper situation is getting to be more than the publishers can bear. Foundational and Advanced Courses thudding of the keyed kettle drums, ’cello pupil trying his first “slide” from Another paper increase became effective March 1st. Another postage TEACHERS’ CERTIFICATES DIPLOMAS against the Oriental lilt of high-pitched one position to another? If you are one pipes. In short, the simple—the pro¬ of the few in a generation fit to sing increase goes into effect July 1st. MARIE VAN HOUTTE. Canary-yellow, passing to For Particulars, Address foundly simple—appeal of the flowing creamy white. the Jewel Song, sing it; but if not, let it HIAWATHA. Brilliant Scarlet. MRS. A. M. VIRGIL :: 11 W. 68th St., New York phrase, the melodic content of beautiful alone and take up “something your size” These Prices are Good for Variety QUEEN’S SCARLET. Rich Scarlet. and enjoy it—and let folks enjoy it with Thirty Days Only ISABELLA SPRUNT. Bright Canary-yellow, In this there is a lesson for the young you. abundant bloomer. player who yearns to play the great, 1HELEN GOOD. Delicate pink shaded to deeper Take some great simple theme. Make ETUDE. of Seeds whirlwind compositions; some Rhapsodic it your own. A dozen such, mastered, pink at edges. INSTITUTE OF MUSICAL ART Woman’s Home Comp. 2.00) I ^ 1920-P. C. 79A. Flower NEW CLIMBING MOSELLE. Golden yellow. OF THE CITY OF NEW YORK Hongroise of Liszt; some piece like the will make you up a program of excel¬ Hammerclavicr Sonata of Beethoven. Seeds. One packet each of cream colored blossoms. _ _ Special PREPARATORY CENTERS in different parts of lence ; a few “show pieces,” delivered raw asters, poppies, mignonette, Given for two subscriptions, Youth struggles with such immensities the city for children between seven and twelve years of age. to suffering audiences, will make folks nasturtiums, cosmos, phlox and becomes a nuisance to the discerning flee your musical presence as if you and a large packet of sweet FRANK DAMROSCH, Director 120 listener. These are for the very few, had the plague. But if instead you master peas. Given for one sub¬ the handful in each musical era. The the elements of music to be found in scription. beautiful, flowing themes are for the these simple themes, you will have laid ETUDE.$2.0° (Both i Recognized as One of the Leading Musical Institutions in the United States many. Seize upon and go deeply into the 1920 - P. C. 79b. Glad¬ the foundation for greater attempts later, American Magazine . 2.00 j*J.75 ioli Bed. Twelve superb new beauties of simple themes, even if it be when your mind and muscles, more prac¬ With ETUDE 2 years, $5.50 hybrid gladioli bulbs; as¬ only a few modest folk-songs. Kreisler ticed, more mature, can, with safety, sorted colors. Given for one does not think it beneath him to play essay their difficulties. ETUDE.$2'°°U J AO subscription. Christian Herald . . . 3.00) *4.00 1920-P. C. 79c. Sweet Peas. One packet each of Faculty of National Reputation and Broad Experience ten named varieties in white, How Our “ Yankee Doodle ” Went to Europe pink, scarlet, lavender, blue, yellow and red. Given for —Ithaca Conservatory of Music— By Lawrence Leinheuser one subscription. Special advantages for those who look forward to concert or educational work. All ingruments, 1920 -P. C. 79d. Six filling highest places available in America. Beau¬ MARIO The introduction of Yankee Doodle into men were unable to supply the answer. .$2:00l«O°eA Assorted Dahlias. Ideal for s Magazine. . 1.00J *2*«>0 bedding or planting in bord¬ tiful, commodious buildings, concert hall and European lands as America’s national They questioned the bandmaster on the anthem took place under very amusing ers. Given for two sub¬ ablTterms!* Catalog^ 311 ay StU Cn 8* SALVINI matter, but he, too, was unable to throw scriptions. The Registrar, 1 De Witt Park, Ithaca, N. Y. circumstances. The War of 1812 had any light on the subject. They then de¬ ETUDE.$2.001 become tiresome to both America and cided to hunt up Clay and get the de¬ McClure’s Magazine . 2.00('3*“0 England. Henry Clay and John Quincy sired information from him. With ETUDE 2 years, $5.25 Solid Gold The Courtright System ol Musical Kindergarten Adams, the American commissioners, They accordingly questioned Clay on Oldest and most practical system. Write were at Ghent conducting negotiations for particulars of correspondence course. the matter, and the American informed ETUDE .... $2.00 i Three Bracelet Watch Mrs. Lillian Courtright Card, 116 Edna Ave.,Bridgeport,Conn. with the British emissaries for the con¬ them that Yankee Doodle was the na¬ WotnansHomeComp.2.001 for clusion of peace between the two coun¬ tional air of America. The bandmaster, American Magazine 2.00 j 1920-P. C. 1A. A ten-year gold- tries. not being acquainted with the air, asked (To one address) filled watch. I0J^ ligne, convertible, ^TEACHERS, SCHOOLS & COLLEGES plain polished. 7 jewel, nickel me That Ghent should be the town selected Clay to hum it for him that he might With ETUDE 2 ,« OF M USIC should enjoy the Publicity for these negotiations was looked upon as ment. 2 adjustments, gilt dial, I Opportunities of the take down the melody. But this Clay was gold-filled adjustible bracelet. The no small honor by the simple burghers Professional Directory unable to do. The secretary of the watch comes with a satin-lined ca: See Page 212-The cost is small -Sendfor rates of the town. They felt very much flat¬ American legation also failed in his ef¬ in addition, and 21 subscriptions a J. BABCOCK tered by this singular mark of attention forts to hum the tune. Clay then hap¬ all that are required. Two or three and determined to show their apprecia¬ pened to think of his negro servant, Bob, days’ effort in spare time will make this watch your own. Given, with tion in a tangible manner. This, they and calling the latter in, bade him whistle of Also Church and Concert Engagements case, for 21 subscriptions, post- Skidmore School Arts thought, could be done in no better way Yankee Doodle for the gentleman. Bob A Professional and Vocational College for Women CARNEGIE HALL, NEW YORK than by saluting the distinguished visitors responded with alacrity, the tune was re¬ Fine and Applied Arts, Home Economics, with their respective national airs. But Music, Physical Education, Secretarial, corded in notes, and in this manner was General Studies, Athletics here a difficulty presented itself. With Yankee Doodle introduced into Europe March Last Chance Offers Non-Sectarian Catalog Summer Session Fiction— England’s national hymn, God Save the as America’s national hymn. For years THE ETUDE, Theo. Presser Co., Pubs. SARATOGA SPRINGS, N. Y. yjyjyjyjyifflfflPi King, the burghers were perfectly fa¬ Standard and Otherwise afterward it appeared in European col¬ 1712 Chestnut Street, Philadelphia, Pa. miliar, but when the question arose re¬ lections under the caption, “National 1920 -P. C. 91. Any one sent, garding America’s national air, the towns¬ Gentlemen : postpaid, for two subscriptions. Crane Normal Institute of Music Anthem of America.” I send you $. for which enter my subscription to A Tale of Two Cities—Dickens. CRANBERRY* Training School for Supervisors of Music Bab—A Sub-Deb—Mary Roberts Rinehardt. BOTH SEXES THE ETUDE for. years. You may also send the other Bought and Paid For-Broadhurst and Hornblow. Pianists :: Accompanists Voice culture, sight-einging, ear-training, harmony, Business of Life, The—Chambers. form,. music-history, chorus-conducting, methods, magazines listed below, one year each. Christmas Stories—Dickens. practice-teaching. Graduates hold important posi¬ »k7r,oa??(rgrhaT„f»4v"iiS' r s *• Daddy Long Legs—Jean Webster. Teachers’ Training Courses tions in colleges, city and normal schools. The art of conducting is to clear the way theme' This ls the interesting statement 1 ‘ ; for this melody, to see that no other of Modest Altschuler, conductor of the NAME. Fighting■ Chance—Chambers. Booklet CARNEGIE HALL, NEW YORK 53 MAIN ST., POTSDAM, NEW YORK Gentleman from Indiana-Booth Tarkington. instruments interfere with those which Russian Symphony Orchestra. Heart of Rachael, The—Kathleen Norris. STREET. Holy Orders—Marie Corelli. Iron Woman, The—M. Deland. Rainbow’s End—Rex Beach. 11 Pays to Advertise—Roy Cooper Megrue. Rising Tide, The—M. Deland. TOWN.... STATE. Jane Cable-G. B. McCutcheon. Seven Keys to Baldpate—E. D. Bigger “K”—Mary Roberts Rinehardt. Seventeen—Booth Tarkington. Send the magazines listed below for one year each: Melting of MoIIie, The—M. T. Davit South Sea Tales—-Jack London. NEW YORK SCHOOL OF MUSIC AND ARTS Spoilers, The-Rex Bei ’ Opposite Central Park, cor. 95th St., New York City Thirteenth Commandn _ RALFE LEECH STERNER, Director When a Man Marries—Rinehardt. Where There's a Will-Rinehardt. New York City’s most beautiful and home-like School devoted to Music and the Allied Arts with ITNCiTPPACCFn pfaitty Who Goes There?—Chambers. OF SCENE FACING CENTRAL PARK UNSURPASSED BEAUTY Within the Law—Veiller and Dan Celebrated faculty including Arthur Friedheim, Ralfe Leech Sterner, Aloys Kremer, Harold A. Fix, Leila Yale, Eueene S»l„„f n • . _ , „ , Warner, Mabel Rivers Schuler, F. W. Riesberg, Helen Wolvertor, and many others. tugene Salvatore, Guiseppi Melfi, Frank Howard Tup FTITnr THEO. PRESSER CO., Publishers s WEEK. TERMS, INCLUDING TUITION, BOARD PRArnclvr JPA ‘ ENTIRE YEAR. TaEi LIUUC 1712 Chestnut Street, Philadelphia, Pa. D FOR BOOKLET AND TEACHERS’ BIOGRAPHIES ’ PRACTICING. ETC., ON APPLICATION. § MEHLIN PIANO USED EXCLUSIVELY Please inention THE ETUDE when addressing our advertisers. aVlWfflVi¥aWiWffiWfflJH DON’T SAY UNDERWEAR

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